The purpose of this study is to investigate types, use, and characteristics of Amu (雅舞), as recorded in Akseo (『樂書』, Book on Music) written by Jinyang (陳暘). We focused on how Jinyang accepted Amu of the previous generations in his Akseo, investigated how Amu was divided into several types used in Gyomyo (郊廟) and Johoe (朝會 a morning assembly) in Northern Song, and then presented constructional patterns of Amu and significance of using dancing tools. Amu is a dance performed in grand rituals such as memorial services in Confucian congratulatory ceremonies or National New Year’s fests, indicating a type of dance performed to Aak music. As a form of Ilmu (佾舞, line dance), Amu has a coexistence of civil and military dance and is performed according to the order of a ceremony. The representative titles for pieces of civil and military dance music in Gyosa (郊祀 Border Sacrifice) in Song Dynasty are and . In Ilmu for Johoe, Mundeok and Mukong were selected as civil and military dance but were changed by and , and again by and . Amu indicates a type of Ilmu by standing in lines of four sides. Jinyang argued that two, four, six, and eight days of Amu were for dividing classes such as emperor, lords, nobility, and scholar, while thinking that different grades of Ilmu should be applied on the basis of scales of memorial services. Jinyang perceived that the lines of the dance were a method of expressing succession of the way of Heaven by a ruler. According to him, the dancing tools were objects describing and symbolizing virtues and contribution, and there should be Abstract 54 제41호grades in the tools based on the virtues and contribution of a ruler. In this study we attempted to pave the way to expand denotation of dance studies by researching Aak music, a music that has not been much studied in Korean dance field. The results of this study may serve as basic data for understanding Akmu performed in ritual ceremonies in Joseon related to ceremony culture of Ancient China.

Munmyo-Ilmu (文廟佾舞), the dance which has been danced in Seokjeon-Uirye (釋奠: the rite for laying out offerings) at Sungkyunkwan (成均館) deifying Confucius so far, is distinguished in an aspect of its meaning and value from the dances which are passed down physically through the human body to body. Since Munmyo-Ilmu consists of ritual dancing steps involving the ethics and philosophical ideology of Confucian, its formality and structure are very modest, normative and merged densely with ritual and religious characters of cherish memory and worship. In other words, unlike the purpose of common dances, such as the expression of amusement or emotions and the transformation through a new attempt, Munmyo-Ilmu may be considered as a dance aiming more educational and philosophical origin as ‘order’ and ‘harmony’ penetrating between the universe and human being, or between human beings. While the scholarship dance had been formulated as a dance of the spiritual culture for the mindset, the martial arts dance for physical training. Munmyo-Ilmu is a dance connecting heaven, earth, and human beings each other, expressing gratitude to Confucius and old sages, and sublimating the experiences infused from human life, that is, courtesy and respect among human beings into aesthetic. Sungkyun was the name of school being in charge of music among five colleges of ancient Zhou dynasty, in which educating virtues harmonized with human characters through ‘Akgyo (樂敎music education)’. This Munmyo-Ilmu, which has been danced in Munmyo-Seokjeon-Uirye at Sungkyunkwan, can be considered as ‘the dance of modesty’ being formulated of three passages and four doctrines, which are core contents of Sohak (小學: Confucian disciplinary textbook), underlying Abstract 236 제41호Confucian character education. Furthermore, Munmyo-Ilmu, as a means of communication beyond a ritual dance, creates relationship between God and human being, society and human being, and human being and human being. Munmyo-Ilmu, as courtesies, can be considered as a communicational dance transcending language, a dance of ‘Susujirye (授受之禮: the exchange of courtesies)’ sharing each other’s mind, and a dance symbolizing ‘peace and harmony’.

This study aims to analyze dance moves of Munmu and Mumu, two kinds of Ilmu of Jongmyojerye (the royal ancestral rites music) in order to identify significance and symbolism of the dance moves. The findings show that "Gyeonpa" was a dance move that was always included in 11 pieces of Botaepyeong(music to praise the cultural achievements of Jeseon's kings) and Jeongdaeeop(Music to extols the military attainments of Jeseon's kings) each. In Munmu, dancers would collect the energy, which has been circulated and spread before their faces with the knees bending and stretching and two hands open sideways each of the pieces by performing dance moves of spreading, gathering, turning, and repeating in most cases. After this Gyeonpa, the dancers expresses symbolically the wish for Botaepyeong, which achieves unity between the Heaven and Earth and hopes for a reign of peace for many years, in attitudes of respect and humility. In Mumu, they would maintain the Gyeonpa move of erecting a wooden sword(spear) straight and raising it high during long beats through the arm movement with no knee bending and stretching or perform Hyeokjeong with power and discipline 12 times, expressing Uideok(virtue) symbolically. The dance move of Gyeonpa is representative of the unique nature of Jongmyoilmu. It is important that the moves of spreading Mundeok in the combination of Yak and Jeok, circulation of yin and yang, and harmony of Ye and Ak would connect to flexible and soft dance moves of Haphyung in Munmu. In Mumu, it is important to maximize the solemn mood by erecting the wooden sword(spear) straight and stopping it with moves of embodying the achievements of distinguished military service with discipline.