wherein does the jiggy lie?

Two friends passed along the following article to me about the Sookmyung Women's Gayageum Orchestra and their performance of the "Queen's Invitation to the Palace of Spring" in Seoul. Soon after having read the best headline EVER, I was pleased to find out that a mentor friend of mine had arranged for tickets for me to see the show on Tuesday evening. The performance was an inspired recreation of the Kyongsuyon (경수연) royal court fête from the Choson Dynasty (1392-1910), featuring courtly processionals, salutations for the Queen, and a series of music and dance pieces. The musical compositions, were either arrangements or loosely inspired pieces based on Korean court music. Some were quite nice, although I found it very difficult to locate the "jiggy" in them. The musical bookends, I should mention, were curiously placed within the context of the contemporary Kyongsuyon re-enactment - a Prelude of Vivaldi's "Spring" from the Four Seasons and a postlude medley of the Beatles' "Let it Be" and "Ob-la-di, Ob-la-da." Last time I checked, though, none of these numbers were part of the Choson courtly music repertoire. 

The musical selections are actually more in line with the Sookmyung Women's Gayageum Orchestra (the first "orchestra" of gayageum zither instruments) and their penchant for performing arrangements of Western classics and pop tunes on gayageum. They recently drew attention for their collaborative rendition of Pachebel's Canon with the Korean b-boy group Last for One and beatbox musician Eun Jun. I suppose the jiggy-ness is more clearly marked here (see below for a YouTube clip)...but this leads me to question then, "wherein does the Korean music-ness lie?"