This paper investigated the characteristics of guna, which are ritual actions to dispel epidemics, by analyzing the structure of formative meaning and circulation in palmokjungchum (the dance of eight mokjung), the second chapter of Korea’s traditional Bongsan mask dance. Figures in this research depict images of a dance performance that took place on May 31, 1992, which were provided by the Society for Preserving Bongsan Mask Dance. The second chapter of the dance was divided into three structural stages: an appearance of the first mokjung, the one-to-one entrance and exit of the eight mokjung, and the circulating structure of the rotating dance. The findings are as follows. First, the choreography of the first mokjung was incremental, representing the qualities of wood (木), which is one of the five primary elements. The dance during this stage embodies birth and growth through the union of yin and yang and emulates this natural phenomenon. Just as circulation is found in nature, epidemics retreat on their own accord during the ritual of guna. Second, the characteristics of guna are depicted by the one-to-one entrance and exit of the mokjung and by repetition of the same choreography. The entrances and exits are repeated, signifying the circulating relationship of yin and yang. The yin-yang juxtaposition of the mokjung is depicted by different characters, who go back and forth between confrontation and union. This alternation is indicative off the presence of circulation in nature, where time is continuously pushed back and replaced by subsequent time. This concept is represented by the character of guna, who dispels epidemics. Third, the number eight is the number of divination, and when laid out in circular forms, it illustrates the principle of circulation. The beginning and end of the line forms a circle, and the dance by the palmokjung incorporates continuous rotational moves (juibusi) that are reminiscent of the nature-emulating circulation observed in the Cheoyongmu (the dance of Cheoyong). The two dances share epidemic-dispelling characteristics. This indicates that in the second chapter of the Bongsan mask dance, nature’s circulation is a key motive for the choreography, which reveals the righteousness and confidence of nature, unbiased by any of the four seasons. Like nature, epidemics have a structure in which the old is inevitably replaced by the new. The primary characteristic of guna relates to how epidemics retreat from confrontation, where two opposing forces are not able to overcome the other, which is based on the principle of harmonious existence between yin and yang. The objectives of this study were to provide a more insightful understanding of the unique ideas and beliefs inherent in Korea’s traditional Bongsan mask dance and to provide a foundation for more diversified perspectives in the study and understanding of traditional Korean culture.

The subject of this study was Sasangjwa dance, the first part of the Bongsan mask dance, which is designated as No. 17 of the National Intangible Cultural Properties. The Sasangjwa dance is composed of dances that have no lines. Four sangjwas pray for the audience’s well-being and fortune, and at the same time, purify the stage by bowing to the Four Symbols. The dance is ceremonial and has characteristics of Byeoksajingyeong(which means to defeat bad things and approach good things. The Bongsan Mask-dance Drama Preservation Society’s regular performance has occurred continually for the past 69 years. Although the National Intangible Cultural Properties’ diverse activities have been performed for about 70 years, only a small amount of academic research on the first section of the Bongsan mask dance, the Sasangjwa dance, has been conducted. In addition, the terminology of the Bongsan Sasangjwa dance steps has not been established; therefore, linguistic communication is difficult in educational courses on the Sasangjwa dance. Accordingly, this study aims to record and arrange the Sasangjwa dance academically, present its dance scores, and establish terms for its dance steps, thereby providing a reference for future research. The terms for the dance steps of the Sasangjwa dance are indexed and arranged based on Akhakgwebeom and Jeongjaemudoholgi. Existing research has considered folklore mask dances to be irrelevant to Jeong-jae. However, this study considered the Sasangjwa dance according to its dance steps, formation, and scores and used Jeong-jae terminology to describe them. In the process, it was discovered that Jeong-jae terminology is implicative and uses referential and figurative language; this terminology was particularly convenient to explain the dance steps of the Sasangjwa dance, since the characteristics of traditional Jeong-jae were handed down to gisaengs, who adopted the Sasangjwa dance. During Japan’s colonial era, the Sasangjwa dance was performed by gisaengs at regional offices in place of the existing male mask dancers; as a result, the Sasangjwa dance was transformed into a feminine dance that was in obvious contrast with the Mokjoong dance. In this paper, the aim of establishing of dance step terminology for the Bongsan Sasangjwa dance was to facilitate the education of students and communication in general about the Sasangjwa dance.