The sword dance of Korea is seen in various documents, including "The History of the Three Kingdoms," as the sword dance of the Silla Dynasty's Guanchang is Hyoshiim.

However, during the Goryeo Dynasty, the appearance of Guanchang was replaced by a mask, and during the Joseon Dynasty, the female Guan Changmu was recorded, so the sword dance, which was a brave dance, seems to have changed into an elegant Yeo.

After the Silla Dynasty, it was passed down or destroyed by government officials who had been subjugated to the royal court and government offices, and it was eventually established in Gwonburn nationwide.

In Gyeongsangnam-do, Jinju, Tongyeong, and Dongnae were handed down from Jinju, but they disappeared with the abolition of Kwon Beon, but they have been restored from Jinju to this day.

Jinju Geommu is a sword dance performed by women and handed down in Jinju. Also called Geomgimu or Kalchum, it was one of the dances performed during a party held at the Royal Palace.

There are two theories about its origin, i.e., one about the Silla people who started dancing in memory of a boy who sacrificed his life for the country and the other about gisaeng (female entertainer) of Jinju engaging in dancing to console the spirit of Nongae, a gisaeng who jumped into the river clasping a Japanese officer during a party held at a pavilion on a riverside cliff during the Japanese invasion in the late 16th Century.

Jinju Geommu is played by a group of eight dancers in warrior’s uniform to the rhythms of dodeuri, slow taryeong (Korean folk song), and fast taryeong. Two rows of four people on each side dance facing each other, holding a sword and a piece of rainbow-striped cloth in their hands. Dancers’ movements include turning around with bent knees, sitting on the floor, bending forward and then backward, and stretching out the arms with the sword placed on the floor.

The dance is accompanied by the playing of piri (flute), jeo (bamboo flute), haegeum (two-stringed fiddle), janggo (hourglass-shaped drum), and buk (drum).

Jinju Geommu as we see today is one that was handed down among gisaeng who belonged to the local government of Jinju. The old ones were presumed to have served previously at the Royal Palace but returned home and taught the dance to the locals.

Jinju Geommu have artistic value as one that maintains the prototype of the sword dance performed at the Royal Palace in terms of style of performance, movements, and way the swords are handled.

The record shows that the Geommu (sword dance), which was in the form of a performance, was based on the legend of Hwang Chang-rang of Silla during the Three Kingdoms Period. It was performed with Cheoyongmu until the early Joseon Dynasty, in the form of a masked child dancing. Mask since King Sukjong of Joseon

Here comes the black lady. Geommu here was established as the royal palace during the reign of King Jeongjo, and the size of the royal court was increased to suit the characteristics of the royal court. The costumes became fancy and the number of participants increased. After establishing itself as a performance event of various local traditions in the late Joseon Dynasty, the Korean traditional dance became more artistic and refined, and was spread throughout the country by the gisaengs of each local school who participated in the royal court banquet. Currently, the Gyeonggi Inspection Office, Jinju Geommu, Tongyeong Geommu, Honam Geommu, Palace Geommu, Haeju Geommu, and Pyongyang Geommu are reported.

The gyobang sword dance, which was spread by the gisaengs, was widely performed at private banquets. Gyobang Geommu consists of various types of dance, including Hansam Dance, Seon Hand Dance, Sitting Hand Dance, Sitting Knife Dance, Sun Knife Dance, and Yeonpungdae, and includes dance moves of Buddhist dance, which are folk dances of each region, such as Buddhist dance, salpuri, mouth dance, and mask dance. It is especially important in that it is passed down as a group dance performed by many people and has less variation than the hall dance, thus retaining the original dance moves of Korean traditional dance.

The first half of the sword dance performance is static, and the second half of the dance with a knife is dynamically combined with the dual elements of yin and yang. When it comes to space use, it has both ground propensity and dynamism that leaps upward, and actively utilizes space through various large changes.

The characteristic of the sword dance of Gyeonggi sword dance is that there are many side-spinning men who spread their arms horizontally and turn their swords, and the movements that seem to compete with each other are more diverse than royal sword dance. In addition, yum and yangnim are unique sword dance sons-in-law of Gyeonggi Geommu.

Han Seong-jun (1875-1941), who had a systematic framework for the inspection of Gyeonggi Province, was passed down to Kang Seon-yeong (Important Intangible Cultural Heritage No. 92), the owner of Taepyeongmu, and was succeeded by his disciple Kim Geun-hee. Currently, Kim Geun-hee has been designated as the holder of the Gyeonggi Inspection and Quarantine Service, leading the Gyeonggi Inspection and Preservation Society and conducting performances and transmission activities.