This research is animated by curiosity about ancient Korean dance forms and features. The investigation of Ch’ŏyongmu from Silla is a suitable place to start. There are, though, three obvious difficulties that hamper study of the dance: (1) The form of it has undergone much change over the past 1100 years, and now seems far from how it must have appeared in historical times; (2) Source materials such as historical records, illustrations and notations, which might enable one to conjecture its various figures, are scarce; (3) It is thought that there may be no comparable dances to use in reconstructing and determining its form, for no other dances from this epoch are performed in Korea today. However, it is possible to sketch an outline of how Ch’ŏyongmu has been transmitted over the ages, not least bearing in mind academic research into ‘Ch’ŏyong’, and to explore the possibility of comparable dances existing elsewhere, namely in Japan. And by doing so, I have begun to come to an understanding of early stages in the development of the dance.
Above all, the challenge has been to find a comparable dance; so far, no other research has attempted this. Startlingly, I have discovered that the Japanese court tradition still retains elements from Korean dance pieces that originated in the Three Kingdoms and North-South States period. We are well aware that, in the 4th-9th centuries, performing arts as well as Buddhism, Confucianism and techniques such as architecture and painting were introduced to Japan, and it was during this period that Korean dance was brought to Japan. Exploring these dances provides points of comparison that take us forward in understanding the features of ancient Korean dance.
Nasori, that is, a blue dragon dance, is an important starting point. As Lee Hyeku (1967: 35–43) noted, it is reminiscent of Ch’ŏyongmu. When we compare both dances, we can discern ancient Korean forms and features. In this respect, it is dissimilar to tōgaku (唐樂), although it is of note that the origins and the meanings of a majority of the komagaku (高麗樂) repertoire in Japan remain obscure (Nasori is no exception to this observation).
The first important aspect is the enigmatic meaning of the title, ‘Nasori’ and the second is the use of a specific stage property – a silver coloured stick. From a linguistic point of view, and analyzing ancient Korean pronunciation, the meaning of ‘Nasori’ can be conjectured. And, since the stage property is often the symbol of dance throughout East Asia, its meaning and function are also likely to be significant. Historical records in both Korea and Japan help to reveal the meaning and function of the stick. And so, through my research on these two aspects, which I will detail in my presentation with particular reference to the stick, I have been able to make a case for the origin of Nasori, and then use this to compare Ch’ŏyongmu and Nasori.
A number of studies have attempted to find the meaning of the stick, but it seems still to be shrouded in mystery. Is it a symbol of a weapon to defeat evil? Or, is it a baton to command an army? Despite many assumptions, the Tongsa Ilgi indicates clearly that the stick equals the instrument ‘yak’ (籥). The Japanese scholar Irai Hakuseki (1657–1725) explained it as this to a Korean envoy, Im Sugan (1665–1721), as is reported in the account of a 1711 Japanese court reception. In general understanding, the yak has three holes and is a wind instrument originating in China. According to Wamyō Ruijūshō and Wakan Sansaijue, however, ‘yak’ indicates a komabue (高麗笛) with six holes; the ‘komabue’ was called ‘yak’ from the Heian to the Edo periods. One remarkable discovery has been that the sizes of the stick and komabue are the same.
From this, it is intriguing to note the relationship between a dragon and a komabue, which reminds us of a tale from Silla times preserved in Samgukyusa. This is the tale of ‘Manp’asikchŏk’, in which King Munmu (626–681) became a dragon in the East Sea and gave a magical flute to make peace in the world to his son, King Sinmu (?–692). The tomb of King Munmu, Taewang Am, is located in the East Sea, and, within the ŭm/yang and Five Elements theories, the colour of the East is blue. The tale, then, can be related to this theoretical conception, because the name of a belvedere given in the story is Igyŏn Tae (利見臺), a name originating in the Yì jīng/Book of Changes. A name of a pond, Chŏngji (靑池), where the dragon of the East Sea lived is also given, whose colour is most probably blue. Hence, the blue dragon and flute are found reflected within Nasori.
The Silla dynasty national ceremony, P’alkwanhoe, held for five national gods and the dragon god during the winter solstice, included the Ch’ŏyongmu dance. This is echoed by a record in the Kyokunsho: Nasori was performed during the winter solstice in Kibi Shrine (吉備宮). In the tale of Ch’ŏyong, an alternative name of a deity, Oktoryŏng, is given. While this is likely to be a second name for Ch’ŏyong, it indicates a blue man; the colour of the Nasori mask is also blue. Furthermore, Ch’ŏyong is recorded as a son of the dragon king in the East Sea. It is difficult to ignore these possible connections and, although it might appear a minor discovery, this allows us to begin to explore both connections and histories, the latter of which has so far proved elusive for scholars of Korean dance.