This study is intended to examine the organization of daemu[對舞] and baemu[背舞] of early Joseon court jeongjae[呈才], comprehensibly inquiring into dangakjeongjae[唐樂呈才] and hyangakjeongjae[鄕樂呈才] of Akhakgwebeom[『樂學軌範』]and comparing them in the aspect of formations and dancers. The jeongjae that employs daemu[對舞] and baemu[背舞] are “Gokpa”, “Geuncheonjeong”, “Seongtaek”, “Sumyeongmyeong”, “Suborok”, “Suyeonjang”, “Yeonhwadae”, “Oyangsun”, “Yukhwadae”, “Pogurak”, “Haseongmyeong”, “Hahwangeun”, “Abak”, “Hakyeonhwadaecheoyoung -hapseol”, “Hyangbal” and “Bonglaeui”. The formations of these jeongjaes are one line formation, jeonhu formation, left-right formation of two lines and four lines, obang formation, sau formation, sabang formation, samdae and palgwae formation. Depending on kind of jeongjae, daemu and baemu are performed either in one formation or in more than one and they are either performed respectively or together. The progression of the dances varies depending on the formation of a jeongjae both in dangakjeongjae and hyangakjeongjae, such as formation-centered progression where jwamus progress with jwamu and wumu with wumu, line-centered where jwadae and wudae progress separately, line-and-formation-centered and seonmo (the center of stage)-centered progression.

This study has been started from the question about if court dance called as jeongjae(呈才) had been equally performed even in the different the ritual spaces of naeyeon(內宴) and oeyeon(外宴). The aim of this paper is to understand the ritual and jongjae(呈才) by figuring out how to composes of jeongjae is different in oeyeon and naeyeon based on Ŭigwe(儀軌) in the late Joseon Dynasty At First, there were more actors mostly in naeyeon as a result of comparing the numbers of actors in naeyeon and oeyeon. Moreover, in naeyeon, there were more actors in individual jeongjae. Secondly, according to the comparison of composes of jeongjae in naeyeon and oeyeon, there is an extended form of pair in naeyeon but not in oeyeon. In oeyeon, there were many cases that some part of song is omitted. Third, as a result of comparing the numbers of items selected in naeyeon and oeyeon, mostly the number of jeongjae items performed in naeyeon was bigger.

This study starts from the question of what kind of dance had been appreciated by Chinese envoys. The major spots where Chinese envoys visit are Uiju-Jeongju-Anju-Pyeongyang-Hwangju- Gaeseong and there are banquets for Chinese envoys, with female professional entertainer, called as gisaeng’ s dance performance. According to Joseonbu朝鮮賦, solmu率舞 which is a type of group dance was performed in Pyeongyang and Hwangju. Dance was included even in various amusements. And it was intended to show the very peaceful time to Chinese envoys through performing dance and song by gisaeng at han river. Also small scale dance was performed in Chinese envoy's personal space. The dance which was enjoyed by China Ming envoy in court banquets for Chinese envoys is ․․․․․․ ․․․․, court dance called as jeongjae(呈才). The number of gisaeng who entertained Chinese envoys was forty, during the reign of king of Sejong. The number of dances which has been enjoyed by the Qing dynasty envoys is smaller than what has been enjoyed by the Ming dynasty envoys. The number of parties and dance performances for Qing envoys in local is also smaller than Ming dynasty envoy's case. The Qing dynasty envoys appreciated jeongjae which was performed by dancing boys as called mudong in the court. According to diplomatic records in 1720, as called Tongmunganji, those were ㆍㆍㆍ etc.

This study examined Jeongjaedo of , , , , and from iconographic perspective, which was compared with holgi recording for the analysis of the basis and practice of mudo. Jeongjaedo delivers the most distinctive elements of the Jeongjae dance, including not only those recorded in holgi but also those not shown in it. , flower dance centering on hwajun, illustrates the dancing process of dancers’ playing, picking flowers and then dancing. is a dance based on the 2 dae and 6 dae jwaudauhyeong. It illustrates the introduction, the conclusion and the development of a dance recorded in holgi. illustrates the dance mostly performed with the buk, which depicts the dancing before and after dancers pick up the drum stick. is a dance with the abak which describes the dance after dancers pick up the abak. illustrates the dance that depicts those enjoying poguhui with gumun in the center. The same contents tend to be drawn repeatedly in jeongjaedo, but the pictures of yeoryeong and mudong are classified. Sometimes the same content is repeated in as many as 5 pieces of pictures. Jeongjaedo presents different dance structures according to different dynasties and ceremonies. It also presents the arrangements of the dancers, the directions in which they are supposed to look and different dances for respective dancers. Jeongjaedo condenses multiple contents in one piece of picture. Therefore, it tends to be complex and multifaceted. All of the jeongjae pictures follow the same style with fixed positions of the dancers. Depending on the kind of jeongjae, some jeongjaedos repeat the same content, while others depict different contents. The reason that each jeongaedo was drawn in different style is that the contents of jeongjae found in holgi are to be presented in diverse contents condensed in one piece of picture. Therefore, for a complete comprehension of holgi jeongjae, it is necessary to go through several related jeongjaedos. Jeongjaedo especially reflects well the characteristic of jeongjae, which is the performance carried out based on formation and makes up for limitations of the written records of Jeongjaemudo Holgi.

This study examined realistically the forms themselves of the contents of Jeongjaedo depicted in ㆍㆍㆍㆍ that are included in Euigwe, compared them with Holgi, analyzed the reason and the reality in the content of mudo, re-examined in a broader perspective comprehensively, and concluded as the followings. Jeongjaedo of presents the dance type that performs the poguhui in the left and right sides of Bosangban. 14 pieces are included in 10 different kinds of Euigwe: 5 of them are Mudong and 9 of them are Yeoryeong. The contents of Mudong are categorized into 6 kinds: there are as few as 1 and as many as 6 having the same content. Jeongjaedo of presents the dance types of sadaejwawu-daehyeong, sabang-daehyeong, and jeonhu-daehyeong. 14 pieces are delivered in 14 different types of Euigwe: 5 of them are Mudong and 9 of them are Yeoryeong. The contents of Mudong are categorized into 4 kinds: there are as few as 1 and as many as 8 having the same content. Jeongjaedo of presents the dance types of obang-daehyeong and sawu-daehyeong. 14 pieces are included in 9 different kinds of Euigwe: 5 of them are Mudong and 9 of them are Yeoryeong. The contents of Mudong are categorized into 3 kinds: there are as few as 3 and as many as 6 having the same content. Jeongjaedo of presents the dance types of twodaejwau-daehyeong and pumja-daeyeong. 14 pieces are included in 10 different kinds of Euigwe: 5 of them are Mudong and 9 of them are Yeoryeong. The contents of Mudong are categorized into 4 kinds: there are as few as 2 and as many as 5 having the same content. Jeongjaedo of presents the dance type that the seonmo sacrifices the seondo. 15 pieces are included in 11 different kinds of Euigwe: 4 of them are Mudong and 11 of them are Yeoryeong. The contents of Mudong are categorized into 4 kinds: there are as few as 1 and as many as 9 having the same content. In most Jeongjaedo dances, the content, that is danced in one kind of daeyeong for one side, is presented, and and separate the two kinds of daeyhyeong into the upper level and the lower level simultaneously. Jeongjaedo was used to introduce various contents by dividing them into many pieces and to present them by repeating the same contents for each Jeongjae. By inserting the various contents into one drawing, the artist tried to present the Jeongjae contents in a variety of views, and made us to experience the reality of the Jeongjae contents recorded in letters in Holgi, and reflected even the unrecorded contents as well.

This study starts from the question of what kind of dance had been appreciated by Japanese envoys. The scope of time period for this research is the Joseon Dynasty. The research objective is Joseon-wangjo-sillok (朝鮮王朝實錄), Akhakgwebeom (樂學軌範), all of source materials from official record and many literary works. First, Japanese envoys were enjoying the dance on the way to Seoul. In the Gyeongsangdo, Chungcheongdo, Gyeonggido, the banquets were held for Japanese envoys. Particularly, most performances took place in Gyeongsangdo. Thus the hosting for the Japanese envoys has contributed to the development of dance culture Gyeongsang region. Unfortunately the dance repertories are not known . After Imjin War, the feast and dance performances for Japanese envoys have existed only in Dongrae. Dancing performances performed in Japan House in Dongrae is seen in Dongrae-busa-jeobwae-sado (東萊府使接倭使圖). Secondly, the dances which were enjoyed by Japanese envoys in the court are Munmu, Mumu, Mongkeumcheok, Oyangseon, Dongdong, Mugo, Jeongdaeeop, Botaepyeong, and Bonglaeui. And those are called as court dance, jeongjae(呈才). Depending on the time, gisaeng and boy dancer were dancing performances for the Japanese envoy. The dance was not created for the Japanese envoys. In this regard, it can be seen that significantly less than the Chinese envoys. Third, Japanese envoy was also dancing in the royal feast. As the nationalities of audience and performers were different, the dances performed for Japanese envoys in Joseon Dynasty were kinds of international exchange.

The findings of this study are derived from a comparison with 『Jeongjaemudoholgi』 in order to consider ㆍㆍㆍㆍㆍㆍㆍㆍㆍㆍ and Jeongjaedos: suggested a dance of eight Yeoryeongs standing in a two-fold left and right formation. In it, the dancers on the left and right sides stretch out both of their arms while facing each other and facing south. Only one piece of it remained in Uigwae, Yeoryeongjeongjae. suggested a dance of two people for Hyeopmu moving north and partnering with each other. Four pieces have been handed down through four types of Uigwae, and all are Mudongjeongjae. offered a dance moving forward on top of the edge of Daemoban. Three pieces remained intact in three types of Uigwae, including Mudong and Yeoryeong. suggested a dance performing “Naesuyeomanoesubanhageo [Horo two people]” by moving north in the front and the rear formation with Horo two people positioned in front and Hyeopmu in the rear. Five pieces have been passed down through four types of Uigwae; three of them are Mudong, and the remaining two are Yeoryeong; their dance notations are of one kind. introduced a dance of Oemugi and Naemugi turning outwards, inwards, right and left around a boat. Eleven pieces remained in eleven types of Uigwae, all of which are Yeoryeongjeongjaei, with ten kinds of dance notations. suggested a dance of Jukganja partnering in the introduction while facing left and right in twofold left and right formations in the proceedings. Eight pieces have been passed down through eight types of Uigwae, all of which are Yeoryeongjeongjae, with dance notations consisting of two contents. introduced a dance of partnering in a five-direction formation and turning inwards, outwards, left, and right in a circular formation. Four pieces are found today in four types of Uigwae: one of them is Mudong, and the other three are Yeoryeong, with dance notations composed of four contents. contains a dance of Hyeopmu 2 people heading north in a single file, centered in and out [Oesuhanaesuyeoman, Naesuhaoesuyeoman]. Six pieces are available today in six types of Uigwae, all of which are Mudongjeongjae, with dance notations consisting of two kinds of content. Jeongjaedo refers to a solo dance of one Hyeopmu heading towards the north and northwest on top of Hwamunseok. Its standing locations on Hwamunseok vary from center, north, or south. Eleven pieces remained intact in ten types of Uigwae: two are Mudong, and nine are Yeoryeong; and their dance notations contain three kinds of contents. offered a dance of Hyeopmu with two people going north to dance in a single file. One aspect that all have in common is their holding of flowers in Oesu [Oegeosunaesubanhageo]. Three pieces are found today in two types of Uigwae; two of them are Mudong, and the other is Yeoryeong; their dance notations have been reduced to two kinds of content. is composed of a story of a crane pecking at Jidangpan and thereby letting Dongi stand up. It introduced a dance involving partnering in a single file line in the south of Jidangpan. Eight pieces have been passed down through eight types of Uigwae; all are Yeoryeongjeongjae; and they have only one type of dance notation. suggested a dance of partnering in a single file or twofold left and right formation in the case of two or four people. Dancers head north or facing each other in a single file line or encounter each other around a dancer in a fourfold left and right formation. Six pieces have been found today in nine types of Uigwae; five of them are Mudong and four of them are Yeoryeong; their dance notations are divided into nine. One to eleven pieces were contained in each Jeongjaedo, and one to two, four, five, or seven pieces had the same dance notations. In some cases, the dance notations of Mudong and Yeoryeong were the same, and the pictures of one dancer were repeated in multiple Jeongjaedos. Almost all dance notations suggested similar content, and many were proposed on one page. Those can be identified through Jeongjaedo, which were the compositions of dancers, formations, movements, directions, and locations recorded in Holgi. On the other hand, what was not documented in Holgi were supplemented by pictures, through which the researcher discovered that the arrangements of dancers varied depending on the nature of banquets. Therefore, various formations were adopted, and the centers around which dancers were partnering were the formed line itself or the dancer.

The congratulatory party that celebrated the 50th anniversary of the birth of King Sunjong took place at Injeongjeon Hall in Changdeokgung Palace on March 25, 1923, during the period of Japanese Occupation. As the royal family would not hold any big events after the demise of King Sunjong in 1926, it was the last event by which one can track changes in the parties of the Joseon Dynasty. This was different from the usual parties of Joseon Dynasty. The changes involved the venue, as it was not held at Jeongjeon (the courtyard for the main building) but instead took place inside Donghaenggak and Injeongjeon placed in the corner, and it also involved the serving luncheon and dinner, with participants seated at two rows of Western-style tables. Such changes distinguished the party from the previous Jinyeon (palatial party) of the Joseon Dynasty. Despite such changes in the royal ceremonies, in contrast to the Korean Empire, specific norms were not adopted in the period of Japanese Occupation. The modernizing changes to the ceremonies between the Korean Empire and the period of Japanese Occupation show how the Joseon tradition developed into the modern tradition. Presumably, there were changes to the music and dance used at the party, but details on such alterations cannot be found. At the event, eleven instrumental pieces－including Taepyeongchunjigok－and seven pieces of Mudong jeongjae (“court dance music with a boy dancer”) were performed. Instrumental music and Mudong jeongjae were presented at both luncheon and dinner. When Mudong jeongjae was performed at the party, it drew attention, as this represented a restoration of a presentation that had been removed from the royal protocol 20 or so years before. Moreover, the students of Yiwangjik aakbu (“Office of the Yi Dynasty’s Ceremonial Music”) were trained to perform for the event, which was significant in that has carried the tradition of Mudong jeongjae up to the present times. Having considered the performance of Mudong jeongjae following the 50th anniversary of King Sunjong’s birth, Yiwangjik aakbu performed in Kyoto. Moreover, having been performed at the Kyoto presentation, Jangsaengboyeonjimu was learned by a Japanese dancer. Based on this, Miyako Odori was created in Japan. The work was performed at the exposition that not only marked the participation in World Expo but also celebrated the marriage of Hirohito and the 15th anniversary of the Korea－Japan annexation. Aalthough Mudong jeongjae was restored for the 50th anniversary of King Sunjong’s birth, it was one of the projects that was presumably planned and prepared for such purposes. Despite its changes, the ceremonies during the period of Japanese Occupation, including the party that celebrated the 50th anniversary of King Sunjong’s birth, are highly significant in that they were crucial in carrying traditional Korean music up to the present times. Nevertheless, musicians’ strenuous efforts to carry the traditional music through the period of Japanese Occupation should not be regarded as just one of the musical characteristics of the period or reenacted in an optimistic manner. When considering the court ceremonies during the period of Japanese Occupation, the context of what happened to Yiwangjik aakbu should first understand; this will allow us to determine which parts of the ceremonies are to be carried on and which parts are to be objectively described.

The subject of this study was Sasangjwa dance, the first part of the Bongsan mask dance, which is designated as No. 17 of the National Intangible Cultural Properties. The Sasangjwa dance is composed of dances that have no lines. Four sangjwas pray for the audience’s well-being and fortune, and at the same time, purify the stage by bowing to the Four Symbols. The dance is ceremonial and has characteristics of Byeoksajingyeong(which means to defeat bad things and approach good things. The Bongsan Mask-dance Drama Preservation Society’s regular performance has occurred continually for the past 69 years. Although the National Intangible Cultural Properties’ diverse activities have been performed for about 70 years, only a small amount of academic research on the first section of the Bongsan mask dance, the Sasangjwa dance, has been conducted. In addition, the terminology of the Bongsan Sasangjwa dance steps has not been established; therefore, linguistic communication is difficult in educational courses on the Sasangjwa dance. Accordingly, this study aims to record and arrange the Sasangjwa dance academically, present its dance scores, and establish terms for its dance steps, thereby providing a reference for future research. The terms for the dance steps of the Sasangjwa dance are indexed and arranged based on Akhakgwebeom and Jeongjaemudoholgi. Existing research has considered folklore mask dances to be irrelevant to Jeong-jae. However, this study considered the Sasangjwa dance according to its dance steps, formation, and scores and used Jeong-jae terminology to describe them. In the process, it was discovered that Jeong-jae terminology is implicative and uses referential and figurative language; this terminology was particularly convenient to explain the dance steps of the Sasangjwa dance, since the characteristics of traditional Jeong-jae were handed down to gisaengs, who adopted the Sasangjwa dance. During Japan’s colonial era, the Sasangjwa dance was performed by gisaengs at regional offices in place of the existing male mask dancers; as a result, the Sasangjwa dance was transformed into a feminine dance that was in obvious contrast with the Mokjoong dance. In this paper, the aim of establishing of dance step terminology for the Bongsan Sasangjwa dance was to facilitate the education of students and communication in general about the Sasangjwa dance.

This study begins with the question of what dances were performed in the Sa-ak during the Joseon Dynasty. The Sa-ak (賜樂) consisted of a director, musicians, female entertainers, boy dancers, and a Cheoyong masked dance group. The research objective is Jeongsanggonhoenangilok, which was written to celebrate Hoebang (回榜)’s 60th anniversary of passing the state examination by Jeong Won-yong(1783- 1873). The Joseon wangjo sillok (朝鮮王朝實錄) and Akhakgwebeom (樂學軌範) were also sources of background material, consisting of official records and literary works, that were subject to review. In terms of the rites of the Hoebang, on January 1, 1862, the king gave orders. In addition to feasting by the royal family, the government allowed citizens to also participate in festivals, many of which were held over the course of two months. Relative to the Sa-ak, the king established the first degree of Sa-ak, which consisted of a total of 52 people: 1 director, 36 musicians, 10 boy dancers, and 5 Cheoyong masked dancers. They performed for two months. In terms of the performances, the repertoires of the boy dancers were not recorded and remain unknown. While it was performed leisurely, it gave a feeling of flourishing and colorful. The female entertainers performed seven kinds of dances along with the Jangagwon orchestra: Cheoyong masked dance, sword dance, drum dance, pogulak (dancing ball into hole), seonyulak (dancing to play on the ship), and hyangbal heonseondo (dancing to give a long life peach). These repertoires were the most popular forms of jeongjae (呈才) in the late Joseon court. The Sa-ak was performed as part of a private feast. “Sa-ak” is an important keyword for understanding the culture of Korean dancing, because it spreads as “Sa-ak” in private space, and has the character of cultural circulation in which the enjoyment of royal court dance extends to individuals.