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Generally, Koreans tend to have bad images on the meaning of the word ‘Gisaeng(妓生)’: images like very shallow-minded, lewd and sexual slaves. Gisaeng could not help but being inherited unfair social structural circumstance to live. Once she was registered in Gijeok(妓籍), she could not easily get out of her social position for the entire life of her. Not only the Gisaeng in private employ but also Gwanki(官妓) should meet the social systemic principle, which had kept alive through Gisaeng Corporation in Japanese Occupation Time and Gwonbeon(券番).I also look at Gisaeng in the viewpoint of the scholars mentioned above. I believe that the study of Korean dance shall start from the study of Gisaeng in order to trace the artistry of Korean dances including modern dance, contemporary dance and etc. In this study, therefore, I have studied Gisaeng focusing on ‘Gwanki’ who was the main boy of not only Yeoak(女樂) but also culture, and I have arranged the main stream of the origin and change of Gisaeng based on Gwanki system. I, however, thought that it was improper to regard Wonhwa/Hwarang system of Shinra era as a dance based Gisaeng system even if such system might be a starting point to indicate that songs/dances and training of Hwarang existed and there was already Changki customs then in Shinra era. In this thesis, therefore, I defined that (dance of) Gisaeng originated from ‘Eumsungsu(音聲署)’ of Shinra era.
Gwanki system did not only build up the foundation for Gisaengs’ artistry but also form their rules. In Joseon(朝鮮) era, Gisaengs were from general slaves, slaves in government employ and slaves in private employ. Those who were beautiful and talented among such slaves were selected as Gwankis or Sungbees (Gisaengs specialized in singing) and raised up as Gisaengs for music/song/dance. Late in Joseon era, they were divided into 3 classes: Ilpae(一牌), Ipae(二牌) and Sampae(三牌), which indicated that there were role grades and rules also in Gisaeng society according to social order of that time. Gisaengs, however, were not highly treated as artists and professional workers. They could not get out of their social position as slaves before Korea was modernized. I, however, guess that they would have been differentiated from the other slaves because of their unique position as artists and entertainers who could enjoy the splendid Yangban (noblemen) culture indirectly but quite largely.
Such dancers as Choi Seung Hee(崔承喜), Cho Taik Won(趙澤元), Bai Gu Ja(裵龜子) and etc are often raised up to talk about when Korean dance began to be modernized and who pioneered Korean modern dance. It is largely significant in terms of both history and art that they bravely accepted new western dances and modernized such western dances. Gisaeng dance, however, was not less popular than both court dance enjoyed by kings and gentries and folk dance of normal people’s group. Gwanki system having lasted since Shinra through Goryu till Joseon era was abolished and Gwankis were totally decomposed late in Joseon (1907). Such dispersed Gisaengs were absorbed naturally into Gisaeng Corporation (1908). Then, Gwanki who used to serve kings and gentries began to be civilized performing both Jeongjae and folk dances. At last, they accepted western culture and introduced new dances such as ‘Jigumu(地球舞)’, ‘Jeonkichum(電氣)’ and etc.As indicated above, the systematically specialized (dance of) Gisaeng had been based on her artistic skill since long time ago; was one of main bodies who promoted modernization of Korean dance; and was the best artist who kept her dance alive as the deeply artistic Gyobang(敎坊) dance.