Janggo chum is a dance performed while carrying and playing the janggo. Choe Seunghui re-choreographed the traditional janggo chum she learned from Han Seongjun. Following a separate lineage, the sibiche janggo chum of Gim Chwihong was transmitted through O Cheonhyang, and is now preserved by Han Hye-gyeong. This dance is accompanied by the Gyeonggi folk songs “Hangangsu Taryeong” and “Cheongchun-ga” together with the Seodo folk song “Gin Nanbong-ga,” reflecting the musical background of Gim Chwihong as a Pyeongyang gisaeng skilled in Seodo japga. folksongs of the Northwestern area. The accompanying music exhibits the origin creator of the dance, Gim Chwihong. Gim likely chose Seodo folk songs rather than “Daepungnyu,” the conventional accompaniment for Pyeongyang gisaeng dance. Her original accompaniment was probably replaced by Gyeonggi folk songs that gained popularity, particularly after the wide reception of Han and Choe’s Janggo chum. As Gyeonggi folk songs of the cultural center eclipsed the Seodo repertoire of the periphery, and as the division of Korea further erased the Seodo tradition, the coexistence of both regional folk song traditions in Sibiche Janggo chum likely reflects this historical process of displacement.

This study examines how Han Seongjun’s aesthetics in Jeukheungmu were transmitted to Gang Seonyeong. Using documents from the Joseon Music and Dance Institute and oral accounts from Gang and her successor Gim Miran, the study employs an interpretive method. Han’s instruction- “gcombine the learned movements and create your own dance”-shows his view of Jeukheungmu as a form of individuality and inner freedom. Gang embodied this lineage through affective contrasts of stillness and sudden release and the coexistence of joy and sorrow. Testimony on the “six movements” confirms Jeukheungmu as a core creative-pedagogical system reflecting Han’s aesthetics. This study clarifies how freedom and emotion are inherited within Korean dance.