This paper presents an investigation of the transmission patterns of court dance at Yiwangjik-Aakbu during Japanese rule. The study first examined Yiwangjik-Aakbu in the context of the Yiwangjik organization, which was established to manage the royal Lee family during Japanese rule. Yiwangjik-Aakbu's main duty was to hold ancestral rites for the royal Lee family, which explains the title “Aakbu.” The study then examined the curriculum of the Aak Student Training Center, which functioned as a base for human resources for Yiwangjik Aakbu. The training center was set up in 1919 and taught general subjects in addition to music. In its early days, the only type of dance it covered was Ilmu, which was performed during ancestral rituals. In 1926, the court dance was introduced as a regular subject at the training center. During the Yiwangjik-Aakbu period, the court dance was performed at the palace, overseas, by the invitation of outside organizations, as a part of Yiseuphoi, and for recording purposes. The court dance was performed at the palace to commemorate the “62nd birthday of King Gojong” (1913), the “50th birthday of King Sunjong” (1923), and as a “welcoming ceremony for King Yeongchin” (1930). Those banquets followed the Western ceremonial process, with the court dance performed as part of the entertainment. Moreover, it was performed overseas by the invitation of Kyoto, Japan. When it was performed by the invitation of outside organizations, its audience included major figures and foreigners. It was also performed at an event held by the Japanese Government General of Korea. There were Yiseuphoi performances, which aimed to improve the Aaksas’ skills, in and outside the Aakbu. The court dance was also performed for videotaping purposes as part of a work to examine Joseon culture by the Japanese Government General of Korea based on its political calculations. The court dance performed for those occasions included Cheoyongmu, Suyeongjang, Pogurak, Mugo, Bongraeui, Gainjeonmokdan, Bosangbu, Chunaengjeon, Jangsaengboyeonjimu, Hyangryeongmu, Yeonbaekbokjimu, Mansumu, Seonyurak, Geomgimu, Heonseondo, and Hangjangmu, as well as the Buddhist dance (僧舞), a type of folk dance. In addition, Hwanghwamannyeonjimu (1940) was created to commemorate the Japanese history of 2600 years by the order of the Japanese Government General of Korea. The court dance of Yiwangjik-Aakbu was performed in the political environment of Japanese rule and in the modern performance environment oriented toward the Western styles, thereby inheriting the tradition of the Korean Empire.

Joseon Muak is a black-and-white silent film produced on June 29, 1931. This film was made in the Japanese Government General of Korea. This was made under the name of King Yeongchin. It was made to be sent to the royal family in Tokyo. This study starts from the question of what the values and limitations of Joseon Muak are. This article applies a cultural perspective on the Joseon Muak. Seven dances were recorded on the film. The seven dance include Bongraeui, Bosangmu, Mugo, Jangsaeng boyongimu, Pogurak, Cheongmu, and Hayongryongmu. All these dances were performed by boys called mudong. The value of this the film is as follows. First, there is the material value the oldest image material of Jeongjae. Second, it shows a Japanese occupation version, hence holding the value in its content. Third, there is a transferable value in determining the trace and change. Fourth, it is aesthetically worthwhile to experience the aesthetic achievement. It has the following limitations. First of all, there is a limit of silent films that do not feature music. There also is the ultimate limitation of being built in a very abbreviated form.