It seems that a holgi(笏記) should be equipped with mubo(舞譜) functions for practical technique based on the theory of jeongjae(呈才), especially for the representation of jeongjae. For that purpose, it needs to have such a more perfect system of mubo as produced via its thorough examination with analysis of several phases of its processes. With this in view, this study put its principal objective on coping for prerequisites for jeongjae to build a foundation as a dance science domain, along with the purpose of educating the practical technique of jeongjae based on its theory. The object of this study was confined to part of 「monggeumcheok(夢金尺)」 jeongjae, with manifestation of mooted points arising from holgi, especially when it is functioned as a mubo as well as with contrivance of methods of how to acquire complements. The methodology of this study had recourse to an integrated comparison of the contents of approximately fifty jeongjaes included in three volumes of holgies, namely, Akhak Gwebeom(樂學軌範), Koryosa akji(高麗史樂志), and Jeongjae Mudo Holgi呈才舞圖笏記. It is, of course, not feasible for the practical technique of jeongjae to be performed just as described in literature but we have to mobilize all possible ways that are found in literature so that they can be practically applied. Because perfect historial materials of jeongjae are extant as jeongjae was planned in the Sejong(世宗) the Great era, perfected in the Seongjong(成宗) era, and then flourished in the Gojong(高宗) era into several kinds of jeongjaes. Above all, this is the major reason why our ancestors performed it based on its literature. As we see in this study, holgi shows more omission rather than inclusion. The process from the initial disposition to next formation is all omitted. When we view from holgi records, the whole dance formation indicates a ‘jokjajwau(簇子左右)’ form, But a comparison of holgi and jeongjae mudo points a retreat form from ‘jokjajwau’ to ‘jokjajihu(簇子之後),’ which leads us to obviously cognize the omission of ‘jokjajwau’ in holgi. This result raises the problem of to what extent we can acknowledge the imperfect mubo in holgi and if it would be a real performance of jeongjae to represent in the order of the imperfect holgi contents. Holgi is considered to be equipped with enough perfect mubo functions to obtain the practical technique of jeongjae based on its theory, namely, to represent jeongjae. Concurrently with this, merely the translation of its contents is thought not to be sufficient to construct a mubo system. Furthermore, the realistic circumstances of the contents recorded and the norms to take choice of the contents to be supplemented should be clearly elucidated and the contents to be supplemented are required to be presented based on literary records. As aforementioned in this study, it is vital to recognize the fact that we may not attach any significance to merely following the order recorded in holgi to represent jeongjae. Finally it is hoped that jeongjae would present the utility of its practical education based on its theory and be reborn as a new practical science away from mere emphasis upon the existing dance education based on transmission of words.