[Seoul=Newsis] Reporter Lee Ye-Seul = The National Dance Company of Korea, affiliated with the National Theater of Korea, announced on the 9th that it will perform the special Lunar New Year planning performance ‘2025 Festival: Celebration & Ceremony’ at the Haeoreum Grand Theater in the National Theater of Korea in Jangchung-dong, Seoul, from the 29th to 30th.
This performance is a sequel to last year’s ‘Festival’ showcased at the Haneul Theater. While the previous piece was themed around a ‘Festival for the Gods,’ this year offers a grander and more polished stage with the theme ‘Festival for the King.’
The first act, ‘Guna,’ refers to a court ritual for driving away evil spirits. ‘Byeoksajingeong’ (choreographed by Kim Jong-deok) signifies driving out evil and welcoming felicitous events, enhancing the masculine dance’s simplicity with robust charm to maximize dynamism.
The second act, ‘Yeonhyang,’ is the scene of inviting guests to a feast. ‘Royal Procession’ (choreographed by Kim Jong-deok) vividly depicts the scene of the king, accompanied by civil and military officials, attending a celebratory banquet at Yeongyeongdang in celebration of the New Year. ‘Chunaengjeon’ (choreographed by In Nam-soon), a court dance created during the reign of King Sunjo of Joseon, is noted for its beauty in restraint. This re-choreographed piece by In Nam-soon features two dancers performing in a face-to-face alignment, showcasing the peak excitement of the feast. It concludes with ‘Cheoyongmu’ (choreographed by In Nam-soon), a dance to expel bad spirits and welcome auspicious energies.
The third act, ‘Gukjungdaehoe,’ is a ceremonial rite hosted by the king. It presents ‘Taepyeongmu’ (choreographed by Park Jae-hee), embodying the queen’s hopes for a bountiful and peaceful reign, and ‘Mugo’ (choreographed by Jeong Gwan-young), which marks the festival’s finale.
A representative from the National Theater stated, “We have preserved the inherent beauty of traditional dance with various props and added universally relatable elements to the direction, enabling even audiences unfamiliar with Korean dance to enjoy it.”