The purpose of this study is to analyze the dance structures of Seoul Intangible Cultural Property Hallyangmu, performed by different successors of the dance. The study utilizes the literature research method to examine the origins and the structural characteristics of Hallyangmu by the successors. The research incorporated the personalities and viewpoints of each successor of this dance. The results of the study have been derived from the analysis of the following four aspects: 1) the characteristics of each role played in the dance based on the narrative, 2) the names of each role’s dance movements, 3) the costumes and props used in the dance, and 4) the rhythm structure in music used for the dance. I hope that this study will contribute to re-recognizing the value of Hallyangmu as a traditional dance and further develop Korean traditional dance.

The purpose of this study is to investigate the aesthetic characteristics of traditional dances by Im Ijo, especially analyzing his use of coquetry. Im not only trained in traditional dances such as seungmu (monk’s dance) and salpuri (shamanic mourning dance), but is also a significant choreographer who developed gyobang salpuri, hwaseonmu, and hallyangmu. His dances may be regarded as neo-traditional Korean dances because they share the same aesthetic characteristics and show the beauty of coquetry and moderation. The basis of the beauty of coquetry in the Im’s dances can be seen as a reproduction of gyobang. His dance expresses the image of gyobang as performance art, aiming to create an open space for communication with the audience. Im’s dances reveal coquetry via costumes or various objects; in gyobang salpuri for example, he focused on gyobang rather than salpuri to create a coquettish image by contrasting complementary colors in the skirt and jeogori. His curvy skirt emphasizes the beauty of curves to shift the dancing style and directions naturally in life with the costume. The traditional skirt, jeogori, and small shapely Korean socks in hwaseonmu express a figure of a prim and proper woman. His beauty of coquetry was transformed from the experience of inner structure taught by Yi Maebang, and the acquisition of the ideational images of Eun Bangcho. Im’s dances are gentle without excessiveness and bright and gorgeous without overflow; this property was achieved through harmonizing the splendid expression of Eun Bangcho and the calmness of Yi Maebang with the breathing, discipline, and intelligence of Kim Sukja.

Hallyangmu is one of folk dances, in which the original form and archetype of Korean dance have been well inherited and recorded. Since its original forms were recorded in Gyobang Gayo (1865) written by Jeong Hyeon-seok, Hallyangmu has been inherited in various forms. It was passed down by gisaeng in the enlightenment era and performed as theater dance by Han Seong-jun. Notably, it is a dance drama in which narrative structure has been well recorded. Hallyangmu, has been inherited mainly in Gyeonggi region and Yeongnam region. Hallyangmu danced by Gang Seon-yeong and Jang Hong-sim, who followed Han Seong-jun’s style, was designated as a cultural asset of Seoul City in 2014 and has been most standardized in terms of character composition and narrative structure. Hallyangmu in Han Seong-jun’s style largely consists of four sequences: story of a playboy and a maiden;of a Buddhist monk and a maiden;of a playboy and a female barkeeper; and the final sequence for resolution They make.a story with the combination of minimized unit structure and seek an open space in which the story can be expressed in movements. The characters in the dance are a playboy, a maiden, a Buddhist monk (dark faced Buddhist monk) and a female barkeeper. When the playboy is seen as a subject, the maiden as an object, and the monk as an opponent, the dance is expressed in the triangle contrast structure in which two male characters have conflicts to win love. However, the structure centers on the maiden without direct conflicts between the Buddhist monk and the playboy, and personalities and characters come to the surface through concepts of behaviors.

Hallyangmu is one of folk dances which shows social phenomena and discourses in the tradition process well. In the early days of development, it was a type of folk play that satirizes the society in each region, but as the age changed, it developed into a theater dance. Today, it is performed on stage as a masterpiece of male dancing by adding masculine fashion, excitement and acting. The important point in this systematic flow is that it has been refined as it enters the performing arts and has been handed down with its content and structure. This study focuses on the structuring of works that appear in it's stage-making process. Especially, The style of Kang Sun-young of Han Seong-jun's Hallyangmu which performed for the first time as a theater dance, conducts research focusing on the systematic aspects and performance aesthetics of Hallyangmu. It distinguished from Madang Noli and Gisaeng dance. The characters are four and the narrative structure is simplified, so there is not much movement, but the story progresses in a calm and calm manner while concentrating on the drama. The contents also show indirectly the space elements of the stage form by the character of the comic, humorous, satirical, and the phonetic movements focusing on the relationship among the characters.