This study examines cultural events accompanying musical performances at Changgyeongwon during the era of the U.S. Army Military Government in Korea, 1945-1948 (hereafter, USAMGIK), with a focus on features of the events and their implications. After Korea was liberated from Japan, a variety of events were hosted at the royal palaces of the Joseon dynasty. Changgyeonggung Palace, among them, had been transformed into an amusement park for the general public─with its new name, Changgyeongwon─by the Japanese colonial authorities. The colonial authorities were boastful of the ‘modernized space’ established by lowering its original value representing the long history of the Joseon Dynasty. From 1946 to 1947, there were five different types of public events at Changgyeongwon, where the general public appreciated a wide range of traditional performing arts. It is noteworthy that folk entertainers and musicians often participated in such events, while colonial-era traditional performances shown at Changgyeongwon Cherry Blossoms Festivals were exclusively court music. As this study argues, the utilization of Changgyeongwon as a stage of traditional performing arts (including both court and folk culture) reflects the desire of artists from different musical circles to include their own music in the post-colonial nation-(and national music)-building project and the USAMGIK’s political agenda leaving a positive image to the public.