處容舞의 東洋思想的 分析을 通한 舞意 硏究

Choyongrnu, inherited more than a thousand years, provides the origination of the mental culture of our people.<BR> Orginating among the people, transmitted to the royal court, throughout the historical period from Shilla to Koryo and Choson Dynasty, whatever the social, political and religious circumstances, Choyongmu has been handed down with its unique pattern.<BR> Putting a high value on the above, the analysis of Choyongmu shall be made according to the fundamentals of Eumyangohaeng(the Yin-Yang theory) in Orientalism. Though people today have doubts about whether Eumyangohaeng is science or non-science, that kind of question about Eurnyangohaeng has not been admitted throughout the long period of oriental history. Eumyangohaeng itself was the foundation of an outlook on the universe in the orient and the basis of overall cultures containing astronomy, medical science, almanac, geography, atmospheric phenomena, songs and lyrics, letters, regime and history. Such typical evidence can be found in the first Chapter of Ackhakguebum, where the musical formation, the arrangement of instruments and formality of the song and dance are based on the philosophy of Eumyangohaeng.<BR> Following the cognition that the music, the song and the dance were understood as one complex concept, the dancing posture, stage arrangement, position of performers and the dressings of Choyongmu, and further its beauty and meaning of choreography can be analyzed from the concept of Eumyangohaeng, by which the significance and constitutional philosophy of Choyongmu can possibly be defined.<BR> Originally, according to the literature from Shilla Dynasty, Choyongmu was performed by only one person, wearing a mask, singing and dancing. It was converted into Ssang-Choyongmu with two performers during Koryo and Choson Dynasty and was fixed as Obang-Choyongmu(with 5 performers) by the rearrangement of etiquette and music at King Sejong period.<BR> Generating from the legend, Choyongmu contained the incantatory meaning at the beginning; however, in Choson Dynasty it was performed after the royal ceremony, as Ackhakguebum says, so Choyongmu can be defined as Royal Dance. Based on this definition this study will analyze Orientalism in relation with Ackhakguebum and also analyze the formation of the dancing postures of Choyongmu depending on the existing form as it cannot be found in Ackhakguebum.<BR> Obang-Choyongmu in Ackhakguebum establishes metaphysical universe of Orientalism, an Utopia and the goal which people pursue through the arrangement of clothing and the positioning of the dance. Each individual of the 5 performers is dressed in separate upper clothes and lower trousers, meaning Eumyang(the cosmic dual forces} and is dressed in 5 different colors, meaning Ohaeng. Further the spacial arrangement of the movement and dancing when proceeding to different directions is similar to the basic concept of Ohaeng, and Sabang-Jakdaemu conquers 4 directions of East, West, So