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.

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.