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Koguryo(高句麗) was the cultural nation with rich cultures and arts as different from the common idea. The art was particular; especially its excellence of dancing performances is recorded in many Chinese history books and others. The framework of Koguryo’s culture and its own value or the form to express the art were enlightened and developed during the age of King Kwanggaeto(廣開土) and King Changsu(將帥). The field of Koguryo’s activities had various types of natural environments and was the place where the land and the sea met. It was a compounded place where koguryo civilians coexisted with other few tribes. Also, it was the spectrum region where agriculture, nomadic, marine, and hunting cultures were developed together. Identity was what Koguryo’s cultural art took an importance of. Through King Kwanggaeto’s a tombstone, the birth myth of the nation, religious beliefs, and ancient tomb murals, they announced that they were sons of the sky. In the ancienttomb murals, there are stars, flying birds, flying horses, and fishes with wings drawn on the ceilings. Samjoko(三足烏) a crow with three feet that represents the sun) are often found as well. and the world tend to aim at harmonization. Koguryo’s art was developed from both static and dynamic characteristics which came from agriculture and other nomadic, sea, and hunting cultures. It was the field where the new civilization as the type of Mo-stability, was created. Other than those, it expressed its excellent sense of beauty. Its art can be practically applied to creation of modern art and can advise the direction where our art should head toward.

The paintings of dancing in Jisangsegyedo(地上世界圖) fall into dances in the earthly world and in the heavenly world. The former, painted on the four sides of the wall, describe those dances that pray for the lasting of the human world as an extension of the world after death, and the latter illustrate those symbolic and Utopian godly dances that are expressed from the Goguryeo(高句麗) people’s views on the universe, religion, and dance.The types and properties of dancing in Jisangsegyedo are as follows.(1) The compositions of dancers in Goguryeo’s mural painting, Jisangsegyedo appear diversely with ‘solo dancing,’ ‘duet dancing,’ ‘trio dancing,’ ‘five-person dancing,’ and ‘great group dancing,’ etc.(2) ‘Dancing by professional dancers,’who are subject to the nobility or the king, are performed. As the most honorable treatment, the professional dancers’ dancing is shown to the person who is buried in the tomb. (3) There are more male dancers’ dancing than female dancers’. The solo dancing is all composed of male dancers, and female dancers appear only in the duet dancing and group dancing. Generally, women perform musical instruments, and men dance. That is to say, it is because the culture of Goguryeo was high-spirit men-oriented, and on the other hand, the Western dancing was introduced mainly on the male dancer basis.(4) Along with the introduction of Buddhism, the Western dancing came to Goguryeo through the Silk Road. The dancers in this case were professional dancers nationalized or transmitted from the West.(5) Most of the dances by the professional dancers are Gwangsumu ‘wide sleeve dance.’ Gwangsumu is performed with long sleeves by professional dancers, which shows the performance nature of the dance performed in everyday living for the other life after the tomb host’s death.(6) Dancing by common people not by professional dancers is, or though professional, warriors’arms dancing, foreigners’ dancing, and acrobats’ dancing are all ‘dancing with bare hands.’ Thus, there are various dancing with bare hands and arms dancing that well represent Goguryeo people’s spirits. (7) Though they are dancing in living and conventions before and after death, group dancing and procession, which are performed by professional dancers, also have the properties of ‘funeral ceremonial dancing.’(8) The ‘procession dancing’ mitigates boredom and give pleasure to the host at the time of his/her going-out and trip.(9) There also appear ‘hunting ceremonial dancing’ in accordance with the outdoor hunting activities that Goguryeo men as a horse-riding people enjoy.(10) Some dances have the properties of ‘Baekhigiak(百戱伎樂) dancing (dancing with a hundred plays and music)’ with the Buddhist religious background, which implies the Buddhist view on life after death with which people wish reincarnation at the Western Paradise in the next life.

The aim of this study is to round up and analyse previous achievements in researches on the dances of the Kingdom of Goguryeo(高句麗) with a view to discovering new directions and tasks for the future. I have looked into some 55 publications, mainly books, dissertations, and academic journals that have come out since 1966, when the study of Goguryeo’s dance was pioneered by Yi, Du-heon(이두현). Scholars have demonstrated great interest in unearthing possible artistic and religious meanings embedded particularly in dances and murals. Along with the foundations of anthropological studies, for the past three decades, Yi, Byeong-ok’s(이병옥) complimentary achievements in pointing to possible variations of Sangmu Dance(尙武춤) have led this realm of study. In many cases, however, researches have re-iterated the same results owing to repetitively set subjects and objectives. Qualitative improvement has not kept up with quantitative expansion, in my view.The following are my summarization and suggestions for the study on the history of Goguryeo’s dances. 1)-1. There is a need to clearly identify the diversity of Goguryeo dances in gi-ak(伎樂) that was passed on by the emperor Mu of the Han dynasty in 107 BC. 1)-2. Based upon the definition of gi-ak, it is important to point to the early periods of Goguryeo as a time when the culture of courteous music of the murals on MuyongChong(舞踊塚, a kind of tomb) was established. 1)-3. I was able to comprehend that the Chinese notion of gi-ak and jab-ak(雜樂), taken from the dynasties of Han(漢), Su(隋), and Tang(唐), was the music of ‘four barbaric peoples’ and that reveals the ostentatious connotations of the word taken on as the Chinese received foreign peoples.1)-4 The diversity of Goguryeo dances of 25 kinds should not be overlooked because of the fact that there was only one dance 100 years later.2)-1 Comparing the costumes on the mural paintings of Goguryeo with the culture of the Han dynasty, we can understand that the long-sleeve culture only existed in written materials. Pictures and written materials should be interpreted logically.2)-2 The difference between ‘wide sleeve’ and ‘long sleeve’ should not be overlooked. Gwangsumu(廣袖舞, dance in wide-sleeve costume) of the Joseon dynasty is different from the dance performed during the Goguryeo period. 3)-1 The beauty of the dances that exist only in history should not be exaggerated esthetically. 3)-2 There probably was composite game plays such as ‘Gakjeohee’(角抵戱), but making new names for dances related to life should be restrained.

The results of having analysed organization of dancers and changes in Jeongjae on the basis of holgies, including Koryosa(高麗史) Akji(樂志), Akhak Gwebeom(樂學軌範), JeongjaeMudoholgi(呈才舞圖笏記), etc. are as follows:An review of organization of dancers based on approximately fifty Jeongjaes in literature indicates six forms of organization such as symmetrical concerted dancing, Seonmo(仙母)-Hudae(後隊), symmetrical concerted dancing-Hudae, seonmo-symmetrical concerted dancing, solo dancing, and Seonmo-symmetical concerted dancing, and Hudae. Changes in the organization of dancers in court Jeongjae points out variation of the number of dancers and transfiguration of the organization system of dancers. Both in Koryo dynasty era and early in the Yi dynasty the organization principally consisted of symmetrical concerted dancing and Seonmo-symmetrical concerted dancing. Late in the Yi dynasty emerged a new organization system of solo dancing and Seonmo-Hudae, symmetrical concerted dancing-Hudae, Seonmo-Symmetrical concerted dancing and Hudae. These changes show three kinds of phases a change in the organization system of dancers, a new system, and variation of the number of dancers. Variation of the number of dancers brought about a change in the organization system of dancers. Jeongjaes in which the organization system of dancers changed include Yeonhwadaemu(蓮花臺舞), Mugo(舞鼓), Muaemu(無㝵舞), Choihwamu (催花舞) and so forth, which indicates that not merely changes in the number of dancers but also the roles of dancers changed.Furthermore, changes in the number of dancers in Jeongjae are principally shown in Jeongjaes that consisted of symmetrical concerted dancing. In Gainjeonmokdan(佳人剪牧丹), Seonyurak(船遊樂), Pogurak(抛毬樂), etc. the number of dancers increases or decreases even in the same Jeongjae, while Choihwamu totally changes its organization system from a Seonmo-Symmetrical concerted formation to a symmetrical concerted one. Changes in the organization system of dancers connote that the number of dancers is not the fixed idea of constituting a Jeongjae but awakens us to the facts that it can change at any time and that changes in Jeongjae are justified at all times. If Jeongjae does maintain originality even in its basic system, how far on earth do changes in Jeongjae extend? It is true that Jeongjae has always changed, irrespective of its variation of the number of dancers. Changes in Jeongjae by different Yeoryeong Jeongjaes may be said to be reasonable depending upon its eras or Yeonhyangs. However, among changes in the contents of Jeongjae, above all changes in the organization system of dancers remain to be followed up.

Generally, Koreans tend to have bad images on the meaning of the word ‘Gisaeng(妓生)’: images like very shallow-minded, lewd and sexual slaves. Gisaeng could not help but being inherited unfair social structural circumstance to live. Once she was registered in Gijeok(妓籍), she could not easily get out of her social position for the entire life of her. Not only the Gisaeng in private employ but also Gwanki(官妓) should meet the social systemic principle, which had kept alive through Gisaeng Corporation in Japanese Occupation Time and Gwonbeon(券番).I also look at Gisaeng in the viewpoint of the scholars mentioned above. I believe that the study of Korean dance shall start from the study of Gisaeng in order to trace the artistry of Korean dances including modern dance, contemporary dance and etc. In this study, therefore, I have studied Gisaeng focusing on ‘Gwanki’ who was the main boy of not only Yeoak(女樂) but also culture, and I have arranged the main stream of the origin and change of Gisaeng based on Gwanki system. I, however, thought that it was improper to regard Wonhwa/Hwarang system of Shinra era as a dance based Gisaeng system even if such system might be a starting point to indicate that songs/dances and training of Hwarang existed and there was already Changki customs then in Shinra era. In this thesis, therefore, I defined that (dance of) Gisaeng originated from ‘Eumsungsu(音聲署)’ of Shinra era. Gwanki system did not only build up the foundation for Gisaengs’ artistry but also form their rules. In Joseon(朝鮮) era, Gisaengs were from general slaves, slaves in government employ and slaves in private employ. Those who were beautiful and talented among such slaves were selected as Gwankis or Sungbees (Gisaengs specialized in singing) and raised up as Gisaengs for music/song/dance. Late in Joseon era, they were divided into 3 classes: Ilpae(一牌), Ipae(二牌) and Sampae(三牌), which indicated that there were role grades and rules also in Gisaeng society according to social order of that time. Gisaengs, however, were not highly treated as artists and professional workers. They could not get out of their social position as slaves before Korea was modernized. I, however, guess that they would have been differentiated from the other slaves because of their unique position as artists and entertainers who could enjoy the splendid Yangban (noblemen) culture indirectly but quite largely. Such dancers as Choi Seung Hee(崔承喜), Cho Taik Won(趙澤元), Bai Gu Ja(裵龜子) and etc are often raised up to talk about when Korean dance began to be modernized and who pioneered Korean modern dance. It is largely significant in terms of both history and art that they bravely accepted new western dances and modernized such western dances. Gisaeng dance, however, was not less popular than both court dance enjoyed by kings and gentries and folk dance of normal people’s group. Gwanki system having lasted since Shinra through Goryu till Joseon era was abolished and Gwankis were totally decomposed late in Joseon (1907). Such dispersed Gisaengs were absorbed naturally into Gisaeng Corporation (1908). Then, Gwanki who used to serve kings and gentries began to be civilized performing both Jeongjae and folk dances. At last, they accepted western culture and introduced new dances such as ‘Jigumu(地球舞)’, ‘Jeonkichum(電氣)’ and etc.As indicated above, the systematically specialized (dance of) Gisaeng had been based on her artistic skill since long time ago; was one of main bodies who promoted modernization of Korean dance; and was the best artist who kept her dance alive as the deeply artistic Gyobang(敎坊) dance.

This research aims to examine the changes in modern Korean dance from 1894, the year of Gabo Reform, to 1945, that of Korean Liberation. According to the meaning of the Korean dance history, this period of 50-odd years was divided into three parts: the birth of modern dance and the stage performance of traditional dance (1894-1918), the introduction of Western dance and new Japanese dance (1919-1927), and the establishment of new dance and modern traditional dance (1928-1945).At the end of the 19th century, Joseon was forced to make Byeongja Defense Treaty (1876) after which foreign cultures of the USA, France, Russia and so on were flooded. Gabo(甲午) Reform in 1894 brought about the end of Joseon’s feudal system, witnessing modern cultural movement in general aspects of society including schools, newspapers, and magazines. These social phenomena gave an influence on the aspects of Korean dance. Following the collapse of the royal court and the official geisha system, a geisha union was formed. Also, court dance and folk dance, performed for aristocrats and foreign envoys in the past, were open to the masses thanks to the Western-style theater Hyeopryulsa(協律社, 1902). These two kinds of dance came to have different modes and broader social areas. In the wake of the appearance of Western proscenium theaters, traditional dance began to develop as a stage art. Master Han Seong-jun(韓成俊) recreated and classified Joseon’s traditional dance. Professional dance writers appeared to level up the status of dancers. The original stage for court dance and folk dance was replaced by a modern stage. Bae Gu-ja(裵龜子) from Denkas(덴카스) Circus presented a creative dance first time in Korea at Seoul Public Theater in 1928. She established Oriental Theater for drama only to contribute to the development of modern drama. After the Seoul performance of Ishii Baku in 1932, his students Choi Seung-hee(崔承喜) and Jo Taek-won(趙澤元) created their own worlds of new dance to make Korean dance global.In sum, modern Korean dance can be classified into four kinds: traditional dance of Han Seong-jun, new dance of Choi Seung-hee and Jo Taek-won, circus dance of Bae Gu-ja, and Gwonburn(券番) dance of Korean gisaeng or geisha.