“JAKBEOP (作法)” OR THE BUTTERFLY DANCE
BUDDHIST RITUAL – SOUTH KOREA
FROM JUNE 30 TO JULY 4, 2025
CONTEXT
Yeongsanjae is a highly significant Korean Buddhist ritual, intended to honor and liberate the souls of the deceased by allowing them to break free from the cycle of rebirths (samsara) and attain nirvana. This ritual originates from Buddha Shakyamuni’s sermon on the sacred mountain of Vulture Peak (Yeongchuksan), from which it derives its name. Yeongsanjae includes several ceremonial steps, such as ritual chants (Beompae), prayers, food offerings, and sacred dances, including the famous Butterfly Dance (Nabi Chum) and Bara Chum. These dances symbolize the process of spiritual liberation and the spreading of the Dharma, the Buddhist law. The ritual takes place in a solemn setting and is addressed not only to the deceased but also to the living, allowing them to meditate on Buddha’s teachings, life, and death.
Yeongsanjae has been recognized as an intangible cultural heritage of humanity by UNESCO since 2009, due to its great spiritual, artistic, and cultural value in the Korean Buddhist tradition.
INTRODUCTION TO THE BUTTERFLY DANCE (NABI CHUM)
Nabi Chum (나비춤), or the Butterfly Dance, is a Korean Buddhist ritual dance primarily performed during religious ceremonies such as Yeongsanjae. It is one of the most iconic and spiritually significant dances in Korean Buddhism.
Symbolic Meaning:
The Nabi Chum mimics the graceful movements of a butterfly, a symbol of transformation and spiritual liberation in many cultures, including Buddhism. In this context, the butterfly represents the soul detaching itself from earthly constraints to rise to a state of enlightenment and spiritual peace, namely nirvana. Thus, this dance is seen as a metaphor for the soul’s transition from the material world to the spiritual realm.
Dance Characteristics:
- Slow and graceful movements: The dancers, often Buddhist monks or nuns, perform fluid and controlled movements, evoking the lightness of a butterfly in flight. These movements are devoid of haste, symbolizing serenity and peace.
- Costume: The dancers wear traditional robes (jangsam), often white or in soft colors, symbolizing purity and spirituality.
- Ritual setting: Nabi Chum is not merely an artistic performance. It is an integral part of the religious ritual, seen as a spiritual offering to Buddha. It usually takes place in a sacred environment, and the dancers perform their movements with deep concentration, in harmony with the solemnity of the moment.
Role in Rituals:
The Nabi Chum is performed to help purify the sacred space and guide the souls of the deceased toward enlightenment. The dance movements, combined with Buddhist chants (Beompae) and other rituals, help create a harmonious environment conducive to prayer and meditation.
In summary, the Nabi Chum is much more than a dance; it is a prayer in motion that embodies spiritual liberation and the search for harmony between body and mind in Korean Buddhist rituals.
OBJECTIVE
The goal of this master class is to learn its measured and controlled gestures, which carry profound religious meaning, embodying both solemnity and harmony, and creating an aesthetic imbued with gravity and grace. This dance is inspired by the five elements of Brahmanic nature outlined in the Jang-A-Hamgyeong, namely rectitude, elegance, clarity, depth, and breadth. We will explore the ritual movements of Jakbeopmu, such as:
- Jeongjik symbolizes the integrity and uprightness of the body, expressing spiritual righteousness.
- Hwa-a refers to harmonious and elegant gestures, manifesting the inner beauty of the ritual.
- Cheoncheol evokes simple, pure, and unadorned movements, representing spiritual clarity.
- Simman signifies deep and complete movements, translating the intensity and fullness of religious intentions.
- Jupyeon-wonmun symbolizes the openness and expansiveness of movements, representing the wide reach of the Buddhist Dharma.
The Butterfly Dance symbolizes Buddhist law through its actions and movements. Therefore, it is considered the most important among Buddhist ritual dances.
PEDAGOGICAL CONTENT
1 – During this master class, participants will explore various traditional Buddhist methods and choreographies, each carrying deep spiritual and artistic significance. Practices to be studied include:
- The composition method of the Dojang verse: Exploration of gestures related to the sacred space, symbolizing the establishment of the ritual site.
- The composition method of the Tea verse: Refined gestures accompanying the offering of tea, a symbol of purification and meditation.
- The composition method of the Four Directions of the Body: A dance representing the unity of body and mind by harmonizing the four cardinal points.
- The composition method of the Jeongrye verse: Movements associated with the recitation of a ritual verse, illustrating devotion and concentration.
- The composition method of the Incense Flower verse: Elegant gestures embodying the offering of incense, symbolizing the purification of the mind.
- The composition method of the Unsim verse: A technique centered on inner awareness and self-harmony.
- The composition method of the Hell of Suffering: A symbolic dance illustrating suffering and the path to spiritual liberation.
- The method of taking refuge in Buddha: Movements representing spiritual commitment and the search for guidance from Buddha.
- The method of taking Mandala: Ritual gestures aligned with the creation of a mandala, a symbol of the universe and awakening.
- The method of taking Sutras: A dance accompanying the recitation of sacred Buddhist texts, vehicles of wisdom.
- The method of taking refuge in the Three Jewels: A practice symbolizing devotion to the Buddha, the Dharma, and the Sangha.
- The method of praising the Peony: Celebrating the fleeting beauty of life through graceful gestures inspired by the peony.
- The method of taking long-distance kalpas: Movements symbolizing the eternity of time and patience on the spiritual path.
- The method of taking the Five Offerings: Exploration of gestures related to the five main offerings, symbolizing generosity and gratitude.
These methods highlight ritual dances as profound spiritual acts, combining movement, meditation, and prayer. Each method studied in this master class will allow participants to grasp the subtleties of Buddhist dance and understand its full philosophical and spiritual scope.
2 – This training will be accompanied by Buddhist chants and the handling of the following elements:
- Taejing (태징): A large metal gong used in Buddhist rituals. Its deep, resonant sound symbolizes the dissemination of the Dharma (Buddha’s teachings) throughout the universe.
- Moktak (목탁): A wooden instrument shaped like a fish or shell, used to rhythm Buddhist chants.
- Buk (북): A drum used in Buddhist rituals. Its steady beat accompanies chants and ritual dances, enhancing the meditative and sacred atmosphere.
3 – The following movements will be the focus of in-depth teaching:
- The key movements of the dance include half-body bows and the T-shaped foot rotation, symbolizing respect and humility.
- The dance is characterized by the near-total absence of rapid movements. Shoulders and head barely move, giving the choreography a great softness and calmness. Each gesture is carefully executed in a limited space (usually confined to one step), reinforcing the dancers’ attention and respect.
- The first step in learning the Butterfly Dance is the Doryang Gejakbeop. This movement is fundamental as it is often integrated into the Butterfly Dance during Yojap (繞匝: circular movement around Buddha as the center). The Doryang Ge Nabi is the most complex and complete movement of the Butterfly Dance.
Since this dance symbolizes the Buddhist law, its costumes hold particular significance, distinguishing it from other dances.
PARTICIPATION CONDITIONS
This training will be conducted in English, so a good command of the language is important.
Prerequisites: Open to all, with no age limit or prior educational or experience requirements.
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• Deadline for funding applications: 30/05/2025 •
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BIOGRAPHY OF DR. KANG SUN-OK
Born in 1974, Dr. Kang Sun-ok has been dancing since the age of 9. She earned a bachelor’s degree in Korean dance, followed by a master’s degree in physical education for people with disabilities, and then obtained a PhD in philosophy of physical education.
Her academic work, both at the master’s and doctoral levels, focuses primarily on improving the quality of life through bodily movement (dance) for people with disabilities and the elderly. She taught for 12 years to undergraduate and graduate students at Ewha Womans University, the first women’s university in Asia, with over 100 years of history. She currently teaches art psychotherapy at Shinhan University in Korea.
People with disabilities and the elderly share a common challenge: their bodily movements are often restricted or limited. However, these two groups remain full members of society, shaped by the historical and cultural environments of their respective contexts. Building on this concept, she continues her research and conducts training, showing that people with disabilities and the elderly can benefit from more effective psychological and physical treatment through traditional arts.
In particular, Dr. Kang explores Buddhist philosophy and Buddhist art, regarded as pinnacles of philosophical thought. Through Korean Buddhist dance, notably the Butterfly Dance and Bara Chum, unique art forms rich in philosophical value, she works to elevate the value of human life on a global scale. For her, Buddhist dance goes beyond mere performance: it is a profound prayer for life and a means of personal development, enabling a deeper understanding of the universe and oneself.
Dr. Kang has published about 30 scientific articles and has delivered numerous lectures around the world. She is also a guest professor at the Beijing Dance Academy, the Bali Academy of Arts in Indonesia, and the Academy of Choreography in Uzbekistan. Each year, she participates in 6 to 10 different performances.