Court Dance Research Articles

조선시대 궁중춤의 미적 특성 연구 -춤과 공간의 관계를 중심으로-

This study aims to understand the aesthetic characteristics of court dances in Joseon Dynasty by focusing on the relationship between dance and space. It examines the characteristics of the relationship between dance and the courtyard, a space for performance, through the literature and drawings of Joseon Dynasty. Joseon Dynasty based on Confucianism compiled Gukjo oreui, which was used as the norm for rites. As an inner rule for ideologization in the cultural sphere, it was used in a very soft and symbolic way at court rites. All the rites featured jeongjae, or court dances balanced with music, which were performed in daetteul, or the main courtyard. The illustrations of court dances in Joseon Dynasty show some characteristics of daetteul. First, daetteul, the space of court dances, implied social relationships. Second, daetteul had a central class that used it, and it was used in a mixed way depending to the purpose. In this process, the dance space of daetteul was subject to change. Third, the hierarchy that appeared in daetteul had three-dimensionality. The rites in daetteul served to make one aware of one's status according to class and to solidify the authority of the king. This appeared three-dimensionally in daetteul, as architectural hierarchy, horizontal hierarchy, hierarchy of elevation, and hierarchy of gaze. These characteristics are also related to the characteristics of court dance. Daetteul, as a symbolic space where rites were held, implied social hierarchy, and depending to the characteristics of the space, court dances also had the characteristics such as meaningfulness, internalization, and jeongjungdong (lit. movement in calmness). Dances were used in various ways due to the variable nature of the stage and were performed in a structure similar to the modern repertory system. In addition, the three-dimensional hierarchical space of daetteul created a stage in five directions and accordingly, dance also acquired a three-dimensional character. The court had the symbolism that it is a space for performing rites and reinforced that symbolism through performing rites. This means that space and dance had a reciprocal and circular nature and was reproduced through repetitive rhythms, reinforcing each other's symbolism. Therefore, this study confirms that the characteristics of the Joseon court dances are derived from the relationship between dance and space that implies social relationship, and the relationship between dance and space is reciprocal and circular.

Tumba Francesa: Kinetic and linguistic archive of the African diaspora

ABSTRACT Declared an Intangible Cultural Heritage by UNESCO, Tumba Francesa is a cultural manifestation brought to Cuba with the Haitian revolution (1789–1805) incorporating the kinetic vocabulary of European court dances as well as different elements of African origin. It represents a memorial archive which includes dance, music, religion, and language in their transit from Africa to Haiti and then to Cuba, passing through the codes of European court dances. The lyrics of the songs develop from a Kreyòl base into a complex patois, while dance and music also develop from a ritual code into a syncretic court dance. This study will reinforce the importance of oral culture, as the study of performing culture in the Caribbean allows us to tell stories that belong to “the realm of the beyond” (Bhabha) that belong to those who could not speak, and that official history would not tell.

선상기 최순이의 진주검무 계승과 국가무형유산 지정

The purpose of this study is to examine the background and changes in the designation of the national intangible heritage of the sword dance passed down through Choi Soon-i in the selecting period. The sword dance is the oldest traditional dance in Korea, and the only sword dance designated as a national intangible heritage is ‘Jinju sword dance’. Choi Soon-yi’s existence in the study of the Jinju sword dance is hardly highlighted. Although the sword dance was handed down in the Jinju area, Choi Soon-yi played a decisive role in the designation of the national intangible heritage of ‘Jinju sword dance’.
 Choi Soon-yi was selected as a shipbuilder for the royal retreat in the early 1900s, danced, and returned to Jinju to teach sword dance until 1969.
 According to the Intangible Cultural Property Investigation Report, the sword dance demonstrated by Choi Soon-yi retained the original form of the court sword dance. Through Choi Soon-yi, the sword dance of the court and the sword dance of the Jinju Gyobang were influenced by each other.
 Starting with Choi Soon-yi, the sword dance of the late Joseon Dynasty and the sword dance designated as an intangible heritage differ in form and content. The sword dance, which was performed by four people until the late Joseon Dynasty and the 1930s, was also fixed with the number of eight in the process of designating intangible cultural properties. The shape of the Jinju sword dance knife was a form in which the neck and blade were rotated without being fixed when it was designated as an intangible cultural property. Around 1901, it was improved to a form in which the sword was turned nationwide. In other words, all the swords of sword dance used by Choi Soon-yi in the Jinju Gyobang and court were straight blades, and a temporarily improved knife was used for Japanese colonial era.
 In the late Joseon Dynasty, Jinju’s sword dance did not wear Hansam. However, after 1930, Hansamsawi was added and designated as an intangible cultural property. At that time, the popular event among Kwon Bun’s dances was Geommu. Choi Soon-yi combined and developed the elements of court dance and the part passed down from Gyobang to form a perfect dance.

RHYTHMS OF LIBERATION: TRACING THE DANCE OF EMANCIPATION THROUGH HISTORY

The role of dance as a transformative medium for women’s emancipation, tracing its evolution from the Renaissance period to contemporary times. is a topic that necessitates a broad, multidisciplinary analysis. Dance is presented not only as a form of artistic expression but also as a powerful instrument for social change and gender equality. Through historical analysis, the study highlights how dance has facilitated women’s ability to express their identities, challenge patriarchal norms, and advocate for their rights across various epochs. The research underscores significant contributions by key figures and movements that have used dance as a platform for signalling shifts in societal attitudes towards women’s roles and freedoms. By drawing on the works of scholars such as Goldman (2010) on improvisational dance, Hahn (2013) on the role of creative arts in education and social change, Camp (2002) on dance as a form of resistance among enslaved women, and Åhäll (2016) on feminist security studies, the paper elucidates dance’s multifaceted impact on women’s liberation. From the sophisticated court dances of the Renaissance that reflected societal and cultural shifts to the expressive and boundary-pushing performances of the 19th and 20th centuries, dance emerged as a dynamic force in advocating for women’s emancipation. The conclusion reaffirms dance’s ongoing relevance as a medium through which contemporary women continue to explore their identities, challenge existing norms, and promote feminist values, thereby contributing to the broader discourse on gender equality and empowerment.

음악교과와 타 교과의 통합지도를 통한 창작영역에서 단계별 포구락 놀이 활동 지도방안 연구 -초등학교 4학년을 중심으로-

The newly published 2022 revised music curriculum respects students'
 emotions and emphasizes their self-direction and creativity to enjoy music on
 their own. Especially, compared to the 2015 revised music curriculum, it is
 noteworthy that creationhas been newly added in the music field to guide
 various creative activities within the music subject. Therefore, it is expected
 that various creative activities linked to the music curriculum will become
 more active in schools in the future.
 This study attempts to present a step-by-step teaching plan for the play
 activity of Pogurak, through the integrated instruction of music and other
 subjects, which is a court dance piece covered in the elementary school music
 textbook. So far, various researches related to the court dance covered in the
 music textbook have been conducted. However, it is difficult to find research
 regarding teaching play activity in a classroom setting centering on the
 creation linked to other subjects. Accordingly, a play method applicable to
 teaching Pogurak in the creative area was designed for the 4th grade
 elementary school students, and the corresponding activities and instruction
 plans were devised.
 Afterwards, step-by-step creative play activities based on the dance
 movements used in Pogurak were directly incorporated into the class with
 the students, and it was confirmed that the students were participating in
 learning with a more active and positive attitude than when they learned
 Pogurak as a simple appreciation activity. This study confirms that if play activities linked to Korean traditional music
 education are effective enough to be used practically in school settings, it can
 be a medium for students and teachers to easily and familiarly access to
 Korean traditional music. Through this study, we expect not only to provide
 educational basic materials that help teachers become interested in Korean
 traditional music and easily teach it, but to provide meaningful educational
 experiences to students, helping them enjoy Korean traditional music in their
 daily lives and establish a proper understanding and identity of our Korea
 culture.

조선후기 궁중 선유락 복식 연구

This study examines the type, change, and characteristics of Seonyurak (船遊樂)
 dancers' clothing, based on 12 kinds of uigwe (royal protocols) that recorded
 Seonyurak performances. Seonyurak, which used to be handed down as gyobang
 jeongjae (courtesan's dance) in local areas, was introduced into the court due to
 the seonsanggi system after Injo’s Rebellion (仁祖反正). As a local performance
 presented to government officials, who were going abroad as envoys, became
 performed in the royal court, the venue, name, and performance content and
 method of Seonyurak were changed.
 The first performance of Seonyurak was recorded in Wonhaeng eulmyo jeongri
 uigwe (園幸乙卯整理儀軌) in 1795, and it was adopted as an official court dance in
 Gichuk jinchan uigwe (己丑進饌儀軌) in 1829. The clothing of jipsa, assistants, has
 been recorded since Gichuk jinchan uigwe (1829) while that of donggi, young
 female dancers, has been recorded since Musin jinchan uigwe (戊申進饌儀軌, 1849).
 Therefore, the clothing of Seonyurak performers was settled in 1849, and it was
 passed down until 1902, which was the period of the Empire of Korea.
 It is possible that Seonyurak performed in 1795 was in a similar form to
 Baettaragi (排打羅其), another courtesan's dance performed in the northwestern
 region, since its performance venue was in Hwaseong, not the palace. Among them,
 it can be seen that donggi in chaeseon, a boat located in the center of Seonyurak
 performance, served as sogyo (a position of military officer) of Baettaragi, which
 was confirmed by Bongsudang jinchando (奉壽堂進饌圖). However, donggi performed in
 Baettaragi wore red cheollik, the uniform of danghagwan (officials of the lower
 terrace), while those in Seonyurak wore navy cheollik, the uniform of
 dangsanggwan (officials of the upper terrace). Later, since Gichuk jinchan uigue (1829), donggi playing the role of sogyo was
 changed into jipno, and the role of donggi was played by jipsa. The clothing of
 Seonyurak jipsa was a military uniform of danghagwan, which was worn by donggi
 in Bongsudang jinchando (1795) and lasted in the last banquet in 1902. Seonyurak
 jipsa had worn a military uniform as a support garment for cheollik since Imjin
 jinchan (1889) until Imin jinyeon (1902). Before that, it is presumed that they wore a
 green daechangui as a support garment for cheollik.
 As for the clothing of Seonyurak jipno, donggi wore a red danui (丹衣), the uniform
 of the Yeonhwadae dance, in Gichuk jinchan uigwe (1829), and later on they wore
 green dangui (唐衣) since Musin jinchan uigwe (1848) until the last banquet of the
 Empire of Korea. It is confirmed that they wore a red skirt and green dangui in Imin
 jinyeondo (1902).
 Donggi wore a red skirt and a yellow top in Musin jinchando (戊申進饌圖), Jeongjae
 jinchando (丁亥進饌圖), and Sinchuk jinchando (辛丑進饌圖) whereas they wore a green
 dangui only in Imin jinyeondo (壬寅進宴圖). Stand-by dancers of Seonyurak wore the
 basic clothing of court dance performed by yeoryeong (female entertainers).

Connecting Across Countries and Cultures

Creating opportunities for students to connect with dancers from other countries virtually is one of the silver linings of the COVID-19 pandemic. Not all students can afford to travel overseas, so offering the opportunity to dance together on Zoom and experience the dances of another culture is inclusive and enriching. This article describes how two dance educators brought their students together to embody elements of eighteenth-century European court dance and Jamaican and Caribbean folk forms in a virtual platform, and to create short choreographic studies combining elements of the two dance genres.

Gendhing Sekaten. (2010) 2020Gendhing Pahargyan. (2012) 2020Gendhing Kurmat Dalem. 2020Gendhing Gati. (2015) 2020Gendhing Gati Volume 2. 2020Gendhing Soran Volume 1. 2021

Gendhing Sekaten. (2010) 2020Gendhing Pahargyan. (2012) 2020Gendhing Kurmat Dalem. 2020Gendhing Gati. (2015) 2020Gendhing Gati Volume 2. 2020Gendhing Soran Volume 1. 2021

Pedagogical Competency of Dance Instructors in The Training of Malay Court Dance Skills Among Upper Secondary Students at Johor National Art School

Dance pedagogy is a complex and dynamic field of competency that involves various skills and self-appearance. Therefore, dance instructors must widen the scope of their competency to strengthen and improve their level. This research aimed to identify the competency of dance instructors teaching the practical subject of Malay Court Dance based on factors including the components of pedagogy, curriculum, assessment, and professionalism. The data was collected from interviews with the instructors and was analyzed through thematic analysis. The findings indicated that the instructors’ competency level development could be mapped into three dimensions, namely orientation, agent, and competency content. It was concluded that art schools in Malaysia need to develop dance instructors’ competency in terms of (1) 21st-century learning needs, (2) vertical and horizontal knowledge sharing, (3) workshop, study tour, and competition, and (4) standardization of technological development relevant for curriculum, across knowledge, practical, and feeling domains.

The quest of finding the self in the Bedhaya: Unravelling the psychological significance of the Javanese sacred dance

The Bedhaya is the avant-garde of Yogyakarta and Surakarta (Java, Indonesia) court dance. This classical dance replete with Javanese symbols, spirituality and cultural values embedded in its aesthetic elements. Furthermore, the Bedhaya was created not for entertainment but rather as a meditative medium that would allow individuals to gain wisdom and higher consciousness. These noble characteristics of the dance suggest that the Bedhaya has psychological purposes for the performers and the spectators. We may gain insight into the process of attaining mental growth through studying the embodied wisdom and aesthetic ideal of the Bedhaya, which reflects the development of the human’s psyche. Therefore, the author proposes an interpretation of Bedhaya’s underlying symbolism, aesthetic experience, and potential as means of psychological growth. The paper’s primary argument is delivered by studying a set of theoretical ideas that present Bedhaya as a distinguished aesthetic with psychological capacities. Further, art as an embodiment of cultural wisdom and ethics is also discussed by connecting Bedhaya and other artistic forms drawn from varied cultures.

The Role of Khmer Court Dance and Music in the Construction of a Cambodian-American Identity

Cambodia gained national attention in the mid 1975 due to the mass genocide perpetrated during the communist group known as the Khmer Rouge. For many Cambodians born and raised in the United States, the primary cultural awareness passed down from their parents and elders revolves around experiences surrounding the Khmer Rouge. This paper explores the construction of cultural identity among second generation Cambodian youth and adults participating in Khmer classical dance and music classes at Khmer Arts Academy in Long Beach, California. We found that there is a strong correlation between familial ties and participation in cultural activities, as is evident from interviews as well as family member attendance at Khmer Arts Academy. Our research delved into the struggle Khmer children born and raised in America face when pressured to assimilate into American culture. The societal need to “fit in” is difficult for most minority children, and it is difficult to find ways to affirm heritage identity. The students at the Khmer Arts Academy use Khmer classical dance and music to learn about the beauty and intricacies of their culture, something that they lacked prior to this experience. Using ethnographic techniques and methods, our preliminary findings suggest that participation in the Khmer Arts Academy in Long Beach introduced students to and, in some cases increased, their connections with their cultural heritage. Our techniques include participant observations and interviews over the course of three months (September, 2019-November, 2019).

궁중무용의 놀이적 특성에 관한 연구 : 女伶各呈才舞圖笏記의 포구락, 보상무를 중심으로

The purpose of this study is to provide the basic data for the value of transmission and prototype preservation of court dance by contemplating the entertaining characteristics of ‘pogurak’ and ‘bosangmu’. The following contents were derived through in-depth interview and participation observation method of three experts in literature research and court dance. First, it was found that there were enough entertaining elements through differences and characteristics about composition of the appearance time and play progress of Pogurak and Bosangmu. Second, it was confirmed through the expert group that court dance was a national official art event that was only performed in national entertainment and it has entertaining characteristics. Third, it was suggested that various research methods should be combined to verify literature research for preservation and succession development of court dance and to secure objectivity.

Придворні танці в культурі західно-європейського високого середньовіччя

The purpose of the article is to analyze the historical context of the court dance formation as a cultural phenomenon of the High Middle Ages, to identify its characteristic features and to find out the role and significance in the establishment of a civilizational model of behaviour in the European cultural space. Methodology. The historical-chronological, cultural and analytical approaches are applied to highlight the historical context of the court dance formation. The scientific novelty. For the first time, the court dances of the West European High Middle Ages are analyzed in the context of the then worldview concepts. Conclusions. Court dances, as a characteristic feature of the knight courteous culture of the High Middle Ages, the playful phenomenon and at the same time the pious action, contain deep sacral meaning and with the help of gestures (gestus), the plasticity of hands and bodies represent the requirements of courteous theology – worship of the Lady of the Heart, which is actually identified with the attitude towards the Mother of God. In court dances, as a result of “feudalization of love”, the roles of participants in the dance action are distributed according to which the Beautiful Lady becomes an object of worship, and the knight in non-verbal form testifies to her his “love service”. This distribution lays the foundation for the development of pair dances as a new phenomenon in the history of choreography. The growth of the generalization of flexible movements and codified gestures (gestus), their abstractness, allowed us to present in more detail the models of behaviour in interpersonal communication. And therefore, court, courteous dances demonstrated the “correctness” of the aesthetic behaviour of knights as a statement of the ideals of beauty in relations between the sexes. A pious and respectful attitude to the Beautiful Lady, emphasizing the moral and spiritual component in the relationship between a woman and a man-knight contributed to the increase of the social status of women. And the chivalrous ethos, whose visible representation was court dances, became the basis of a civilizational model of behaviour that was gradually formed in the European space.

헌종(憲宗) 무신년(戊申年) 『진찬의궤(進饌儀軌)』 유소(流蘇) 연구

Yuso, a traditional Korean hanging decoration, is found many records in the royal court banquet Uigwe. There are many records in the "Jinchan Uigwe" in the Musin year compared with other "Yeonhyang Uigwe". The purpose of this study was to identify the characteristics of Yuso in "Jinchan Uigwe" in the Musin year of King Heonjong in Joseon. Literature reviews and field studies were conducted. Nineteen royal banquet Uigwe from "Jinchan Uigwe" in the Musin year and Yuso information in veritable records, including Sejong Silok, Orye, and Akhakgwebeom were reviewed. Besides, previous studies and publications were researched, and data were collected from the National Palace Museum, the National Gugak Center"s Museum of Gugak, and other museums. As a result of this study, there were five types of Yuso: a ceremonial decoration object, a ceremonial royal court dance object, a royal court music instrument, a musical instrument, and Hansam. There were five styles of Yuso: a long dangle style, a lace-up style, a knot and tassel style, a beaded tassel style, and a feather beaded style. Yuso consisted of in a variety of colors- red, navy, green, yellow, orange, white and black, and was made of silk threads, flannel threads, gold papers, gold leaves, gourd beads, pheasant tail feathers, blue papers, and wood beads. The string was made of a variety of materials, and a knot was not found in some cases. There is not yet scientific consensus on understanding Yuso, and therefore the research findings provide ascertainable information about Yuso.

From the Editor

From the Editor Siyuan Liu After the ramlila special issue in Spring, we return to regular content with a full range of memorial essay, translation, articles, reports, emerging scholar essays, and performance and book reviews. We start with an essay by Boreth Ly and Suppya Hélène Nut in memory of the recently deceased Princess Norodom Buppha Devi (1943–2019) of Cambodia, celebrating her life and contribution to the preservation of Khmer court dance, especially its revival in the aftermath of destruction by the Khmer Rouge. By chance, there is a small cluster on the Chinese theatre, starting with Janne Risum's significant translation of the complete April 1935 minutes of the forum between Mei Lanfang and Soviet experts, at the end of Mei's Moscow tour, on Chinese theatre and its impact on Russian theatre, film, and dance. I highly recommend Risum's extensive and methodical introduction. She not only delineates and contextualizes the debate between Meyerhold and his supporters (including Eisenstein) on the one side and those with more official views on the other, but also Soviet censorship of the original transcript that resulted in various incomplete, even imagined versions in the following decades that have affected the narratives around this historic episode of intercultural exchange in the early twentieth century. We next move to two articles on a couple of prominent contemporary Chinese directors, Meng Jinghui as the standard-bearer of the avant-garde and Wang Chong as a representative of the "post-Meng" generation. In her perceptive reading, Hongjian Wang deems Meng a "cynical idealist," which complements the current "pop avant-garde" frame of Meng scholarship, while Yizhou Huang critically assesses Wang Chong's multimedia production Ibsen in One Take against his self-claimed "new wave theatre." The two other articles offer welcoming additions of less discussed areas to Asian theatre scholarship, namely popularizing [End Page v] efforts in modern Korean theatre singeuk (new drama) and the role of Armenians in establishing Western theatre in the Ottoman empire. In the former case, Jaesuk Kim utilizes contemporary publications to focus on the leading singeuk dramatist Yoo Chijin's effort to break the monopoly of realist spoken drama in the mid 1930s, with song and dance in the traditional The Story of Chunhyang and in Dorothy and DuBose Heyward's Porgy. In the latter case, Elif Baş examines both the contribution of non-Muslim minorities, especially the Armenians, who staged Western plays in Armenian and Ottoman Turkish, and the nationalist sensitivity of early Republican-era theatre critics in evaluating their contributions. Following the translation and articles are three reports on currents practices of butoh and traditional forms from Bali and India. In "We Are Not Solid Beings: Presence in Butoh, Buddhism, and Phenomenology," Sondra Fraleigh channels her decades of experience, as a butoh student, performer, and scholar, to invite readers to an eco-somatic approach to butoh that emanates from Zen Buddhism and phenomenology. I Nyoman Cerita reports on the 2018 U.S. tour of Bhumi: Mother Earth, a production by the Bali-based Sanggar Çudamani (Çudamani Studio) with a focus on present environmental issues. Finally, Deepsikha Chatterjee offers a detailed and technical examination of the making of masks and costumes in Ankiya Bhaona, a form of ritual masked performance from the Assam region of India. This year's three emerging scholar essays all focus on East Asia. Echoing Risum's discussion of Mei Lanfang's 1935 Soviet tour, Chao Guo examines Mei's earlier tours to Japan and the United States in 1919 and 1930 as reflections of the cultural anxiety by anti-traditional new culture intellectuals as well as traditional theatre artists and their intellectual allies. Sebastian Samur similarly echoes Fraleigh's focus on butoh, with a study of the choreographies of Muramatsu Takuya from Dairakudakan, the world's largest butoh troupe, although Samur relies on Henri Lefebvre's rhythmanalysis as a theoretical framework. In the final emerging scholar essay, Y.J Hwang utilizes Giorgio Agamben's concept of Homo Sacer—that state violence erases individual victims' most basic information concerning their deaths—to analyze the performance of cultural memory of the April 3 Incident (1948) in the Jeju Peace Memorial Park of Korea's...

Paradoks: An Innovation in Javanese Dance Choreography

Paradoks was a form of choreography that was based on Javanese choreography. This research was to develop Javanese choreography which tended to follow the pattern of court dance rules. The basic assumption of this research was Paradoks based on the Javanese choreographic form that had been through a process of development. This research was an innovation study in the Javanese choreography development. Javanese choreography had standard patterns as a form of noble dance. This meant that Javanese choreography had a high artistic level, not only from its historical factor but also because of its current position in the Palace. The problems examined in this study were: What was the form of Paradoks choreography? How was the innovation expression in the development of Javanese choreography in Paradoks dance? The specific objective to be achieved was to provide knowledge and understanding to the wider community about the pattern for forming the Paradoks choreography as an innovation in the development of Javanese choreography. The target of this research was to produce a written study on the innovation of developing the Paradoks choreography forming pattern in an internationally reputed journal. Another target was as a presentation of the research results to achieve the title of professor. This research used an artistic approach to the creation of art. Keywords: Paradoks , motion pattern, choreography DOI : 10.7176/ADS/79-06 Publication date: December 31 st 2019

궁중무용 <춘앵전>의 인성 교육적 가치 탐색

궁중무용 <춘앵전>의 인성 교육적 가치 탐색

조선후기 몽금척(夢金尺) 악장 및 정재의 전승 양상

본고에서는 조선전기에 제정된 <몽금척> 악장 및 정재가 조선후기 들어 다양한 방식으로 전승된 양상을 살펴보았다. 또한 그러한 양상이 나타나게 된 맥락을 작품 내외의 사안들과 연계 지어 분석하였다. 영조는 연행 목적과 청중의 반응을 고려하여 정재의 절차를 탄력적으로 조정해야 한다는 입장을 취하였으며, <몽금척>에도 이러한 지론을 적용하였다. 그는 무원의 수를 4인 줄임으로써 정재를 보다 간결하게 연행하고자 하였고, 기존의 창사를 대치하기 위해 자신이 직접 <몽금척사>를 지어 정재에 활용하였다. 더 나아가, 서로 다른 곡목인 <몽금척>과 <하황은>을 엮어 연행하는 방식을 시도하기도 하였다. 영조는 <몽금척>에 표출된 상서가 창업의 조짐을 보여주는 핵심적 지표가 된다고 여겨 그 내용을 짧고도 인상 깊게 현시하는 한편, 창업의 영광이 자신의 대에까지 면면히 이어진다는 점을 보이기 위해 <하황은>을 개작하여 어제 <몽금척사>에 덧붙였던 것이다. 그러나 정조대에는 <몽금척> 정재의 의례를 다시금 복구하는 방향을 택하였다. 선왕들에 의해 정식화된 정재의 절차를 과도하게 변개하기는 어렵다는 현실적 우려 때문으로 파악된다. 다만, 영조가 시도했던 개편의 흔적은 그러한 복고적 성향 속에서도 곳곳에서 발견된다. 우선 영조의 어제 창사가 정조대에는 치어로 전용되었다. 종래의 규례를 준용하여 정재를 연행하되, 영조의 어제를 완전히 방기할 수는 없는 만큼 정재 전체에 큰 무리를 주지 않는 수준에서 적절한 활용법을 고안해 낸 형상이다. 또한 창사의 일부를 반복하여 부르도록 한 󰡔악학궤범󰡕의 규정을 폐하고 창사 전체를 무원들이 한 차례만 제창하도록 간소화하였다. 영조는 시종 <몽금척> 정재를 속도감 있게 구성하려 의도하였거니와, 그러한 지향이 정조대에 이르러 다소 다른 측면으로 실현되었던 것이다. 계승과 변모의 양 측면을 지니고 있는 정조대의 연행 방식은 고종대에 이르기까지 유지되어 오늘날 전해진다. 조선후기에 이루어진 <몽금척> 관련 논의의 상당수는 궁중 악장과 정재에 관한 것이지만, 몽금척 사적 자체의 의미를 널리 현창할 방안을 모색한 논의들 또한 발견할 수 있다. 가령, 영조는 세손 정조에게 군왕의 책무를 일깨우기 위한 자리에서 몽금척 사적을 비중 있게 거론한 바 있다. 그 영향 때문인지 몽금척 사적은 정조대에 들어서도 거듭 중요하게 다루어졌다. 정조는 태조의 탄생일을 축하하기 위해 관원들에게 시행한 제술의 제목으로 ‘금척’을 지목하였으며, 당대의 문사인 이용휴는 <몽금척송>을 지어 금척의 상서가 태조의 실덕과 연계되는 부면을 부각해 내었다. 순조 또한 문신들에게 몽금척 사적에 관해 제술을 하도록 독려했던 정조의 방식을 계승하였고, 고종은 훈장 조례를 반포하면서 제국 최고 영예의 훈장을 금척대훈장으로 정하였다. 한편, 19세기에 이르면 몽금척 사적이 지역적 기반과 결부되어 확산되는 사례가 나타나기도 한다. 정도전의 전문에 따르면 몽금척의 상서는 창업이 이루어지기 십수 년 전에 일어났다고 하였다. 당시의 가장 큰 사건은 지리산 부근에서 벌어진 황산대첩인데, 몽금척 사적이 지역색을 띠게 되는 단초가 여기에 있다. 몽금척을 황산대첩과 연계 지은 사례는 성종대 유호인의 <황산가>에서도 일부 찾아볼 수 있지만, 19세기 후반 경에 이르면 전라도 진안이라는 특정 지역을 중심으로 몽금척의 현장이 곧 경내의 마이산 일대라는 전승이 널리 퍼지게 된다. 대한제국 선포를 전후하여 고종은 전국에 산재한 왕실 선조들의 사적을 탐문하고 현창하는 데 열의를 보였다. 황산대첩을 매개로 태조의 몽금척 상서와 마이산을 연계 지으려는 진안 지역의 움직임 역시 이러한 시대적 분위기 속에서 배태된 것으로 추정된다.

조선전기 〈동동〉(動動) 중기(中機)의 무용 복원연구

조선전기 〈동동〉(動動) 중기(中機)의 무용 복원연구

A comparative study of the court dance Shunnoden -Based on written documents-

A comparative study of the court dance Shunnoden -Based on written documents-