Research On The Joint Establishment Of Korean Court Dance "Crane Lotus Terrace And Rong Dance Co-establishment"

This paper is a research on Hak-yeonhwadae-Cheyongmu Hapseol,a dance performed at the Korean royal court,analyzing its role and function after finding out the reason why Hakmu,Yeonhwadaemu and Cheoyongmu were integrated,which had originally existed independently.Until now,there have been very few studies,with only approximately 10 or less,conducted on the Korean royal dance in China.Also,when inspecting the research implemented on royal dance in Korea,it mainly consists of tasks identifying the true nature of art by combining the art-oriented sense and values with the status of the country.So,this study seeks to comprehend the cultural function of a work of art called Hak-yeonhwadae-Cheyongmu Hapseol,which has been passed down as the only integrated form among Korean royal dances,through a new academic approach of semiotics.The academics of semiotics have not yet reached the stage of evolving into dance semiology.However,this paper attempts to approach semiotics by applying Barth's mythological analysis method,with the idea that for the record-breaking system of dance,semiotics should be expanded to the field of dancing as well as having comprehension of semiotics and establishing a new basis and territory of knowledge for application.In the semiotics approach method,dance represents the signification of the inner mind by motions,and the represented movement makes expressing a variety of meanings possible,which is expressed as a symbol that displays the truth in the spirit or dance of the performer.In other words,the symbol is a communication made between the sender and the receiver,and dancing is a communication symbol in which the caller,Yeon-hee,sends a message to the receiver,the audience,through dance movements.In particular,in the case of court dance,it represents the thoughts,spirit,and stylistic aspects of the period,which were created by direct or indirect relations with the cultural context,so it includes historical features.This proposes the possibility of applying dance semiotics by discovering the signification and communication system contained in the royal court dance that emerged from cultural phenomenon.Court dance refers to the singing and dancing performed in the royal court.The royal dance,also referred to as "jeongjae",which was originally introduced from China,that signifies conducting a public duty to the kingdom and refers to singing and dancing performed in the royal agenda related to memorial services in various areas.It is a tradition that has marked history systematically in the royal court for a long time,and has not only been characterized by graceful movements and emphasis on dignity,but has also been protected by being subjugated to state institutions.The royal court dance,which was established through many transition processes in history from the Period of the Three States to the Joseon Dynasty,was actively created and recreated during the early Joseon period,marking its golden age.Most court dances invented at this time were intentional arts strategically pursued to stabilize political turmoil and amend national discipline,and was mainly constituted of dance with political function based on Confucian ideology.In this sense,the study of Hak-yeonhwadae-Cheyongmu Hapseol has important significance in both history and in cultural history.This is because Hakmu,Yonhwadaemu,and Cheoyongmu,which constitute the synthesis,existed as an independent dance even before the merger,and are good enough to be performed independently,even when respectively considering the composition and contents of each dance.Also,when inspecting the characteristics of each dance,the emergence period,the creation purpose,and composition form of the three dances are very different.Then,one can guess that the reason for the merger of the three dances,which have nothing in common in character or content,is the result of intentional art to amend the discipline in state institutions.Among the royal jeongjaes,"Hak-yeonhwadae-Cheyongmu Hapseol,”which has a long history and developed into an unusual form as well as having more sufficient contents when compared with other jeongjaes,is composed of Yonhwadaemu,which concerns dancing while using a Buddhist flower called lotus flower,Cheoyongmu,Byuksa Ceremony,a dance to chase away the evil spirits and then celebrate,and dancing in the costume of a crane—one of the 12 longevity—during the Yi Dynasty of Joseon Dynasty.When inspecting the contents,Confucian that played the role of the ruling ideology of the Yi Dynasty of Joseon,and folk religion with ideas such as the Sea God,Byuksa Ceremony,and Buddhism are all harmonized without discord in the integration.This kind of diversity and comprehensiveness indicates that Hak-yeonhwadae-Cheyongmu Hapseol of Jeongjae was not just a ritual dance of the royal court dedicated to the king,as is commonly believed,but was a general event that widely embraced the beliefs of the people.In other words,the integrated dance that was performed in the royal palace at the end of December is an intensive representation of early Joseon's culture as a dance with the most complex,complete and dramatic elements of the royal court dance while harmoniously fusing various ideological backgrounds.This study concerns analyzation of the causes and functions of the integrated dance and limited the scope of the research from the reign of Sejo of Joseon,when its initial records are found,to the reign of Seongjong,when it was completed.For the research method,a semiotics approach was attempted to analyze cultural functions by examining the historical background and the political situation of the era to find the reasons for the synthesis,and applying various social causes to Barth's mythological models.As such,the semiotics approach of dance implies an analysis of the signification of cultural symbols by understanding the text of dance as a cultural phenomenon and exploring cultural codes hidden in the text.Therefore,the research objective is to be approached by the following process:First,in Chapter 1,the significance and function of the creation of the royal jungjae court in the Yi Dynasty will be comprehended.In Chapter 2,the historical background,the transformation process,ideological meaning and symbolism of the dance of a crane,Yeonhwadaemu,and Cheoyongmu were summarized based on the reference materials.These preceding processes are significant in revealing the factors behind the full-fledged integration.Based on this,Chapter 3 analyzes the reasons for the merging of the three dances within the social ideology and political structure framework of the Joseon Dynasty.In Chapter 4,the form of the synthesis will be analyzed in detail and the results extracted afterwards will be intensified so that in Chapter 5,the analyzation of the myth of the synthesis will be attempted.Based on the contents mentioned above,the cultural function of the synthesis will be discovered.The consequent presentations of the study are as follows:1.Hak-yeonhwadae-Cheyongmu Hapseol has filial piety functions.Longevity of the crane means "The Book of Filial Duty" to promote one's own health,and the clean lotus flower that does not get tainted by the end of the world emphasizes the meaning of ethical filial piety,which vows not to fall into any ill-advised politics,and Byuksa means filial piety that pledges to protect the nation from evil.2.Hak-yeonhwadae-Cheyongmu Hapseol has richness proposal functions.The lyrics of the songs composed in royal court rituals during the Joseon Dynasty contained fears and conflicts and wanted to ease the conflict through rituals and dances.Hak-yeonhwadae-Cheyongmu Hapseol will function as a dance of "wish for realistic good fortune and life," "the praise of the king," "conflict and reconciliation" and "communication and exchange." So,it is a dance that expresses hope for richness,happiness and peace.3.Hak-yeonhwadae-Cheyongmu Hapseol has an aesthetic function.Hak-yeonhwadae-Cheyongmu Hapseol is a performance of singing and dancing with a high degree of artistic perfection in which the content and composition is harmoniously structured.The music and rhythm are coherent and lengthy,so it contains something like the oriental-style margin in dance composition.It is equipped with harmony and balance based on the theory of yin and yang and the five modes of action,and by properly using the tempo with perfect timing,it expresses the best characteristics of Korean art harmoniously with the most meaningful movements.4.Hak-yeonhwadae-Cheyongmu Hapseol triggers social integration.Hak-yeonhwadae-Cheyongmu Hapseol has jungjae characteristics of political ideology that binds to the highest power,condenses all elements of Korean culture,especially religious elements,and engages in the entertainment of the upper class.In other words,based on harmony and fusion,it is one of the court's jungjaes that represent politics and culture of the early Joseon Dynasty,and it serves to unite the people's minds with etiquette music with the principles of sharing and harmony.Hak-yeonhwadae-Cheyongmu Hapseol,the target of this study,combines various ideas with social phenomena to become the symbol of a whole era.It is also a means of moral and cultural enlightenment that a court jungjae has,and it is a myth that is responsible for social functions beyond political intentions,which helps understand an entire era.However,even though Hak-yeonhwadae-Cheyongmu Hapseol was splendid and had high artistic value,so far it has not been an important subject of research,perhaps because it was not recognized as an independent performance.The author hopes that Hak-yeonhwadae-Cheyongmu Hapseol will be recognized as an independent dance and continuous research will be propelled from various angles.