• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.168-176
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• 2006

The court dancing suit, so-called 'Jeongjae suit', has been worn by court dancers on the occasion of the royal court's feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national guests from foreign countries. The court dancing suits are divided into two styles; Dangak-Jeongjae style and Hyangak-Jeongjae style, depending on dancing styles. This study examined the change of the dancing suits of Hyangak-Jeongjae styles created in the latter period of Joseon Dynasty, such as Bosangmu, Cheomsumu, Heoncheonhwa, and discussed the thought of EumYang-Ohaeng(the cosmic dual forces and the five elements) that the colors of the court dancing suits imply. Generally, in the dancing suits of Bosangmu, Cheomsumu, and Heoncheonhwa, the color expression focused on the main stream of red, blue, yellow, white and black. The colors were mainly expressed in harmony between upper garments and under garments, outer garments and inner garments, a simple dress and its decorations. Especially, in the dancing suits of Heoncheonhwa, the purple color symbolized the auspiciousness of the Purple Palace where the God lives.

• (The) Research of the performance art and culture
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• no.23
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• pp.105-158
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• 2011

Due to the system of sending selected hyanggi(local entertaining woman) to the government office in Seoul after the abolition of the system of gyeonggi(entertaining woman in capital area) during the reign of King Injo(1595~1649), the kyobang-jeongjae(local dance performed for the provincial government office) had gotten into the court to be performed at the royal banquet as gungjung-jeongjae(court dance), one of which was seonyurak(dance of boating). It used to be performed for finale of the royal banquet in the late Joseon Dynasty and appeared in several uigwes(record for royal banquet) since its first appearance in the wonhaeng-eulmyo-jeongri-uigwe, documented in 1795, the 19th year of the reign of King Jeongjo. Considering that the yeoggi(female entertainer) responsible for the court dance, seonyurrak was the seonsanggi(selected entertaining woman from provinces) from the northwestern provincial villages such as Euiju, Ahnju, and Seongcheon etc., we can assume that the baettaragi, one of kyobang-jeongjaes whould have been getting into the court to become the seonyurrak as court dance. The baettaragi, kyobang-jeongjae of northwestern province that affected the development of the court dance, seonyurak was created as performance executed by entertaining women of kyobang(local supervisory office for entertaining women) on the basis of the fact that the envoy of Joseon dynasty to the Ming dynasty could not help but taking a sea route when Amaga Aisin Gurun had a grip on the northeastern area of China during the shift of power from Ming to Qing. There had been a lot of banquets for envoys in the northwestern province because of its geographical feature as gateway to trip to China and the baettaragi used to be performed by entertaining women belonged to local provincial office to consolate the sadness of separation with those who destined to depart to China and to hope for their safe return. The kyobang-jeongjae, baettaragi of northwestern province is recorded as performance with sorrowful song to put the pain of parting into work, according to many related documents. It puts together painted boats as props, the march of a couple of dancer dressed up as soldier with marching music called gochiak, the song and musical accompaniment before getting on boat, the dramatic expression of sailing, and the farewell song praying for safe return etc. It turns the situation of dispatching envoys for China by sea into performance with combination of music, song and dance. Created in this way, the kyobang-jeongjae, baettaragi had been performed at the various banquets for envoys departing for China and it affected the formation of court dance or gungjung-jeongjae called seonyurak through the activities of selected local entertaining women. It also exerted influence on other similar performance in provincial area because of the returning home of the selected local entertainers who finished their performance in Seoul and it had been performed with different variation at local banquet including locality in it.

• (The) Research of the performance art and culture
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• no.32
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• pp.427-463
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• 2016

This article deals with five main theories about the origin of Yeonwahdae(蓮花臺), a Korean court dance(jeongjae; 呈才) and its transmission process through the age from Chinese Dang(唐) and Song(宋) to Goryo(高麗) and Joseon(朝鮮) in Korea. As a result, it was found that there was a significant difference between Chinese Chaj-u(?枝舞) dance and Korean Yeonwahdae, and furthermore there was an enormous change as it came to Joseon period in the number of performer, costume and music. Therefore, it is seriously necessary to select, restore the main version of Yeonwahdae in each period, and to make an effort to create new version of Yeonwahdae that reflects the spirit and taste of our time. Besides, it is important to inherit the inner spirit of Yeonwahdae as well as its outer appearance. Shortly, the main purpose of Yeonwahdae performance at present should be to reflect the most important, urgent issues of our time thereby to pray the welfare and prosperity of our country.

• (The) Research of the performance art and culture
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• no.34
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• pp.173-214
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• 2017

This study examines and compares music-related records in the mubo (舞譜; choreography notes) written by Sung Gyeonglin (成慶麟, 1911 - 2008), based on the records of 11 kinds of jeongjae (the music and dance performances at the royal court) found in Lee Byungseong's (李丙星, 1909 - 1960) Changsa and Jungjaecheol (呈才及唱詞綴). Even though these records are personal, they provide valuable information about the mubo of the Iwangjikaakbu (the Royal Music Institute) during the period of Japanese colonization. The eleven kinds types of jeongjae-'Cheoyongmu (處容舞)', 'Hyangryungmu (響鈴舞)', 'Mugo (舞鼓)', 'Bosangmu (寶相舞)', 'Chunangjeon (春鶯?)', 'Gainjeonmokdan (佳人剪牧丹)', 'Suyeonjang (壽延長)', 'Mansumu (萬壽舞)', 'Bongraeeui (鳳來儀)', 'Jangsaengboyeonjimu (長生寶宴之舞)', and 'Musanhyang (舞山香)'-can be largely divided into two types: Dangak (Tang dynasty music) and 'Hyangak (traditional Korean music).' The former is distinguished musically by whether or not the jukganja appears. For the appearance of the jukganja in 'Sujeyongjang', 'Bongraeeui' and 'Jangsaengboyeongjimu', the 'boheojaryung (步虛子令)' was used and given the impressive name of jangchunbullojigok (長春不老之曲).' The term punggyungjigok (豊慶之曲)' was used for music that guides a group dance and dancers. For the latter, hamnyungjigok (咸寧之曲) was performed during the development of the dance, and the pungungyeonghoijigok (風雲慶會之曲) was played at the end of the piece. As for the accompaniment for the jeongjae performed by the Iwangjikaakbu, it is significant that various elaborate names were attached to Sangryungsan, Jungryungsan, Seryungsanm, Garakdeoli, Samhyunhwanip, Yeombulhwanip, and taryung (the traditional Korean ballad), which were all parts of 'Samhyunyoungsanhoesang (靈山會上).' Specifically, the 'Hyangdanggyoju (鄕唐交奏)' in 'Jeongjaemudoholgi' was accompanied by various melodies of the 'Samhyunyoungsanhoesang', which were given extravagant names. These are the personal records of the Iwangjikaakbu mubo that were retained by Lee Honggu (李興九, b. 1940), who owns the 'Hakyeonhwadaehapseolmu.' Among them, the ten kinds of jeongjae found in the notes of Sung Gyeonglin are often referred to as 'mueui (舞儀)' and widely used for research on individual jeongjae performances and the history of their development. The notes of Lee Byungseong have not been investigated thoroughly until now and this is the first study that provides a comparative analysis of the notes of Lee Byungseong and Sung Gyeonglin. This investigation is expected to contribute to the further research and knowledge of the jeongjae performance during the period of Japanese colonization.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.886-898
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• 2013

This study explores the types, shapes and changes of the court dance garments of mudong[child court dancer] and yeoryeong[female court dancer] for court dances such as Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang, and Choehwamu, and the arrangement of colors in their garments. The conclusion of the study is as follows: First, the type of garments of mudong varied according to the type of dance, role of mudong and passage of time. In all four jeongjae's, hongpo[red robe] and baekjilheukseonjungdaneui[white under garment trimmed in black] were commonly found. Second, the dress of yeoryeong in the Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu was that of other yeoryeong, which was basically comprised of hwagwan[flower headdress], hwangchosam[yellow robe], hongchosang[red skirt] and sudae[embroidered belt]. Third, the color schemes of the court dance garments used in Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu revealed that the color arrangement of sangsaeng [mutual generation] of the Ohaeng[Five Elements] scheme were favored in the garments of mudong and yeoryeong. The dress of mudong is characterized by sangsaeng between top and bottom, and between total and part, while the color scheme of the outer and inner was sanggeuk[mutual overcoming]. As for yeoryeong, the color arrangement was of sangsaeng in top and bottom, outer and inner, and total and part, but in the five-colored hansam[sleeve extension], both sangsaeng and sanggeuk were found.

• (The) Research of the performance art and culture
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• no.35
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• pp.287-338
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• 2017

Gojong' Birth Anniversary Memorial Banquet in the 1910s was forced to be performed differently from the performance style in Joseon Dynasty period that featured a harmonious majestic beauty of etiquette music. The banquet was separated into three different sessions of ceremony, luncheon and performance', which clearly revealed a distinctive pattern of etiquette music. The performance was accompanied by the dinner party or was lightly implemented as part of evening entertainment. With the use of the term entertainment, the performances belonging to this category fell into nothing but something to enjoy, amusement, fun and play. The contents of such performances were not closely woven into the fabric of the entire banquet but were individualized and scattered in a way of putting the performances in a state of flux in line with the circumstances. Therefore, it became increasingly hard to expect a high degree of completion and solid structure of performances. The items of performance included western music, popular vocal music, popular instrumental music, magic, and film, which were not played in traditional court banquet in the presence of Gojong rather than traditional music and dance performed in court. In other words, the court performance could not maintain its traditional heritage but was transformed into a mixture of popular performance and new forms of art. It was driven by the Japanese imperialism toward the atmosphere of entertainment in oblivion of tradition but not toward the external extension of court performances.

• Sijohaknonchong
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• v.25
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• pp.145-174
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• 2006

The purpose of this study is to research the correlation of Sijo with Akjang. In Joseon Dynasty, the contact of folk music and court music was brisk. Although they had some political premises, many Jeongjaes presented in the royal court parties accepted Gagok, one of the representative folk song genres. It was an eye-opening matter. The song words sung by Gagok music accompaniment were the lyrics of Sijo. We can give Sijo that was used in diverse royal court parties as an typical example about introduction of folk music to the court music. A lot of Goryeo Dynasty's Jeongjaes were introduced to Joseon Dynasty nearly as they are. Naturally so most Sokak-gasas were. Bukjeon was sung to Jinjak tune which Jeong-gwajeong was sung. Bukjeon in the music book Akhak-Guebum is a long song, but instead Bukjeons in the music book Geumhapjabo and Yang'geum-sinbo are short. It suggests that the poetic form of Sijo was introduced to the Lyric of royal court music from a point of time in the early Joseon Dynasty. Especially, Bukjeon had been continued to the late Joseon Dynasty after exchanging to the lyric form of Sijo. Bukjeon had been used In the royal court to the first half of Joseon Dynasty It became established in the repertory of Gagok after spreading to people out of court. Turnover from the long Bukjeon to the short was a result that the folk music influenced royal court music. Bukjeon. song words praying King's longevity. was used in the diverse situations such as a small royal parties, royal archery, and King's outing. It can be a clue that the Korean song words continued to late Joseon Dynasty were used for the lyric of royal court music. In the correlation of the poetic form of Sijo and Akjang, we can find out some characteristics different from our common sense to distinguish royal court music from folk music.

• (The) Research of the performance art and culture
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• no.35
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• pp.509-541
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• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.