Chapter III

The Concept of Korean Folk Dance

Lee Byoung-ok
 Chapter 3 _ The Concept of Korean Folk Dance 123

I. The Concept of Korean Folk Dance and its Classification

1. The Concept of Korean Folk Dance and the Differences of the East and the West

Folk dance refers to the dance of the common people which spontaneously emerged and
developed among ethnic groups and communities, reflective of the characteristics of particular regions,
and representing the group’s sentiments and emotions. Folk dance is usually accompanied with the
music of its own ethnic origin, refined and changed over a long period of time (Lee, 2009: 21-22). In
addition, folk dance may develop in different forms and configurations according to the given social
and cultural background, as well as the natural environment and natural climate.
In the consideration of traditional dance which emerged, developed and was transformed
according to a variety of modes of life and environments, I think the most important factors of
formation of folk dance are: 1) type of work and living conditions; 2) climate; 3) geography; 4) manners
and costumes; 5) historical background; 6) social elements; 7) religion; and 8) musical tradition (Jeong,
1991: 34-45; Lee, 2009a: 35-41). These factors are all interrelated and dedicated to create the
uniqueness of Korean folk dance.
In the classification of the traditional dance, both the East (the East Asian tradition) and the West
(European tradition) usually divided the dance tradition, at large, into court dance and folk dance.
However, in terms of examining the detailed contents, we can easily find differences in many aspects
both in aesthetics and history of the art forms in the East and the West. As one example, the court dance
of the East, unlike that of the western tradition which had developed from social dance and was used for
social enjoyment and entertainment among royalty and the groups of nobility dancing together (with
male and female partnering, and at times exchanging partners), grew from a ritual purpose for a nation’s
peace and prosperity, as well as wishing for the longevity of the King. Here, the Eastern tradition was
almost always performed by a group of professional dancers presenting the tradition for chosen
audiences, namely, the King and the royal family as well as government officials and the nobility.
In addition, in the East, a variety of religious ritual dance traditions have been performed and
developed since pre-historic times, in contrast to the West, where such similar traditions do not seem to
exist or be found. The main reason in the differences of the religious dance cultures between the West
and the East can be found in, and related to, European Catholicism of the Middle Ages. Historically in
Europe there existed the ritual dance traditions in worshiping multiple gods, such as Apollo and Zeus, in
the ancient civilizations of Rome and Greece. However by the Middle Ages, Catholicism had become
the main and central religion that dominated the cultural and political lives of the people. Roman
Catholics believed that other religions were considered to be idolatry and prohibited any ritual dances of
124 Dance of Korea

any sort. This is why the ritual dances have not survived and eventually disappeared in European
history. Conversely for many cultures in the East including Korea, the ritual dance traditions that are
related to religious beliefs such as indigenous shamanism, Buddhism and Hinduism have thrived from
ancient times up to contemporary society, still being developed and performed according to different
cultural and religious practices.
There is also the consideration of the configurations of the West and East dance traditions that
shows the distinctiveness in how they differ from one another. For example, western dances seem to
focus on a variety of foot movements and leg gestures in which the positions of the feet and the knees
are required to be stretched out. Eastern dances, including Korean dance, rely heavily on the
movements of the upper body and gestures of the arms and hands, along with the position of the knees
that are almost always slightly bent. In other words, western dance is characterized by vibrant and
dynamic gestures of upward and outward movements, while the eastern dance is portrayed with the
subtlety, delicacy and stillness of movements.
Although there are many observable complex reasons as to why the dance traditions of the East and
West are fundamentally distinctive from one another, the method of collecting food and the type of
occupations have had an effect in forming the basic human movements of people living in two different
climatic and geographical regions, namely, the continents of Europe and Asia. To be precise, in Europe, on
one hand, the farming culture heavily relied on pastoral life that was mainly dependent on raising domestic
animals. Such a pastoral-oriented life in Europe had developed from the nomadic life, moving from one
place to another, finding fresh greens and grasses for semi-domesticated animals, and such moving
requires laborious footwork! On the other hand, the farming tradition of Asia had long been established in
a settled agricultural lifestyle to grow rice, the main source of food, which requires handling farm tools
operated with hands. It is a totally plausible assumption that the subtle and delicate gestures of the arms
and hands of dance of the East have come from mimicking hand movements of the work in rice fields.

Monaegi, the rice planting in Yecheon, Korea Standing Group Dance

 Chapter 3 _ The Concept of Korean Folk Dance 125

2. The Classification of Korean Traditional Dance

In general, Korean traditional dance is classified into two large groupings: court dance and ethnic
folk dance, along with various subgenres emerging from each. Court dance (jeongjae) is subdivided
into banquet dance, including dangak jeongjae (dances originally introduced from the Tang dynasty of
China) and hyangak jeongjae (indigenous Korean dance), and ritual dance encompassing munmu (civil
dance) and mumu (military dance). Ethnic folk dance comprises religious ritual dance (uisik chum), folk
dance (minganchum-here the term is used as a sub-genre which was popular and practiced among
amateur dancers of the common people), and the dances of professional artists (yeinchum). Within the
category of religious ritual dance, there are sub-genres characteristically developed according to
different religions, such as Buddhism and shamanism, as well as the dances of rites of passage
performed to commemorate a person’s life from birth to death. Folk dance of the commoners, the
dances that are related to the everyday labors of farmers and fishermen, include farmer’s band (nongak),
mask dance (talchum), vocal dance (sorichum), and free style dance (heoteunchum). The dance of
professional artists developed during the feudalistic society of Korea from the group of lower class male
and female performers, such as female entertainers (gisaeng), adolescent male dancers (mudong), and
male entertainers (gwangdae). Each group and lineage of performers developed unique professional
dance genres, which are the dance of gisaeng, the dance of the skilled person (jaeinchum, meaning the
dance of professionals), and the dance of shaman descendents (sindanggye chum) (Lee, 2012: 16).

Classification of Korean Traditional Dance

Category Genres Sub-genres Repertories

Dangak Jeongjae Heonseondo, Suyeonjang, Oyangseon, Pogurak, Yeonhwadae, etc.
Banquet
Court Dance Hyangak Jeongjae Mugo, Dongdong (Abakmu), Bongraeeui, Hakmu, etc.
Dance
Ritual Dance Ilmu Munmu, Mumu
Nongakchum Honam Nongak, Yeongnam Nongak, Utdari Nongak, etc..
Talchum Sandae Talchum, Ogwangdae Talchum, Saja Talchum, etc..
Dance of
Common Sorichum Ganggangsullae, Wolwolicheongcheong, Baechigichum, etc.
People
Pungjachum (Byeongsinchum), Dongmulmobangchum, Deotbaegichum,
Heoteunchum
Boridaechum, Ggaeggichum, etc.
Buddhist Ritual Dance Nabichum, Barachum, Beopgochum, Tajuchum

Folk Gangsinmu (Woldochanggeomchum, Begareugichum, Bangulchum, etc.)

Ritual Dance Shaman Ritual Dance
Dance Seseupmu (Jemulchum, Gildakgichum, Jijeonchum, etc.)

Dance of Rites of Chulsanuiryechum, Dasiraegichum. Bangsangssichum,

Passage Hwigengikalchum, Hoedajichum, Dalgongchum
126 Dance of Korea

Salpurichum, Yipchum, Gutgeorichum, Nammu,

Gibang tradition Giwonmu, Geommu, etc.
Folk Professional Seungmu, Salpurichum, Taepyeongmu, Janggeommu, Hwarangmu,
Dance Dance Jaein tradition
Jinsoechum, Hakchum, Hallyangmu, etc.
Dosalpurichum, Teobeollimchum, Jeseokchum, Bujeongnorichum,
Sindang tradition
Jijeonchum, etc.

3. Classification and Characteristics of Korean Folk Dance

The dance tradition of a hierarchical society from the feudal age has taken different forms and
characteristics reflecting the traditions of the specific social class and group that were involved in
creating, developing and enjoying the dances. Korean folk dance, in general, has three distinctive genres
which represent the functions, characters, and occasions of performances: the dance of the commoners;
religious ritual dance; and the dance of the professionals.
The dance of the commoners was enjoyed by farmers and fishermen who were the main
producers of food. They performed this type of dance by themselves in order to increase productivity
and ease the laborious work. These include the dance of praying (chukwon chum) and dance of labor
(nodong chum), and the festival dances (chukje chum) which were performed in the celebration of the
many annual seasonal customs and occasions of the farming cycle. These dances have been transmitted
from different regions of the Korean peninsula, and each represents distinctive regional customs and
traditions.
The category of the ritual dance outside of the Korean court includes those of religious ritual and
the rites of passage celebrating a person’s birth, coming-of-age, wedding, funeral, etc. The religious
ritual dances in Korea have been preserved, transmitted and practiced in two major religions, namely,
Buddhism and shamanism. Shamanism, the indigenous religion of Korea, has existed from ancient pre-
historic time to the present, and music and dance was given great weight and emphasis in its rituals
(gut). Buddhism, originating in India, was introduced by way of China during the period of the Three
Kingdoms in the fourth century and gradually settled and is still practiced as one of the major and
influential religions in Korea. Its ritual dance tradition is still preserved today. In contrast, the ritual
dance tradition of the rites of passage, common phenomena found in many cultures throughout the
world, has gradually disappeared along with changes and the dissolution of the traditional society in the
modern era at the turn of the twentieth century. Today, most of the dance traditions of the rites of
passage are lost in Korea. For the celebrations of coming-of-age and wedding, only the ritual formats
remain without dancing. In the mist of social changes, however, dance traditions, such as the dance of
 Chapter 3 _ The Concept of Korean Folk Dance 127

wishing and praying for the birth of a boy (gija uirye chum) and the funeral ceremony dance (jangrye
uirye chum) have partially survived and are still performed today.
The dance of the professionals (yein) is divided into three sub-genres according to the tradition
of the dancers: the dance of the gisaeng house (gibanggye chum); the dance of the skilled person
(jaeingye chum); and the dance of shaman descendents (sindanggye chum). Yein refers to a person or
group of people of the professional performing arts, including female entertainers, male entertainers,
and the shaman descendent performing artists, who traditionally all at the bottom of the social
hierarchy. In traditional feudalistic Korean society, the group of female entertainers called gisaeng
developed a variety of dance traditions and repertoires mainly for entertaining the upper class male
aristocracy (yangban) at a gisaeng house (gibang). In contrast, the group of male entertainers called
jaein, who belonged to Jaeincheong (the department of “talented” personnel), had developed a variety
of performing arts genres, including acrobatic dances, all masculine in quality. The dance of the shaman
descendents developed in relation to shamanism and its rituals during the twentieth century. Since the
early twentieth century in Korea, shamanism and its ritual practices had begun to go underground and
were considered as social “taboo,” mainly affected by the newly introduced Christianity, as well as
adoption and adaptation of western medicine. This social change began to gradually dismiss the
shamans and their families, who then began to perform their ritual traditions as “performing arts”
without the function of religion. Many of the dance traditions developed by former shamans and
shaman family members as professional performing artists created the dance repertoires which are still
preserved today. The chart below illustrates the classification of Korean folk dance divided into three
large genres, namely, dance of the commoners, religious ritual dances, and dance of the professionals.
128 Dance of Korea

Comparison of Stylistic Characteristics of Three Genres of Korean Folk Dance

Dance of Commoners Ritual Dance Professional Dance

Common People Religious People Professional Artists

Social Class
(Farmers & Fishermen) (Monk & Shaman) (Gisaeng & Jaein)

Amateur Dancers Amateurs Dancers Professional Performers

Occupation
(Farmers & Fishermen) (Monk & Shaman) (Entertainers)

Character Entertaining Ceremonial Artistic

Transmission Methods Among Villagers Within the Religion Master Artist to Student

Region Regional & Local Regional & Religious Sects Larger Regions

Religious Members & Local

Performance Environment Communal Specific Audience
People

Performance Culture Work Dance Ritual Professional Entertainment

Farming Cycles Religious Festivals Various Occasions

Period
Harvest & New Year Designated Days Requested by Patrons

Venue Outdoor, Village Square Sacred Place Indoor, Room

Audience Type Village People Members & Locals Aristocracy

Costume & Props Daily Clothing & Props Religious Attire & Props Professional Costume & Props

Ritual Instruments Samhyeon Yukgak (Chamber

Instruments Pungmul (Percussion)
(Jing, Bara, Janggo) Ensemble based on the Janggo)

Basic Dance Gestures Arms & Legs Based on Ritual Props Upper Body, Arms & Hands

Dance Spirit and Ecstasy & Collective Artistic Entertainment &

Religious & Participatory
Appreciation Enjoyment Appreciation

Performance Size Mass Individual/Mass Individual

Purpose Communal Unity Prayer & Wishes Intimacy & Leisure

Level of Dance Simple & Repetitious Long Period of Practice Difficult Professional-Only

Classification Community Unit Rituals & Denominations Class-Oriented

 Chapter 3 _ The Concept of Korean Folk Dance 129

II. The Characteristics and Forms of Dance of the Commoners

(Mingan Chum)

1. Talchum (Mask Dance)

Korean mask dance (talchum), a theatrical drama or group play, is a type of dance in which the
performers wear a face or head mask while telling a story. The players or performers usually interact
with the audience, extending the narration and dialogue in an improvisatory manner. Scholars speculate
that talchum first developed in the ancient pre-historic time of the agricultural society as a village ritual
with wishes for prosperity and peace, and has gradually become an entertainment genre performed on
festive occasions for the villagers and gradually losing its ritualistic functions.
There are several versions of talchum distinguished and preserved in the different regions of
Korean peninsula, including: 1) “Sandaenori” in Seoul and the Gyeonggi province, such as Yangju and
Songpa; 2) “Talchum” in the Hwanghae province, such as Bongsan, Gangnyeong and Eunyul; 3)
“Yaryu” in the eastern area of the Nakdonggang River, such as Suyeong and Dongrae, part of the city of
Busan; 4) “Ogwangdae” in the western area of the Nakdonggang River, such as Goseong, Tongyeong
and Gasan; 5) mask dances in the regions of the eastern seaboard, such as “Gwanno noreum” from
Gangneung area performed at Dano festival (the celebration for the fifth day of the fifth month of the
year according to the lunar calendar), “Bukcheong sajanoreum” from the Hamgyeong province, and
“Hahoe byeolsingut” from the Gyeongsang province. Talchum is essentially an outdoor play
incorporating theatrical dialogue, singing and dancing, and usually an entire performance is comprised
of a number of scenes of different stories and dramatic subjects.
In terms of regional stylistic distinctions, the Sandae talchum of the central region is characterized
by frequent use of hand gestures and its subtle and delicate dance movements in a fixed formal
structure, which establishes the “prescribed” dramatic or less “improvised” body gestures. In talchum
performances of the northern region, the dancers wear long sleeves attached to both hands and dance to
the rhythmic accompaniment pattern called taryeong. The dance movements of this region typically
illustrate strong and wild jumps, full of vibrant and animated movement. Finally, the talchum of the
southern region of Gyeongsang province is characterized by two unique dance movements: deotbaegi
chum, a free-style cheerful dance movement; and baegim sawi, a dance movement characterized by
stepping on the ground with one foot along with the knees bent after jumping high into the air. Such
excitement and exhilaration of these dance movements are reinforced by the musical accompaniment of
the farmer’s percussion band (nongak) which provides an upbeat sonority marking off the strong beats
and rhythmic patterns.
130 Dance of Korea

Moreover, as a dramatic story-telling dance genre, talchum takes its inspiration for its storylines
mainly from the lives and experiences of everyday people. Besides its ritualistic function, Korean mask
dance deals with stories, which were satirical in nature, such as accusations of social immortality, the
corrupt aristocracy, triangular relationship between husband, wife, and concubine, and vulgar apostate
Buddhist monks--all expressed in a humorous manner. Through such idiosyncratic expressions of
talchum, the feelings of optimism, humor and leisure were well imbedded in the lives of the Korean
people. Talchum is truly a communal art enjoyed by everyone regardless of the social circumstances.
By actively participating, performers and audience alike joined in creating the drama and thus releasing
their discontent. Here people found unity and regained the vivacity and energy of life. Since the 1960s,
talchum was designated as one of the National Intangible Cultural Properties, and today there are a total
of thirteen repertoires that are preserved and transmitted throughout Korea.

Songpa Sandae mask dance drama, Sangjwadaemu Lion dance in Bongsan mask dance drama

2. Nongakchum (Dance of Farmer’s Band Music)

Nongak refers to both the music and dance traditionally performed by farmers for reciprocity of
their labors. In its broad meaning, the term “nongak” designates not only music of a marching band
comprised of primarily percussion instruments such as kkwaenggwari (small gong), jing (large gong),
janggo (double headed drum), and buk (barrel drum), usually performed at village ceremonies and
rituals, at work places and in open outdoor village squares called pannoreum (“pan,” meaning open
space), but the term also indicates the variety of dance forms associated with the music of the band. The
original function of nongak was to enhance and increase the efficiency of communal labor and group
work, all while cheering to add to the amusement. Usually the nongak performances were conducted
according to, and following, the yearly farming seasons and cycles, such as rice planting, weeding the
rice patties and vegetable gardens, as well as holidays such as the harvest full moon festival and the
New Year celebration.
 Chapter 3 _ The Concept of Korean Folk Dance 131

There are many types and repertoires of nongakchum according to the roles of the performers in the
band: 1) Gitbal chum (flag dance) is performed by the flag bearers who dance with flags flapping in the
wind; 2) Budeul sangmonori chum (dance of the twirling hat) and Soechae chum (dance of small gong)
performed by the kkwaenggwari players; 3) Seoljanggo chum (dance of double headed drum) performed by
the janggo players; 4) Seolbuk chum (dance of barrel drum) performed by the buk players; 5) Sogo chum
(dance of hand-held small drum) performed by the dancer-drummer wearing a conical hat; 6) Chaesang
chum (hat dance with a long white ribbon attached on top); 7) Japsaek chum (dance of miscellaneous
characters who wear masks and dance with regional gestures); and 8) Kkotnabi chum (dance of the flower-
butterfly) performed by children who flap their sleeves or handkerchiefs. In addition, there are Jingjabi
chum (dance of the large gong) and Yeoldubal sangmo chum (hat dance with a twelve-foot long ribbon
attached on top), which seem to have been recently added to the canon of dance repertoires.
The performance of the existing nongak has several versions according to stylistic tendencies
which reflect different geographic regions and cultural boundaries. These broadly include: Gyeonggi
(central), Yeongdong (eastern), Honam udo (east of the southwestern region), Honam jwado (west of
the southwestern region) and Yeongnam (the southeastern region). Among them, a total of six of the
sub-regional nongak have been designated as National Important Intangible Cultural Property No. 11,
including Samcheonpo nongak of Jinju, Pyeongtaek nongak, Iri nongak, Gangneung nongak, Pilbong
nongak of Imsil and Jansu nongak of Gurye. Also, in addition to these six sub-regional nongak, other
regional performances have been designated as Regional Intangible Cultural Properties.

1) Omudongnori, Five adolescent dancers in Gyeonggi Gwangjiwon Nongak

2) Durechum, Farm work dance in Jincheon, North Chungcheong province

3. Sorichum (Vocal Dance)

Sorichum refers to dancing to folk songs while working or playing in a traditional agrarian or
fishing society. The dance is played and enjoyed mostly by women gathered together by lining up or
132 Dance of Korea

circling around, and has been especially popular and preserved in the areas of Honam (the southwestern
region) where the vocal genre and singing tradition are prominent, in comparison to other regions of the
Korean peninsula.
Sorichum by females are performed to celebrate festive and holiday seasons such as on the nights
of the first full moon (January 15) and the harvest full moon (August 15) according to the lunar
calendar. Sorichum by males, in contrast, are performed at work any time in the year. There are two
major dance patterns in Sorichum: wonmu (a circle dance) with or without hand holding; and yeolmu (a
line dance). The songs, which are sung while dancing, are usually improvised without any fixed text or
lyrics but mostly about love between men and women. The dance has gestures and movements that
symbolize daily work and a wishing for a plentiful harvest or big catches of fish. Sorichum is chiefly
divided into male and female dances which are illustrated as shown below.
Many male dance repertoires have been preserved in association with regional work songs found
in numerous towns throughout the Korean provinces (here discussion is limited to South Korea): The
“dance of weeding a field” found in Gimpo, Gyeonggi province, is a group dance with unformatted
gestures, performed while farmers weed a field with a homi (a hoe with a short handle) and sing
together. The “dance of picking the bracken fern” is passed down in Myeongju, Gangwon province.
There the woodcutters gathered around in a graveyard on a grassy area holding hands and creating a
circle while singing. The “dance of the two wooden legs of a jige (an A-frame carrier/backpack)” found
in Iksan, North Jeolla province, is played among A-frame workers while resting; they sing and dance
together in a circle. Here the workers hold two wooden sticks in each hand and beat the legs of the jige,
which extend out a bit, much like playing a janggo (the double-headed hourglass shape drum). The
“dance of the two wooden legs of a jige” is also found in Miryang, South Gyeongsang province, usually
played either on the grass around a graveyard or near vegetable gardens and rice patties, and includes
movements like beating a stick, flailing, and beating the two wooden legs of jige. There are many other
known male Sorichum in relation to rice farming culture which are associated with different farming
duties, such as mojjigi (removing the young rice plants from the seedbed), monaegi (rice planting), and
gimmaegi (weeding).
Female dances have also been practiced and preserved throughout the country and each
geographic region has its representative traditions, such as Ganggangsullae of Jeolla province,
Wolworicheongcheong of Gyeongsang province, the Baechigi and Nanani taryeong dances of the areas
of the western seaboard, the dance of Dondolrari of the areas of Hamgyeong province, and
Dungdanggi taryeong of Heuksando Island in south Jeolla province.
Ganggangsullae, in particular, usually performed by a group of women on the night of the harvest
full moon and traditionally practiced in the areas of the southwestern seaboard of south Jeolla province,
is known to be one of the most popular traditions in which song and dance are well-blended together.
 Chapter 3 _ The Concept of Korean Folk Dance 133

With the rising of the full moon in the eastern sky, a group of women hold hands and create a circle
moving clock-wise. The best singer among them stands front and provides the verse while the others
follow her and sing together the refrain, the phrase, “ganggangsullae.” This circle dance and the singing
continue without a break throughout their play, but upon reaching the climax, one dancer breaks from
the circle and moves to the center and performs Namsaengi nori (terrapin dance). There are also gosari
kkeokgi (bracken pick dance), cheongeo yeokgi (weaving dance), giwa babgi (roof tile threading dance),
kkori ttagi (tale chase dance), deokseokmari (straw mat wrapping dance), munjigi nori (gate guarding
dance) and silbaneul kkwegi (threading a needle dance), all of which provide more interesting variations
of dance. The performance of ganggangsullae from the towns of Jindo and Haenam, in the south Jeolla
province, has been designated as a National Important Intangible Cultural Property No. 8, and in 2009,
it was also named a UNESCO World Heritage Cultural Property.

Bracken pick dance around graveyards Ganggangsullae, Jindo Island

4. Heoteunchum (Free Style Dance)

Heoteunchum refers to solo improvisational dance without any fixed form, which is performed in
public gathering places and usually associated with, and inserted into, performances of nongak, talchum
and sorichum. The dance format and gestures are therefore unique to the individual dancers. The names
of the dance can vary different from region to region, and person to person.
Heoteunchum, also known as makchum or heudeureojinchum (dance of loosely configured
gestures), is performed without any purpose or ritual function by any random person among the
participants or even from the audience. The dance can vary from individual to individual and can be at
times humorous, or at other times it can present a high artistic level of gracefulness and beauty by which
an individual dancer expresses his performance skill and energy. In contrast to other dance traditions of
common people and farmers, which are usually designed for social and cultural solidarity, heoteunchum
is considered as a dance of an individual within that social and cultural group.
Heoteunchum can be divided into two types. The first type is jiyeok heoteunchum (regional
134 Dance of Korea

dance), which has been preserved and transmitted in particular regions and individualized according to
the taste of the dancer. The second type is mobang heoteunchum (mimicking dance), which is the dance
of mimicking the gestures of a person or animals for the enjoyment of the audience.
Jiyeok heoteunchum includes the dance traditions practiced in the northern areas of Hangang
River, such as ttwimchum (hopping high while stepping with the foot), jillaraebichum (flicking both
hands mainly above the head), beongaechum (jumping like lightening), and yangsonchum (a dance
with the hands alternating palms up and down) of Hamgyeong province. In the areas of Yeongnam in
the southeast, the dance repertoires include sokurichum (raising both hands as if balancing a basket on
the head), mongdurichum (raising the arm and leg sideways together and putting them down in front),
deotboegichum (a dance in the deotbaegi rhythmic pattern), baegimsaechum (making a large step with
the foot while simultaneously bending the upper body), hongdukkaechum (making the body stiff like a
cudgel and jumping up), gubulchum (bending and curving the body with a snake-like flexibility),
yodongchum (shaking the entire body), and yangbanchum (with the gestures and characterizations that
mimic the upper class scholars and aristocrats). In the areas of Seoul and the Gyeonggi province, the
traditions include hwalgaechum (lifting wide both arms and legs), kkaeggichum (lifting the knees up
and down with hand gestures), geodeureumchum (walking with an arrogant air and lifting both arms),
and baechum (dancing while exposing the stomach). In Jeolla province, the dance traditions are
highlighted with durechum (gestures that mimic farm work), boritdaechum (lifting the arms up and
down like a doll), and eokkaechum (dance of the shoulders).
Mobang heoteunchum is also found throughout the regions of Korea, either mimicking a person
or animals. The dance of mimicking a person is usually done with mimicking the gestures of a
“crippled” person, not in a way of ridiculing them, but rather as an expression of their pain and
suffering. The dance of mimicking animals is characterized by mimicking the unique gestures of a
specific animal. The dance traditions preserved and practiced in the areas of Yeongnam (the
southeastern region) include the dances of the toad, stork, crane, lion, yeongno (a monster animal) and
whooping crane. In the areas of Honam (the southwestern region), the dances of the frog and bear are
known to exist, while in the areas of Seoul and Gyeonggi (the central region), the dances of the turtle,
duck and monkey are still practiced. In the areas of North Korea, sajachum (lion dance) is known to
have been preserved.
A variety of repertoires of the dance mimicking a person are found throughout Korea. However,
the tradition has been particularly popular in Gyeongsang province. The repertoires include the dances
of a dwarf person, a stroke victim or paralyzed person, a potbellied person, an old woman bent with age,
a leper, hunchback, a blind person, a person with limp, the skull dance, a person with a distorted face, a
person with disabled arms, a person with a crippled foot walking like a duck, a person with stiff legs,
and a bowlegged person.
 Chapter 3 _ The Concept of Korean Folk Dance 135

Geobugichum, Tortoise dance in Icheon Gong Ok-jin performing Animal mimicking dance

III. The Concept and Characteristics of Ritual Dance

In general, the ritual dance in Korea is divided into two types, namely, those of the rites of
passage and those associated with religious ceremonies. Rites of passage refer to the rituals and
ceremonies that celebrate a person’s life, from birth to death, conducted in chronological order. In other
words, rituals for birth, coming-of-age, wedding and death are considered to be the four basic events in
life. Religious ceremonies and rituals are connected with Shamanism, Buddhism and Confucianism, the
three main religions which have been practiced. The rituals associated with each religion are still passed
down from generation to generation, and music and dance play integral and intrinsic roles in these
rituals (Lee, 2008: 22).

1. Dance of the Rites of Passage

The term “rites of passage,” first applied by the German-born French anthropologist, Arnold van
Gennep, is often used in the field of Western social anthropology in designating a series of ceremonial
events of life, the turning points that one must pass from birth to death. In Korea, rites of passage are
connected with life’s seven stages: 1) parents wishing to conceive a boy, 2) birth, 3) coming-of-age, 4)
marriage, 5) sixtieth birthday, 6) death, and 7) memorial ceremony. Scholars speculate that the dance
traditions associated with the rites of passage existed from primitive society and an ancient time, but
have been gradually disappearing in contemporary society with only partial segments of the ritual
structures remaining. In particular, during the period of the Joseon dynasty (1392-1910), Confucianism
was adopted as the central religion and philosophy governing every facet of people’s lives and behavior.
During that time, Buddhism and shamanism went underground due to the oppressive policies of the
136 Dance of Korea

ruling class against other religions. And in the same way, the dance traditions of the rites of passage
were gradually lost, with only ritual and ceremonial structures remaining. These social and cultural
phenomena and other changes have been more evident in modern, contemporary society overgrown
with the westernization. As a result, the traditional rituals associated with weddings and coming-of-age
have faded away. Fortunately, some of the ritual and ceremonial forms, especially those associated with
the parents’ wish to conceive a boy as well as those associated with death and funerals, have been
transmitted and are still preserved today.

1) Ritual Dance Wishing for the Birth of a Child

The initial rite of passage, the ritual for wishing for the birth of a child, is considered the
beginning stage or starting point of a person’s life. In traditional Korean society, people believed that
the generation (blood line) was carried by the male, namely, a son in the family. For parents, especially
mothers, giving a birth to a son was the most important duty. Consequently, for married women without
a son, there were many ways to conduct prayer rituals with the hope and wish for a son, which are
known as gija. The gija ritual consists of two types: chiseong gija and jusul gija. Chiseong gija is
characterized by rituals of prayer directed to certain objects or nature, such as a mountain, river, rock,
tree, images of Buddha or Maitreya, all believed to have divine spirits and power. These are found in
sacred places, such as famous mountains, rivers, Buddhist temples and altars dedicated to specific
deities. In contrast, jusul gija is achieved by certain behaviors and the action of prayer through the
“magical power” of incantation and spells. In this ritual tradition, as one of the most common behaviors,
a woman possesses and keeps a certain object from a woman who recently gave a birth to a boy, such as
a robe, golden string and toy ax of a newborn baby, to conceive her own son. She also takes certain
medicine made of rare and precious fruits or the powder from the nose of the stone images of Maitreya
(Buddha). All these actions and behaviors are usually guided by a shaman who also prays by
conducting the rituals.

Gija dance in Buldomaji shaman ritual, Jejudo Island Monk dance in Dasiraegi, Jindo Island
 Chapter 3 _ The Concept of Korean Folk Dance 137

2) Funeral Ritual Dance

(1) Dance of Dasiraegi

Dasiraegi, which means “to be born again,” is performed by the pallbearers on the night before
the coffin is carried from the house. The dance is conducted to console the dead spirit and for paying
one’s respects to the dead as well as wishing for a good journey to heaven. The dance can be humorous
and witty, and at times even festive in character. Life is full of sadness and pain, and this dance is a
message to the dead person, pleading with him to momentarily forget such pain. Among many ritual
dances found in various regions throughout Korea, the dasiraegi of Jindo Island, South Jeolla province,
is the best known and has been designated as a National Important Intangible Cultural Property, No. 81.
The tradition maintained in Jindo is unique in that the dance is not only performed by the pallbearers;
they are joined by a professional performance troupe, usually hired for a more festive and celebratory
purpose.
The dance of Jindo dasiraegi consists of several repertories and is often played by professionals.
The story of a three-way relationship between a blind person, a married woman and a Buddhist monk is
considered to be the highlight of the event. As an additional part of the performance, the professional
singers from the invited troupe, who sing minyo (folk songs) and other sophisticated vocal pieces, join
in bringing more fun and excitement. Other known repertories include heoteun dance, a story about a
shaman and a Buddhist monk, the dance of the humpback, the dance of the blind, and another heoteun
dance performed by a professional mourner while the play of pallbearers is being performed. In
addition, the unique drum dance of Jindo Island is performed in the dasiraegi.

(2) Hwigengichum
In the funeral procession, a dancer wearing a bangsangssi mask leads the decorated bier to the
graveyard while dancing with swords at the front of the line, which is called hwigengichum.
Bangsangssi mask has four eyes, which has symbolic meaning and function to expel evil spirits. Upon
arriving at the graveyard, the dancer conducts a symbolic ritual for expelling and chasing away evil
spirits at the burial site by hitting the ground with the swords and marking the four corners of the four
directions. Just before lowering the coffin into the grave, the hwigengichum dancer immediately runs
away from the site without looking or turning back. He takes a different path from the one he used to
enter the site at the very beginning of the ritual. People believe that otherwise the dancer could be in
danger of being killed by the evil spirits.
138 Dance of Korea

Bangsangssi sword dance followed by a funeral bier Bangsangssi dance

(3) Hoedajichum
The song dance, hoedaji, meaning hardening or packing the dirt on top of the coffin, follows after
the coffin is buried. Here, both graveyard workers and pallbearers dance together, stepping forward
with the right foot while gesturing and stretching both arms forward to clap their hands. A call and
response form is used in the song. The call is given by a person who holds and plays a hand bell while
others sing a response with the phrase, “eh eh eh dalgong!”

2. Types of Religious Ritual Dance

1) Shaman Ritual Dance

Shamanism, which has long been central to the lives of the people in North East Asia and
especially in Korea, is considered the indigenous religion in Korea that has played important roles in
shaping multiple facets of Korean culture. Many scholars believe that the shaman rituals, almost always
accompanied with music and dance, are thought to be the main sources that are responsible for creating
and developing a great number of existing performance genres today, and as such, represent many
aspects of cultural behavior and thought of the Korean people. Mudang (shamans) in Korea come to
exist in two ways and are divided into two types: gangsinmu (the spiritually possessed) and seseummu
(hereditary succession). Many stylistic characteristics of both music and dance and ritual structures
differ from region to region.
The majority of shamans found north of the Hangang River are gangsinmu (possessed). They
hold intense rituals in which they dance repeatedly jumping up and down. In contrast, the large number
of the shamans located south of the Hangang River, including the provinces of Gyeonggi,
Chungcheong and Jeolla, are seseummu (hereditary). Their dance at rituals is more gentle and graceful
in nature. As one of the most common dance gestures, the shaman slightly bends the waist and raises
 Chapter 3 _ The Concept of Korean Folk Dance 139

the shoulder with the arms held horizontally and gently moves the upper body and arms to right and
left. Similarly, most of the shamans located in the eastern seaboard, including the provinces of
Gangwon and Gyeongsang, are seseummu (hereditary). The common dance gesture of this region is to
raise the arms straight above the head and sway them from side to side. All of the characteristics of the
shaman dance gestures described above are fundamentally different in aesthetics and styles from those
of the court dance and commoners’ folk dance tradition.
In general, the ritual dance of gangsinmu begins with a section calling for spiritual power and
energy. After being possessed by the spirit and entered into the spiritual state of perfect selflessness, the
shaman no longer controls his or her own action. The shaman now becomes the mere mediator between
omnipotent deity and the people, and through the actions of the shaman, the spirit and the power of the
deity sends a message to the people. The shaman dances with gestures of madness and insanity, all the
while giving prophecy and making predictions of coming events to people.
In contrast, the ritual dance of seseummu is chukwonmu (dance of prayer and blessing) offered to
the deity with wishes for goodness to be bestowed on the people. The ritual function of chukwonmu
relies mainly on sympathizing with and connecting to the deity and praising the deity with music and
dance. In doing so, the shaman delivers a message of blessing to the people.
In shaman rituals, the ceremonial dances have a variety of functions, such as calling for the spirit
of a deity, providing and offering blessings, sending for the deity, and expelling evil spirits. In addition,
the styles and forms can all be varied depending on the individual character and personality of the deity.
As part of its entertaining nature, the dance can be at times expressive, comical or delightful in order to
provide vital and positive energy to people who are suffering from pain and agony. At other times the
dance can be presented full of symbolic meaning and functions as a way of achieving supernatural
ability and power.

(1) Dance of Gangsinmu (Possessed Mudang)

The dance of gangsinmu is performed when the mudang is being possessed by the deity, creating
such a mental and physical state of unity between the mudang and the deity. The dance gestures of
gangsinmu are characterized by jumping, fast or slow spinning, as well as random and improvised
movement without a particular form.
In the ritual, because the gangsinmu herself is transformed into the deity, the progression of the
ritual is complex with a variety of dance functions. Once the mudang falls into a deep trance or being
one in the spirit, the dance no longer belongs to her, but is controlled by the deity who now enjoys
himself borrowing the body of a mudang. In other words, the main function of the dance is to please the
deity, and because of that, the movement and gestures are full of dramatic expression seemingly
random and free of form and structure rather than artistic in their design. Therefore, with the emphasis
140 Dance of Korea

on the faithfulness and devotion to the deity, rather than on personal artistic performance and skill, the
outcome of the dance can be rough and crude with irregular and unrefined gestures.

1) Kim Geum-hwa, a possessed shaman of Hwanghae province Baeyeonsingut

2) Blade riding dance in Hwanghae province Mangudaetakgut

(2) Dance of Seseummu (Hereditary Mudang)

The dance of seseummu begins with the section, cheongsinmu, a call to the deity, in which the
dancer uses a variety of props, such as a set of small hand bells and a fan, among others. This is
followed by a series of dances that are offered to please and delight the deities.
After the mudang establishes a spiritual unity with deity, she (because mudangs are usually
female) begins to dance mimicking the physical gestures and emotional characteristics of the deity as a
means of delivering his messages to people. Conversely, the dance also symbolizes the people’s many
wishes which they hope will be heard. This is followed by a dance section called songsinmu, intended
to send away the deity who was present in mundane world. However, in the dances of seseummu,
outside of its religious function, its purpose as entertainment for the participants and spectators is
considered an important part of the ritual. This is revealed in highly artistic ways of singing and
dancing, and at times, in dramatic and theatrical forms. Additionally, the splendid dance costume of the
mudang, with a full, layered dress which is seemingly unrelated to the content of the ritual, is rather
ostentatious and is usually made by the mudang herself with attention to the entertainment purpose of
the event. In this regard the costume does not represent the deities.
In general, the seseummu(s) of the southern regions begin to learn music and dance as children
from their parents, which is called “hakseup.” The dance of seseummu is emphasized in expressive and
exceptional artistry in contrast to that of gangsinmu (the possessed). The female mudang (munyeo), in
the seseummu tradition, sets the text of prayers according to the given rhythmic patterns in different
tempi and begins to sing and dance in a slow tempo gradually moving to faster tempi. These
characteristics are also found in the tradition of gangsinmu, but in the seseummu tradition the mudang
does not jump up and down even though the dance is in a fast rhythmic pattern. Besides the jumping,
 Chapter 3 _ The Concept of Korean Folk Dance 141

there are fundamental differences between gangsinmu and seseummu. Unlike gangsinmu, seseummu
does not become a mudang by going through the severe illness caused by a spirit. Also, seseummu does
not acquire a shrine or place of worship.

1) Gildakkeum (prayer for the dead) in Jindo Ssitgimgut ritual

2) O Su-bok, a hereditary shaman in Gyeonggi dodanggut ritual

2) Buddhist Ritual Dance (Jakbeop)

The dance performed at Buddhist rituals (je or jae) is called jakbeop or chakbokmu. While
beompae refers to the chant for presenting offerings to Buddha, jakbeop does the same with physical
gestures. The beauty of jakbeop is in its sublime magnificence which inspires feelings of religious
devotion to Buddha. Jakbeop is divided into four kinds according to the content of the ritual and the
physical movements. They are nabichum, barachum, beopgochum and tajuchum.
In ancient Korea, the origin and transmission of Buddhism in relation to beompae was recorded in
an epitaph located in the Ssanggyesa Temple in Hadong, South Gyeongsang province. There, the
inscription is recorded that, “the Buddhist monk Jingamseonsa of Silla (57 BC - AD 935) went to Tang
to learn Chinese beompae and came back to Silla and taught it to countless pupils.” However, the record
in Samgukyusa (The Heritage of the Three Kingdoms) shows that, even before Jingamseonsa, the
Buddhist monk Wolmyeongsa created a chant called Dosolga, which might be a beompae of Silla style.
Today the Buddhist ritual Yeongsanjae, which was mainly performed in the provinces of Yeongnam,
Honam and Gyeonggi, has been designated as Important Intangible Cultural Property No. 50.
The name of nabichum (butterfly dance) came from the monks’ robes which are similar to a
butterfly. They dance to vocal and instrumental accompaniment, hotsori and taejing among beompae
repertoires, and sometimes without any accompaniment. The dance movements are characterized by
their graceful and slow nature. According to its purpose, the dance is divided into fifteen smaller
repertoires, including doryangge jakbeop and jeongrye jakbeop. Barachum is masculine in character
and dancers hold a bara, similar to a cymbal, in both hands. The dance gestures are highlighted with
142 Dance of Korea

forward and backward motions and fast rotating ones. There are six kinds of barachum, including
cheonsu bara and myeong bara. Beopgochum is a type of drum dance that symbolizes the lionhearted
diligence of religious practice and the state of nirvana attained through the practice. Beopgochum is
usually accompanied by beompae with no fixed rhythmic pattern and divided into two kinds:
beopgochum focusing on the movement to beat the drum and hongguchum focusing on the complicated
rhythmic patterns to play. Tajuchum is performed in Yeongsanjae while sikdangjakbeop (the ritual of
eating food) takes place, and is characterized with dance gestures that symbolize the gradual process of
attaining enlightenment (the ultimate Buddha state) and entering Nirvana.

Chakbokmu (Butterfly dance) in Yeongsanjae Cheonsubarachum (Buddhist cymbals dance) in Yeongsanjae

IV. Stylistic Characteristics of Professional Dance (Yein Chum)

When discussed by Korean people, the term “folk dance” usually refers to a series of dance
repertoires that are practiced by professional dancers, such as seungmu, taepyeongmu and salpurichum.
In the traditional Korean society, a specific group of artists, including gisaeng (female entertainers),
gwangdae (male entertainers), jaein (skilled persons) and mudang (shamans or members of a shaman
family), were considered as professional musicians and dancers who had a very different lifestyle from
the commoners. Some of them wandered and moved from village to village to perform at various
occasions. The main occupation for them was to sing and dance and put on public acrobatic
performances. Their artistic repertoires were more refined and sophisticated in comparison to those of
the amateurs and common people. Therefore present-day scholars and performers all alike distinguish
the professional dance genres, such as seungmu and salpurichum, fundamentally different from the
genres performed and enjoyed by the common people, such as nongak (farmer’s band), talchum (mask
dance) and sorichum (vocal dance) (Yi, 2009b: 113-114).
 Chapter 3 _ The Concept of Korean Folk Dance 143

1. Seungmu (Buddhist Monk Dance)

In the context of transmission and the performance environment, seungmu was most often
performed by jaein gwangdae (male entertainer) or gisaeng (female), and shared similarities in dance
movement with salpurichum. The current version of seungmu originated from ritual dance at Buddhist
temples and then was adapted by gwangdae and jaein, and finally was appropriated and appreciated by
gisaeng as an artistic dance. The costume of seungmu reveals its relation to Buddhism. It is a robe called
jangsam with long sleeves in either black or white. In the early days, the dancers wore a gray, black, or
white robe, but today most of the dancers wear a white jangsam.
The dancer performs peacefully, sometimes dynamically, as if he or she has been cleansed of
misdeeds and has attained nirvana. The scattered lines created by the dancer with the jangsam’s sleeves
represent Korean aesthetics, and the drumming on beopgo highlights the Buddhist spirit that leads the
people to an ideal world. Seungmu has been designated as Important Intangible Cultural Property No.
27 and today two representative versions are transmitted: the Han Yeong-suk school and the Yi Mae-
bang school.

Han Yeong-suk performing Seungmu Yi Mae-bang performing Seungmu

2. Salpurichum (Dance of Exorcism)

Along with seungmu, salpurichum is perhaps regarded as the most representative of all of the
Korean dances. Deeply embedded with Korean sentiment and emotion, and its history and culture, it
expresses the collective pathos, “han,” and passionate style and beauty, “heung.” This is because the
dance is rooted in shamanism, the indigenous religion of Korea, as the name of “salpuri” suggests
“expelling evil and negative energy.” The dancer, dressed in white and holding a long white silk scarf,
moves to the shamanic rhythmic pattern that is also called salpuri, but the dance per se is an artistic
dance without any religious function.
Salpurichum is not simply a sad dance, even though the underpinning meaning and expression of
144 Dance of Korea

the dance is found in deep sorrow and pathos. The dance also moves beyond poignant human emotion
to a sublime world of joy and jubilation. This duality emphasizes basic human emotion and expression.
There are several styles of salpurichum practiced in modern times, which depend on a dancer’s
artistic tendency or the particular region of origin of the dance style. In 1990, salpurichum was
designated as Important Intangible Cultural Property, No. 97, and out of many styles of the dance, two
master dancers have been selected as official guardians, preserving this art form.
The school of Master Yi Mae-bang is characterized by cheerfulness and femininity where every
movement and gesture is tasteful and full of improvisational quality. The movements are delicate and
subtle in character with shoulder and neck movements as well as many hand gestures coming toward the
body, along with the eyes looking modestly low. The salpurichum of the dance school of Master Kim
Suk-ja originated from the shaman ritual of Gyeonggi province and is danced to the shamanic rhythmic
pattern called dosalpuri. The dancer holds a white silk scarf that is nearly two meter long. Like other
schools, this dance school also emphasizes slight changes of tension and release in movement, but in
comparison to other schools, it evokes a more masculine quality by the frequent use of the long silk scarf.
Although she was not selected as an official preserver, Master Han Yeong-suk and her
salpurichum shows the clear line of the tradition inherited from her grandfather, Master Han Seong-jun.
The school is characterized by its stillness, simplicity and gracefulness, aloof without flirtatiousness.

Yi Mae-bang performing Salpurichum Kim Suk-ja performing Dosalpuri

3. Taepyeongmu (Dance of Peace)

Taepyeongmu is a dance for the peace and prosperity of the King and Queen, and the dynasty.
This dance is based on the rhythmic patterns and formations of dodanggut from the Dodang shaman
ritual traditionally conducted in the villages of Gyeonggi province. The instrumental accompaniment is
typically samhyeon yukgak, a chamber ensemble traditionally used in shaman ritual of this region.
Taepyeongmu demonstrates maturity of movement characterized by fresh and brilliant footwork
 Chapter 3 _ The Concept of Korean Folk Dance 145

technique-at times showing light, yet controlled movements that showcase the feelings of power and
ecstasy. This dance was designated as Important Intangible Cultural Property No. 92 in 1988, and
Master Gang Seon-yeong has been selected as the official preserver of the tradition.

Gang Seon-yeong performing Taepyeongmu Jinju Geommu

4. Jinju Geommu (Jinju Sword Dance)

Geommu, also called geomgimu, is a court dance performed with swords. According to historical
records, it has the longest history among the court dances as it originated from Silla (57 BC - AD 935).
The current version of Jinju geommu is said to have been transmitted and performed by gisaeng of the
central court who came to the local government of Jinju and taught the dance to other gisaeng. The
dance was designated as Important Intangible Cultural Property No. 12 in 1967, and the official
preservers included the late Kim Su-ak and Seong Gye-ok, passed down to Kim Tae-yeon and Yu
Yeong-hui.
The dance begins with eight dancers entering the stage in a single row with the rhythmic
accompaniment of dodeuri jangdan. They then make two lines, four in each line, to make four pairs.
The dancers put their swords down in the width of their shoulders, and each pair dances while standing
against each other’s back or putting their hands on the shoulders and waist of the partner. The dancers
then separate from each other and take off the attached sleeves from their hands. They gather again in
front of their swords, and after each hand holds the swords, the dancers stand up and dance with their
partners. The eight dancers then rotate in a circle and make a line to finish the dance with a bow.
146 Dance of Korea

5. Seungjeonmu (Victory Dance)

Seungjeonmu, which consists of two separate dances, Tongyeong bukchum and Tongyeong
geommu, originated from the dance that commemorated the admiral Yi Sun-sin and his victory, loyalty
and reputation for virtue during the Japanese invasion of Korea in 1592. The dance is said to have
buoyed the morale and fighting spirit of the soldiers, from which the dance takes its title and name.
Along with bukchum, geommu was performed for soldiers on a warship by admiral Yi’s command in
the town of Tongyeong, and gradually transformed into one of the folk dance repertoires, dedicating to
the admiral Yi.
Tongyeong bukchum is similar to the court dance, mugomu, in its formality and style. In addition
to the similarity of dance props, the resemblance is evenly found in the dance formations in which the
buk (a large drum) is placed in the center, and the dancers holding a pair of drum sticks beat the drum in
turn. The dancers also wear the costume in four different colors: blue, red, white and black. On the
contrary, the differences between the two dances are found in Tongyeong bukchum where the secondary
dancers, situated in the outer circle, wear a white robe and only sing a particular song without dancing.
The dancers of Tongyeong bukchum also sing after they beat the drum and they dance to unique
rhythmic patterns. Tongyeong bukchum is enhanced and revealed to have more charming and gentle
dance gestures in comparison to mugo. Seungjeonmu was designated as Important Intangible Cultural
Property No. 21 in 1968 with Tongyeong bukchum; however, in 1987, geommu was added to the same
item and now “seungjeonmu” includes both dances. Official preservers of Seungjeonmu are Han Jeong-
ja, Eom Ok-ja and Yi Gi-suk.

Tongyeong seungjeonmu
 Chapter 3 _ The Concept of Korean Folk Dance 147

6. Hallyangmu (Dance of the Leisure Man)

Hallyang is a term traditionally designating a male who enjoys the arts and leisure, called
pungnyu. Present-day hallyangmu is a folk dance that has two different versions. One is a solo dance
that expresses hallyang, a male who understands art, enjoys himself and takes pleasure in nature and
life, as the dance presents a mixture of peaceful and tranquil, and dynamic and powerful movements,
showing the beauty of masculinity. The other one is a group dance as a form of dance drama in which a
specific dramatic character including hallyang is assigned to each individual dancer. In both versions,
the dancer as a hallyang is dressed as a scholar with a hat, holding a fan, and dances flapping his long
sleeves and robe.
Hallyangmu in its dramatic form is usually about flirtation between the hallyang and a gisaeng.
The story line shifts when a Buddhist monk interferes between them, and the story develops a triangular
relationship while the monk offers a seductive dance. Being infatuated by the monk’s dance, the
gisaeng betrays the hallyang, throwing herself into the arms of the monk. Having been designated as
Regional Intangible Cultural Property No. 3, “Jinju Hallyangmu” of South Gyeongsang province, the
dance introduces a number of characters including a musician, hallyang, a monk, a maiden (gisaeng), an
innkeeper, byeolgam (a government official), a disciple of the monk, and a servant. Each of the
characters dances with distinctive gestures suitable to the behavior and personality of the character
wearing corresponding costume. Official preservers of the dance include Kim Deok-myeong and six
others.
As a solo version, “Dongrae Hallyangmu” has been designated as Regional Intangible Cultural
Property No. 14, in the city of Busan. The official preservers are Mun Jang-won and Kim Jin-hong.

Jinju Hallyangmu (Group dance) Kim Jin-hong Dongrae hallyangmu

148 Dance of Korea

7. Hakchum (Dance of the Crane)

Rather than being developed by an individual or a group of dancers, Dongrae hakchum is related
to the regional folk traditions practiced in town of Dongrae, such as tug-of-war and yaryu, a type of play
performed by professional gwangdae. Traditionally, in Dongrae, people gathered together on January
15 according to the lunar calendar, which is the day of the first full moon of the lunar year, and played a
game of tug-of-war, believing that the game brings a plentiful harvest to the winning team. The whole
town falls into a festive ambience during the time when the game of tug-of-war is held. After the game
of tug-of-war ends and before Dongrae yaryu starts its main performance, there is a gilnori, parading
around the town to enter the village square, where people perform a variety of group dances as well as
individual dances including Dongrae hakchum. This is an opportunity to demonstrate one’s individual
dance skill.
The hakchum dancers wear white pants and jacket with a white robe, all of which are made of silk
fabric that enhances the beauty of hakchum. Traditionally, a hallyang wore a white silk robe and a
traditional hat made of bamboo and horsehair (Tongyeong) gat, which was considered as the best
costume. In hakchum, the dancers also wear black gat (hat) on the head and a white belt decorated with
tassels on the chest, and put on hemp-cord sandals. Dongrae hakchum has been designated as Regional
Intangible Cultural Property, No. 3, in the city of Busan, and the official preservers include Kim Dong-
won and Yu Geum-seon.

Dongrae hakchum Kim Deok-myeong Yangsan hakchum

8. Jinju Gyobang Gutgeorichum (Gutgeori Dance of Gisaeng House in Jinju)

Jinju gyobang gutgeorichum, transmitted in the gisaeng house of the regional government office
in Jinju, is a type of dance performed with the rhythmic pattern of gutgeori. Gyobang denotes the
department or bureau that was in charge of performing arts and the registered court (regional)
 Chapter 3 _ The Concept of Korean Folk Dance 149

gisaeng(s). The characteristics of the dance are enhanced with charming and calm dance movement, yet
also delicate and sorrowful, woven together into the mystifying traditional dance movement of
jeongjungdong (motion in stillness). The beauty of stillness and the subtle gestures gradually compel
one to attain a spiritual state of perfect selflessness. Jinju gyobang gutgeorichum has been designated as
Regional Intangible Cultural Property, No. 21, of South Gyeongsang province, and official preservers
include Kim Su-ak, who is now deceased. With its mystical and fantasy-like quality, the dance is
considered as one of the representative gyobang dances in Yeongnam area.

Kim Su-ak performing Jinju gyobang gutgeorichum

VI. Stylistic Characteristics of Korean Folk Dance

In Korean folk dance, there are stylistic characteristics based on the dance movements that are
related to the distinctive use of different body parts (Yi, 2009a: 96-98; Jeong, 1999: 296-300).
First, there is no such thing as finger dance, but certainly fingers are used to accentuate the
delicate beauty of other gestures. This subtle use of the fingers symbolizes those of the Buddha statue
and the images of Buddha. It is not surprising that such expression is innate with people, considering
that Korea has accepted Buddhism for thousands of years and Buddhism maintains a close connection
in the lives of Korean people.
Second, the dance movements of the wrist and palm verify the gestures of turning over and
turning down, as well as straightening and relaxing, the hand.
150 Dance of Korea

Third, there are various yet unique arm movements such as jwauchigi, yeomigi, ppurigi,
eokkaemegi, duitjimjigi, and hwidolligi. It is not an exaggeration to say that the core of Korean folk
dance relies heavily on arm movements and gestures.
Fourth, “shoulder dance” is the most common movement found in Korean dance. Such
movement is said to be developed from riding a horse, which was the main transportation for the
Mongolian ethnic group as well as the ancient nation of Goguryeo (a Kingdom occupied in the north of
Korean peninsula). The shoulder movement thus has been natural to adapt for dance movement of
artistic expression. There are a variety of functions of the shoulder dance, which include the control of
emotion, adding to amusement and joy, as well as counting the rhythmic pulse and patterns.
Fifth, waist dance and hip dance are not usual and only used for specific characters, which
represent a sexual expression and seductive personality for dramatic content. Such characters are
miyalhalmi (grandma miya) and waejangnyeo (lady waejang) in mask dance, and fisherman in
baechigichum (Tummy projecting dance) --all sexual and comical in personality.
Sixth, dance gestures of the head and neck have hardly developed in Korean dance. They only
appear in the mask dance in Hwanghae province as chetmeori heundeulgi (shaking head), in the Sandae
mask dance in the areas of Seoul and Gyeonggi as gogaekkeudeogi (nodding) and mokdolligi (neck
turning), and in dosalpurichum as daruchigi and mokjeonnori.
Seventh, gestures of stepping are related to the farming culture where the farmers traditionally
wore baggy pants and walked splay-footed. The stepping gesture is usually delivered in slow tempi. In
gyobangmu the gisaeng dancers usually step with the heel first, while in the outdoor folk dances such as
mask dance or farmer’s band, the dancers step with the toe first or directly with the sole of the foot.
Eighth, the steps are based on the progression of didimsae-dodeumsae-ogeumsae (ready-move-
jump) or didimsae-ddwimsae (ready-jump). The types of stepping include pyeong georeum (plain step),
kkaekki georeum (hopping), geodeup georeum (skipping), dugyeop georeum (double stepping), yeop
georeum (side stepping), yeopchigi georeum (galloping), hwalgae georeum (swinging stepping),
maemdori (circling dance), yeonpungdae (somerset dance), and other steps like mimicking the animals.
Ninth, in Korean folk dance the leg and arm from the same side of the body usually move
together in unison. This may have been related to farming gestures where the foot and arm go forward
simultaneously to stabilize the body in a working motion, which also expresses power and control.
Tenth, the basic rhythmic formations and patterns used in Korean dance are in compound triple
meters, often in combination with odd-numbered beats. Triple meters in slow tempi are found in an
agricultural society as the basic unit of breathing while working in the field.
 Chapter 3 _ The Concept of Korean Folk Dance 151

References

Jeong, Byeong-ho. 1999. Hangugui jeontongchum [Korean Traditional Dance]. Seoul: Jimmundang.
---------------- 1991. Hangugui minsokchum [Korean Folk Dance]. Seoul: Samseongchulpansa.
Lee, Byoung-ok. 2012.
“Han yeong-suk Salpurichumui haksuljeok gachiwa jeonseungeul wihan jaegochal”
[Re-Examination of Scholarly Values for Preservation of Han Yeong-suk School Salpurichum],
conference paper presented at the Society for Preservation of the Han Yeong-suk School Salpurichum,
under the conference theme “Vitalization and Popularization for Han Yeong-suk School Salpurichum.”
---------------- 2009a. Muyonghak tamgu [Research on Dance Studies]. Seoul: Nori.
---------------- 2009b. Hangukmuyong minsokhak [Folklore of Korean Dance]. Seoul: Nori.
---------------- 2008. Urichumui gaegwan [Introduction to Korean Dance]. Urichum (Korean Dance).
Gwangju Sirip Minsok Bangmulgwan (Gwangju City Folk Museum).