틈의 구조로 본 전통연희

하진숙 ( Jin Sook Ha ) 한국미학예술학회 2010 美學·藝術學硏究 Vol.31 No.-

신명체험의 미적 특성에 관한 연구

하진숙 ( Jin Sook Ha ) 한국미학예술학회 2014 美學·藝術學硏究 Vol.40 No.-

신명은 한국인의 미적 정서이자 한국문화의 핵심적 가치로 거론되고 있다. 그러나 신명이 어떤 점에서 미적인 특질을 지니는지, 그리고 다양한 유형의 신명 체험이 단일한 성격으로 이해될 수 있는 것인지에 대해서는 명확히 대답하기 어려운 것이 사실이다. 이에 본 연구는 다양한 형태의 신명체험을 유형별로 분류하고 그 공통된 특질을 미적인 차원에서 조명하고 있다. 고전 자료에 나타난 신명(神明)의 의미 구조를 살펴보면, 신명(神明)은 외재적 신(神)과 내재적 명(明)이 결합된 용어이다. 신(神)은 신령이나 신령스러운 힘을 뜻하고 명(明)은 신령스러운 힘을 드러내는 직관이나 통찰력을 뜻한다. 신(神)과 명(明)의 결합은 북을 두드리고 춤을 추어 신의 뜻을 드러내 보이거나, 정신을 밝게 하여 천지변화의 이치를 깨닫거나, 눈과 마음의 작용을 버림으로써 대상과 합일되는 경지로 설명되고 있다. 신명은 다양한 방식으로 체험될 수 있으며 체험의 유형에 따라 양태나 양상이 다르다. 신명체험은 접신체험으로서의 신명, 노동체험으로서의 신명, 한풀이로서의 신명, 예술적 체험으로서의 신명으로 구분될 수 있다. 각 유형별 양상을 종합적으로 정리해 보면, 신과의 일체감, 감정적 고양, 직관적 통찰, 몽환적 부유, 황홀경, 무아경, 집단적 난장(亂場), 초월, 깨어있음, 밝음, 해방감, 치유, 씻김, 충만함, 창조적 비약, 전체로서의 세계인식, 인식의 용해, 몰입, 망아, 도취, 열광 등으로 나타난다. 이를 토대로 신명체험의 질적 공통성을 뽑아보면, 첫째, 신명체험은 관심과 몰입을 필요로 하는 특징이 있다. 신명은 적극적인 관심과 몰입에 의해 상호작용이 절정에 이르렀을 때 체험된다. 신명이 경험 그 자체에 관심을 기울이고 집중하면서 경험 안으로 빠져들 때 일어나는 적극적인 체험이라는 점에서 관심과 몰입은 신명체험에 전제된 미적 태도라 할 수 있다. 둘째, 신명체험은 자아의 실존적 지평이 상실되면서 존재의 확장과 초월을 경험하는 특징이 있다. 관심이 지향하는 바에 깊숙이 빠지게 되면 나와 세계를 구분하는 인식 작용이 멈추면서 나라는 존재는 망각되고 세계가 통합된 전체로 들어오게 된다. 이는 접신상태에서 느끼는 신과의 일체감, 열광과 도취에 빠져 타인과 내가 하나라고 느끼는 공동체적 융합, 맺힌 것이 풀어질 때 느끼는 해방감, 직관적 통찰에 의한 대상과의 합일로 드러난다. 이들 체험은 격렬한 행위로 표출되기도 하고 정적인 형태로 표출되기도 하지만 경험 그 자체에 주목하면서 경험에 빠져들 때 일어나는 체험이라는 점에서 이는 미적 체험으로서의 성격을 지닌다. 셋째, 신명체험은 어떤 형태로든 정서적 쾌감을 동반하는 특징이 있다. 체험의 양상은 다르지만 정서적으로 가장 고양된 상태에서 체험되고 밝고 즐거운 감정에 휩싸인다는 공통점이 있다. 황홀감, 권능감, 충만감, 해방감, 부유(浮游)감, 용해 등은 절정의 순간에서 맞이하는 정서적 쾌감의 성격들이다. 이상과 같은 점에서 신명체험은 곧 하나의 미적 체험으로 이해될 수 있다. Shinmyong is being discussed as one of the essential values of Korean culture and Koreans` aesthetic feeling. Yet, it is difficult to answer in which ways Shinmyong has aesthetic qualifications and if various types of Shinmyong can be understood as a unique characterization. Therefore the research would classify the types of diverse Shinmyong experiences and illuminate the common characterization on its aesthetic dimension. If we clarify its significance structure of Shinmyong, the term of Shinmyong has its meaning as the external God or some mysterious power and internal Light, which means God would be holy spirit and Light means insight or intuition emerging to men. The combination aspect between God and Light could be explained into the emergence of God`s will with drumming and dancing, an awakening to the principles of varying universe with a clear mind, and uniting with things with discarding the functions of eyes and mind. Shinmyong can be experienced into diverse types and its dimensions and aspects are different according to its types of experience. The types of experience could be classified into being possessed of a spirit, experiencing hard labor, satisfying one`s resentment, and experiencing aesthetic feeling. The aspects of the types are very diverse, so they can emerge as following: identity with god, emotional enhancement, intuitional insight, dreaming float, ecstasy, forgetting oneself, collective chaos, transcendence, being awake, being light, emancipation, healing, sit-gim(washing away), fulfillment, creative jump, world consciousness as a whole, resolved recognition, immersion, and forgetting oneself, etc. On basis of the data, to extract the common qualifications of Shinmyong experiences, at first, it has the characterization to need concern, concentration, and immersion. Shinmyong has the common qualification that it can be experienced when mutual interactions get ecstasy. Concerns and immersion can be aesthetic attitudes in that Shinmyong is positive experience. Second, Shinmyong experiences has the characterization of experiencing the extension and transcendence of beings, lost in existential horizon of self. Once one comes to immerse deeply into the world of concerns, one forgets the being of ‘I’ and the world comes into the being, stopping recognizing me and the other world as a difference. This means the emergence of the unity into the things by way of intuitional insight, the beings with God, the infusion of community people immersed into passion and pleasure, and the feeling of emancipation. These experiences express passionate actions, represent static emotions, but they have the characterizations of aesthetic experiences in that it is an experience which arise when it attends to the experience itself, being immersed into it. Third, it seems that Shinmyong experiences accompany any types of emotional pleasures. The aspects of the experience are diverse, but have the common trait of pleasant feeling and light upgraded emotion. Such feelings as ecstasy, capability, fulfillment, emancipation, floating feeling, and resolve have the characterization of emotional pleasure at the moment of ecstasy. As a result, the experience of Shinmyong can be understood as the characterization of aesthetic experience.

강남세브란스병원 토모테라피를 이용한 치료환자의 130예 통계분석 및 경험

하진숙,전미진,김세준,김종대,신동봉,Ha, Jin-Sook,Jeon, Mi-Jin,Kim, Sei-Joon,Kim, Jong-Dae,Shin, Dong-Bong 대한방사선치료학회 2008 대한방사선치료학회지 Vol.20 No.1

Purpose: We are trying to analyze 130 patients' conditions by using our Helical Tomotherapy, which was installed in our center in Oct. 2007. We will be statistically approach this examination and analyze so that we will be able to figure out adaptive plans according to the change in place of the tumor, GTV (gross tumor volume), total amount of time it took, vector (${\upsilon}=\surd$x2+y2+z2) and the change in size of the tumor. Materials and Methods: Objectives were the patients who were medicated with Tomotherapy in our medical center since Oct. 2007 August 2008. The Average age of the patients were 53 years old (Minimum 25 years old, Maximum 83 years old). The parts of the body we operated were could be categorized as Head&neck (n=22), Chest (n=47), Abdomen (n=25), Pelvis (n=11), Bone (n=25). MVCT had acted on 2702 times, and also had acted on our adaptive plan toward patients who showed big difference in the size of tumor. Also, after equalizing our gained MVCT and kv-CT we checked up on the range of possible mistake, using x, y, z, roll and vector. We've also investigated on Set-up, MVCT, average time of operation and target volume. Results: Mean time on table was 22.8 minutes. Mean treatment time was 13.26 minutes. Mean correction (mm) was X=-0.7, Y=-1.4, Z=5.77, roll=0.29, vector=8.66 Head&neck patients had 2.96 mm less vector value in movement than patients of Chest, Abdomen, Bone. In increasing order, Head&neck, Bone, Abdomen, Chest, Pelvis showed the vector value in movement. Also, there were 27 patients for adaptive plan, 39 patients, who had long or multiple tumor. We could know that When medical treatment is one cure plan, it takes 32 minutes, and when medical treatment is two cure plan, it takes 40 minutes that one medical treatment takes 21 minutes, and the other medical treatment takes 19 minutes. Conclusion:With our basic tools, we could bring more accurate IMRT with MVCT. Also, through our daily image, we checked up on the change in tumor so that adaptive plan could work. It was made it possible to take the cure of long or multiple tumor, the cure in a nearby OAR, and the complicated cure that should make changes of gradient dose distribution.

Variable Axis Baseplate를 이용한 Non-coplanar 토모테라피의 유용성

하진숙,정윤선,이익재,신동봉,김종대,김세준,전미진,조윤진,김기광,이슬비,Ha, Jin-Sook,Chung, Yoon-Sun,Lee, Ik-Jae,Shin, Dong-Bong,Kim, Jong-Dae,Kim, Sei-Joon,Jeon, Mi-Jin,Cho, Yoon-Jin,Kim, Ki-Kwang,Lee, Seul-Bee 대한방사선치료학회 2011 대한방사선치료학회지 Vol.23 No.1

Purpose: Helical Tomotherapy allows only coplanar beam delivery because it does not allow couch rotation. We investigated a method to introduce non-coplanar beam by tilting a patient's head for Tomotherapy. The aim of this study was to compare intrafractional movement during Tomotherapy between coplanar and non-coplanar patient's setup. Materials and Methods: Helical Tomotherapy was used for treating eight patients with intracranial tumor. The subjects were divided into three groups: one group (coplanar) of 2 patients who lay on S-plate with supine position and wore thermoplastic mask for immobilizing the head, second group (non-coplanar) of 3 patients who lay on S-plate with supine position and whose head was tilted with Variable Axis Baseplate and wore thermoplastic mask, and third group (non-coplanar plus mouthpiece) of 3 patients whose head was tilted and wore a mouthpiece immobilization device and thermoplastic mask. The patients were treated with Tomotherapy after treatment planning with Tomotherapy Planning System. Megavoltage computed tomography (MVCT) was performed before and after treatment, and the intrafractional error was measured with lateral(X), longitudinal(Y), vertical(Z) direction movements and vector ($\sqrt{x^2+y^2+z^2}$) value for assessing overall movement. Results: Intrafractional error was compared among three groups by taking the error of MVCT taken after the treatment. As the correction values (X, Y, Z) between MVCT image taken after treatment and CT-simulation image are close to zero, the patient movement is small. When the mean values of movement of each direction for non-coplanar setup were compared with coplanar setup group, X-axis movement was decreased by 13%, but Y-axis and Z-axis movement were increased by 109% and 88%, respectively. Movements of Y-axis and Z-axis with non-coplanar setup were relatively greater than that of X-axis since a tilted head tended to slip down. The mean of X-axis movement of the group who used a mouthpiece was greater by 9.4% than the group who did not use, but the mean of Y-axis movement was lower by at least 64%, and the mean of Z-axis was lower by at least 67%, and the mean of Z-axis was lower by at least 67%, and the vector was lower by at least 59% with the use of a mouthpiece. Among these 8 patients, one patient whose tumor was located on left frontal lobe and left basal ganglia received reduced radiation dose of 38% in right eye, 23% in left eye, 30% in optic chiasm, 27% in brain stem, and 8% in normal brain with non-coplanar method. Conclusion: Tomotherapy only allows coplanar delivery of IMRT treatment. To complement this shortcoming, Tomotherapy can be used with non-coplanar method by artificially tilting the patient's head and using an oral immobilization instrument to minimize the movement of patient, when intracranial tumor locates near critical organs or has to be treated with high dose radiation.

탈춤의 연행 원리로 본 틈의 미적 기능

하진숙 ( Jin Sook Ha ),정병언 ( Byung Eon Jung ) 한국공연문화학회(구 한국고전희곡학회) 2013 공연문화연구 Vol.0 No.27

본 연구는 탈춤의 연행 원리를 통해 틈의 미적 기능을 찾아내는 데 목적이 있다. 이는 탈춤의 구성 방식이나 연행의 과정이 틈이라는 매체를 다양한 방식으로 활용하고 있다고 보았기 때문이다. 이러한 관점에서 본 연구는 우선 틈의 개념을 정리한 다음, 탈춤의 구성 원리 속에서 틈이 어떤 양상으로 드러나고 있는지, 틈이 갖는 구조적 성격은 무엇인지를 찾아내어, 연행 과정에서 틈이 연희자와 관객 사이에 어떤 미적 기능을 수행하는지를 살펴보았다. 연구의 내용은 다음과 같다. 첫째, 틈은 긍정과 부정의 의미를 동시에 내포하고 있으며, 시간적, 공간적, 인간관계적, 의식적 측면에서 다양하고 폭넓게 활용되는 개념이다. 틈은 구조적으로 비어있는 지점이거나 연속적인 흐름을 깨트리고 있는 지점이거나 대상들 사이에서 양쪽의 문턱이 되는 지점이다. 따라서 틈이 어떤 상황에서 어떻게 인식되느냐에 따라 차이, 변화, 균열, 이탈, 경계, 단절, 여유, 기회와 같은 다양한 의미를 지니게 된다. 둘째, 탈춤의 구성 원리는 틈을 적극 활용하고 있다. 틈은 마당의 구성 방식이나 결합 과정에서 연속과 차단, 이동배치, 삭제 등을 가능하게 하는 구조적 장치로 기능한다. 탈춤의 마당들은 틈을 매개로 조직되어 있기 때문에 현장의 상황에 따라 마당의 구성이 달라질 수 있고, 시간적으로나 공간적으로 조절이 가능하다. 마당 내부에서도 다양한 형태의 틈이 배치되어 전개과정이 자유롭고 현장의 상황이 그때그때 텍스트에 반영될 수 있다. 이는 탈춤의 형식과 내용을 불확실하게 만드는 요인이지만, 구조적으로는 경계, 열림, 미적 장(場)이라는 역동적 성격을 갖는다. 셋째, 틈은 탈춤의 연행 과정에서 관객의 참여, 상호수행성, 자아의 내적 이동이라는 미적 기능을 수행한다. 관객은 놀이 도중에 틈이 발생하면 연행 공간 안에 뛰어들거나 추임새로 극에 관여하면서 극중 흐름을 변화시킨다. 틈이 발생함으로써 극의 연속적 흐름이 깨지지만 이는 관객을 관조적 감상자가 아닌 참여적 행위자로 만드는 계기점이 되고 있다. 또, 틈은 내적으로 상호수행의 동력으로 작용하면서 연희자와 관객이 정서적 협동관계를 취하게 만든다. 연희자가 틈을 활용하여 관객의 동조를 이끌어내면 관객의 야유, 고함, 몸짓 등이 극중에 침투하게 되고, 연희자 역시 관객의 반응에 호응하면서 영향과 반응이 증폭되는 상호 수행적 놀이를 펼치게 된다. 또, 틈은 관객을 현실적 자아에서 놀이적 자아로 이동시킨다. 관객은 극 바깥에서 관조하는 관객이 아니라 극 속에 침투해 들어가 극의 내용을 바꾸고 자신의 위치를 변화시키는 참여적 감상자이다. 연행 과정에서 관객의 감정과 시선은 이미 극 속에 있으며, 그들이 내뱉는 추임새는 극속에서 극중 인물에게 말을 거는 행위이다. 이와 같이 틈은 텍스트에 창조적 전이를 불러일으키면서 탈춤을 공동의 놀이로 만들고 있다. This research examines the ways in which Teum aesthetically functions as one of the structuring and performing principles of Talchum. While arranging the important concepts of Teum, this tries to find out its structural meanings, along with its function interactively produced in the communal relationship between the performers of Talchum and its audience. First, Teum is a term for the liminal space of temporal, spatial, and human relationships, as well as of consciousness aspects. As a point of vacancy which breaks the performing flow of Talchum, Teum has various characteristics of difference, variety, cracks, transgression, borders, respite, and opportunities, thereby bringing forth the threshold between the performers and the audience. Second, Teum is adopted as a structural device of the performing principles of Talchum, while allowing gatherings and departures in the process of scene (madang) composition. Each scene is connected with the other scenes without any causes in illogical ways in time sequence according to the performing condition. Various kinds of Teum can be arranged to the inner part of each scene to induce the variety of its composition and to reflect the spot situation on the Talchum text. Therefore, Teum has such structural meanings as borders, openings, and aesthetic fields, although it makes the form of Talchum indeterminate. Third, Teum functions as some aesthetic devices such as participatory motivation, interactive dynamics, and the means of the audience inner change. Though Teum breaks the flow of its performance, it turns the audience into positive actors, not passive audience. Teum provides some motivation for the audience to participate in the performance, leading the performers and the audience to their emotional collaboration for the dynamic interaction. While the words and gestures of performers induce the reactions of audience such as cursing, crying, and gesturing in order to be infiltrated into the performance, they increase the power of their effects in mutual ways. Teum functions as a device of transforming the audience themselves into playful individuals. While allowing the audience to be emotionally infiltrated into the performance. Them guides them into the Chuimsae (appeal) of saying hello to the performers. Therefore, Teum paves the way to make possible Talchum as a performance for community by allowing the possibility of opening the horizon for its creative transition.

승무에 표상된 ‘무한성’과 ‘자기보존’-버크와 칸트의 숭고미 이론에 기초하여

하진숙 ( Jin-sook Ha ) 대한무용학회 2020 대한무용학회논문집 Vol.78 No.2

This study interprets the aesthetic characteristics of the Seungmu based on the sublime theories of Burke and Kant. According to Burke and Kant, sublime means the feeling of self-preservation that arises when one finds the ideology of infinity in the mind and overcomes one's own limitations. Artistic symbols indirectly represent the ideology of infinity. The movement of the symbol expressed in the Seungmu allows us to look beyond the image perceived by the senses and look into the human heart suffering, and foresee the freedom of being free from obsession. The continuation of the image that cannot determine the boundary arouses admiration in the mind because it represents an infinite space-time. In the sense that these feelings are given through pain beyond the limits of the senses, the aesthetic character of the Seungme can be understood as sublime based on self-preservation.

< 기획논문 2 > 불교와 서양사상의 접점과 그 변용 : 수잔 랭거(Susanne K. Langer)의 상징이론으로 본 작법무(作法舞)의 표현 원리

하진숙 ( Jin Sook Ha ) 동아시아불교문화학회 2015 동아시아불교문화 Vol.0 No.23

본 연구는 수잔 랭거(Susanne K. Langer)의 예술상징이론에 기초하여 작법무(作法舞)의 표현 원리를 연구하고 있다. 작법무는 불교의 교리와 관념을 상징적으로 표현한 종교의식무로 구도(求道)에 1차적 목적이 있으나 포교 및 대중 교화의 차원에서 마련된 하나의 예술행위이기도하다. 작법무는 비유와 추상, 모방과 전환, 통일의 다양화, 가상과 환영의 원리를 이용해 종교적 관념을 예술적으로 표현해낸다. 작품 속에 표현된다양한 동작들은 모사나 설명이 아니라 관념의 투영이며, 비유의 방식으로 표현된 하나의 추상화이다. 작법무는 자연 및 감정의 양식을 모방하고 있으며, 전환적 표현을 통해 예술상징의 효과를 극대화시키고 있다. 이때 동작들은 축어적 방식으로 결합하는 것이 아니라 전체가 통일된 이미지로 지각될 수 있는 유기적 관계로 결합한다. 작법무는 현실에 실재하는 사물이 아니라 예술적으로 표현된 하나의 가상이기 때문에 내면으로부터 환영을 불러일으키지만 예술에서의 환영은 지각된 내용을 통찰할 수 있게 만드는 힘으로 작용한다. 수잔 랭거의 상징이론은 작법무를 ‘지각 가능한 하나의 완전한 표현형식이자 예술상징’으로 이해할 수 있는 논거를 마련해준다는 점에서 의의가 있다. 그러나 작법무는 한 개인의 관념이 아닌 오랜 역사적 과정을 거치면서 축적되고 변형되어 온 종교 역사적 관념의 표현이다. 따라서 그 역사성과 종교성이 예술상징의 내용으로 수용될 수 있을 때 더욱 섬세한 논의가 가능해 질 것이다. The purpose of this study is to examine the principle of expression in Jakbeopmu(a dance for Buddhistic rituals) grounded on Susanne K. Langer’s theory of art symbols. Jakbeopmu is a dance for religious rituals expressing Buddhistic ideas and notions symbolically. Its primary goal is cultivating oneself, but it is also a work of art intended to produce artistic effects in terms of propagating and reforming people. In fact, religious notions that are hard to be explained with language can be sometimes delivered more easily when expressed in artistic forms. Jakbeopmu is creating artistic forms through analogy and abstraction, imitation and transition, diversification of unity, and virtuality and illusion. A variety of gestures composing Jakbeopmu are a kind of abstraction expressed through analogy, not through copying or explanation. Various gestures of it attempt the transition of expression from imitation and maximize the effects of symbols. The gestures allow Jakbeopmu to be perceived as holistic forms(gestalt) through organic and mutual functions between them. Concrete gestures are not the objects that actually exist in reality, and they are in virtuality, so they cannot but produce illusion; however, artistic illusion works as insight to recognize the meaning of it through virtuality. The theory of symbols is significant in that it lays the ground for understanding Jakbeopmu as ‘a specific symbol equipped with a complete expressive form’. However, as Jakbeopmu is the expression of notions in the history of religion accumulated and transformed in the process of long history, we can discuss it more elaborately only when such historicity and religiosity can be explained with the principle of art expression.

탈춤의 불확정적 형식과 상호수행성의 관계

하진숙 ( Ha Jin-sook ) 한국무용예술학회 2015 무용예술학연구 Vol.52 No.1

In the research, the relationship between indeterminate form and inter-performativity of Talchum has been investigated. It is possible to add to, delete, and change the text of Talchum according to its situation. Furthermore, time and space in Talchum can be changed according to the surroundings and conditions of a performance. The formative indeterminacy of Talchum would drive its audience to participate in some situations of the performance. Teum enables the performance to be reciprocal while making the opportunities of relax and chance, digression and participation, variation and creation between the actors and the audience. Therefore, Talchum has to include the activities of audience’ responses, and its meaning has to be moulded at the scene. Some characteristics of Talchum as a performance art lie in the transferred experience of its audience through the variableness of formative indeterminacy and improvising events, and the transfer into actor.

아폴론과 디오니소스 예술충동이론으로 본 작법무의 표현원리 연구

하진숙 ( Jin-sook Ha ) 대한무용학회 2018 대한무용학회논문집 Vol.76 No.2

This study examines the dual expression principle of Jakbeopmu (Buddhist ritual dance) through Nietzsche's theory of art impulse. Jakbeopmu shows Buddhist teachings through a dual combination of form and melody. The movements with clear line and contour represent the shape by the Apollonian impulse, and the atypical movements between the shapes represent the melody by the Dionysus impulse. The melody prevents one movement from being perceived as a separate form, and the form is united with the melody and reveals the essence of the world in a figurative way. Jakbeopmu places atypical, intangible, and unfettered movements on the bottom of all shapes, revealing that the world is connected to each other.

작법무의 동작 구성과 미의식에 관한 연구 -불모산영산재를 중심으로-

하진숙 ( Jin Sook Ha ) 대한무용학회 2010 대한무용학회논문집 Vol.63 No.-

There are few studies on Jakbeopmu, Buddhist ritual dance. This makes me start this research. I explore the characteristics of Jakbeopmu, which has been performed at Buddhist temples in the southeastern region of Korea. The types of Yeongsanjae, Buddhist ritual, performed in Mt. Bulmo could be divided into Yeonwhamu(lotus flower dance), Baramu(Buddhist cymbal dance), and Beopgomu (monk`s drum dance). Each of them would be composed variably, according to each ceremonial process. Yeonwhamu imitates the movements of a crane. It leads people to return to Buddha, Buddhist beliefs, and Buddhist monks. Yeonwhamu is made up of several movements - folding & unfolding the arms with a flower, generally repeated three times, and facing each other. The dance reveals that the movements of the upper body are harmonized gracefully with those of the lower body. It shows the sublime beauty by leading to the calm world of Buddhism with Beompae, Buddhist chant. Baramu is performed with cymbals on hand. This suggests a united oneness of the world. The dance shows several movements, such as passing cymbals behind the head, folding & unfolding the arms, and turning around. When a dancer passes the cymbals behind the head, the cymbals moves round and round. When a dancer turns around, he/she tosses them up. The dance shows the aesthetic sensitivity and the sublime harmony, toward the united oneness of the world in the sublime and harmony. Beopgomu aims to lead all the people suffering from this world to Buddhist world. The dance show movements folding & unfolding the arms, beating a drum, and arching the back. The movements of Beopgomu are more active and bigger than other dances. All the movements of Beopgomu are seriously performed without any worries. This gives us delight and emancipated feeling without all the constraints. Jakbeopmu, Yeongsanjae performed in Mt. Bulmo shows the beauty of the sublime and the grace. It shows unique dance movements and rhythms, which folk dance in the southeastern region of Korea has. Therefore, this study leaves an area which can be further developed, regarding the relationships and influences between Jakbeopmu and folk dances.