A Study on the historical background and key figures of Dongrae-Gwonbeon

This study explores the historical background and key figures of Dongnae Gwonbeon, focusing on its unique characteristics through an analysis of associated individuals, categorized into three groups: the gisaeng as central participants, the art instructors as educators, and the patrons as supporters. Dongnae-Gwonbeon, known as the first, foremost, and last gwonbeon in the Busan region, has a long and significant history. During the Japanese colonial period, it was crucial for preserving and developing traditional Korean arts and served as a key center for traditional performing arts education. Additionally, it was a bastion for righteous gisaeng involved in social movements and community service. Today, many of Busan’s intangible cultural heritages are closely linked to Dongnae-Gwonbeon. The institution played a pivotal role in the development of various traditional dances such as Dongnae-Hallyangchum, Dongnae-Yaryu, Dongnae-Gomu, Dongnae Ipchum, and GangTaehong-ryu Sanjo-chum. The study’s significance lies in its classification and introduction of key figures associated with Dongnae-Gwonbeon into three groups: the gisaeng as main participants, the art instructors as educators, and the supporters as patrons. The findings reveal several unique characteristics of Dongnae Gwonbeon: Firstly, although Dongnae-Gwonbeon was a notable gisaeng tourism site during colonial rule, it also served as a self-determined group of traditional artists resisting Japanese oppression, becoming a symbol of resistant hybridity and a protector of Busan’s folk arts. Secondly, Dongnae-Gwonbeon is distinguished as a living museum of gwonbeon history, surviving until the late 1950s. The institution thrived even during the Korean War, with Busan serving as the temporary capital. The interaction with various traditional musicians from across Korea contributed to the high development of its music and dance culture. Most of Dongnae Gwonbeon’s art instructors were artists from Jeolla Province who had been active in Seoul, which further supports this. In conclusion, Dongnae-Gwonbeon’s solid history and lasting influence are attributed to its excellent art instructors and dedicated patrons such as Moon Jang-won and Kim Dong-min.