한영숙 학무와 학연화대합설무의 비교분석 연구

Abstract

The purpose of this study is to examine the process of transformation from Hakmu to HakYeonHwa DaeHapSeolMu during the Joseon Dynasty and to examine Han Young Sook’s Hakmu in a comparative dance studies context. In this study, we will also look at the aspect of intertext after this comparative analysis, and we have derived the organic relationship between the two Hakmu. First of all, Literature review, reports on cultural assets, videos of Han Young Sook and interviews of Lee Heung-gu were used for this study. The results of the study show that, although the two dance styles began with different perspectives, they are similar in their essentials: the use of a crane mask and choreography based on imitation of the ecological movements of a crane. The difference is that Han Young Sook's Hakmu is an independent work for two cranes, in which elements of folk dance are strongly evident. However, HakYeonHwa DaeHapSeolMu is of a gentler character, a formalized and restrained dance similar to courtly ensemble dance styles. As Han Young-sook's Hakmu became the basis for the actual form, the content and composition grew richer and its artistic quality superior. Alongside such similarities and differences, Hakmu has its significance in the field of study in that the dance performed by Han Young Sook was combined with literature to create a new meaning, and that Hakmu is the only hapseol(combined dance) among the intangible cultural assets.