Zeami (世阿弥) completed sophisticated and elegant Nho (能) centered at songs and dances (歌舞) by developing No that has been centered at fact-oriented performance. Although dance of Nho sometimes expresses realistic performance, most of the dance movements themselves are stylistic and abstract without specific meaning. However, the fact that the movement does not have specific meaning implies that it has limitless power of expression where any meaning can be expressed according to the script and dancer’s capacity. Nho(能) in Gonparu Zenpo (金春禅鳳) that this paper examines contains unique dance performance that differs from other previous dance pedigree of Nho. This paper examines the acceptance pattern of Ikkakuseonyin tale by focusing on its entertaining factors and investigates the pedigree of dance performance of Nho from an aspect of dance history of Nho. Nho is composed of a story flow where Sea God appears to fight with Seonyin after the dance by Madam Senda and finally let the rain falls. As a result, Madam Senda’s dance that liberated Sea God and triggered rainfall can be said to be identical to the dances praying for rain by female shaman that has been performed in various places in Japan from ancient times. Meanwhile, an anecdote that describes the opportunity that Shizukagozen (静御前) obtained the praise of the best dancer in Japan gives a good example for understanding the meaning of Madam Senda’s dance. In this story, while people are concerned with drought all over the country, Shizukagozen performed dance named Shirabyoshi in Shincheonwon and pleased Sea God to let the rain fall. Dance of Shizukagozen can also be interpreted as the same meaning as Madam Senda’s dance, which becomes the Abstract 26 제41호momentum that liberates dragon and triggers rain in Nho . Dance that can be seen in Nho is ‘Aimai (相舞)’ by Madam Senda and Ikkakuseonyin, where the two perform the dance in the same form. However, instead of dancing in the same form from the beginning, Madam Senda dances alone at first. Then, Seonyin is attracted to Madam’s dance to step on the stage and follows her dance moves. Aimai already existed in the pedigree of dance devised by Zeami, where dancers perform the same dance moves, similar to the dance in Nho . In , the soul of main character Shizukagozen and a woman who is captivated by the sole dance together in the identical form from the beginning. Gonparu Zenpo follows the pedigree of Aimai in Nho on the one hand. On the other hand, it imitates new dance, that is, Madam Senda and newly devises the pattern of expressing the process of synchronizing to the dance.