• (The) Research of the performance art and culture
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• no.32
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• pp.371-397
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• 2016

The function of the Duhak nongak(農樂) in Jecheon consist of Ceremony, Labor, and Entertainment. Before the commemorative rites for village god village people beat a small gong. This is a evidence of the drive away evil spirits in New Year's Eve of the lunar year. Before harden house site village peoples beat musical instrument noisily. In order to press hard the god of the earth they play musical instrument. Musical instrument not a simple musical instrument, but a purify and wish tool. When weeding a rice paddy Durae organized in Sangpung village. Durae are less effective than communal sharing of labor in weeding effect. Nonetheless, Nongak carried out core function in Durae. In order to participate Nonngak concours, peoples made a Pangut. From independence to 1970s people combine traditional nongak and Pangut. Since then village people played Pangut. From 1990s Pangut was played by Duhak Nonngak Preservation Association. Through the participation Nonngak concours, Duhak nongak was regrouped. Finally this nongak prepared Taeguk-jin, Snail-jin, Cross-jin, Sabang-jin, Sanggyeonrae Bans anggyeonrae-jin, Palbang-jin, Rope making and individual play. Duhak Nonngak promptly met the needs of the times. So, they could play Pangut. The feature of the Duhak Nonngak is that active cognition, highly skilled musician a patron and scouting a competent leader.

• (The) Research of the performance art and culture
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• no.20
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• pp.213-249
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• 2010

Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, "Kyungjanpae", who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.57-70
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• 2016

Gutnori(ritual A Comparative Study on Shaman's Costume of south coast Byeolsingut in Korea and the Guizhou Nahui in China play) refers to a play in the form of showing actual appearance of god and actual comedic gag with gutguri rhythm. In order to carry out a comparison between the shaman's costume in Korea and China, this study will delve into the types of shaman costumes that are worn in the gutnoris(mask plays) performed in Korean guts and those of China performed in Nahui. As research method, literature reviews and field surveys have been conducted concurrently. In terms of literature reviews, previous research have been studied centrally. For field surveys, Korean gut, Byeolsingut performance was observed for 2 days 1 night between 1st Feb. 2014-2nd Feb. 2014 in the south coast and Chinese Nahui in Guizhou was observed for 2 days 1 night between 25th Nov. 2014-26th Nov. 2014. By comparing Shaman's costume that is worn in Korean shamanism with that of Chinese shamanism as a partial means of understanding the uniqueness of Korean shaman's costume, the following conclusion was derived upon focusing on the common types of gutnori costumes and organizing them. As a universal trait for shaman's costumes in gutnori and nahui in Korea and China, traditional clothing were worn. A unique trait for shaman's costume in gutnori and nahui in Korea and China, deity expressions were shown in both cases using colors.

• (The) Research of the performance art and culture
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• no.18
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• pp.5-46
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• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.

• (The)Study of the Eastern Classic
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• no.69
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• pp.349-371
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• 2017

"Hajaeilgi(荷齋日記)" was written by Ji Gyu-sik, a gongin of Saongwon(司饔院)'s branch, almost everyday for 20 years and 7 months from January 1st, 1891 until the leap month of June 29th, 1911. It deals with many different areas including domestic and foreign circumstances, custom, rituals, all the affairs related to the branch, and also everyday life events he did see or hear about. Particularly, Ji Gyu-sik did not belong to the yangban class, and we can hardly find diaries written by such class' people. Here, what this author pays attention to among the things written in "Hajaeilgi" is the contents about folklore. Ji Gyu-sik wrote in his "Hajaeilgi" about things related to folklore, for example, seasonal customs, folk plays, rituals, or folk beliefs that were actually practiced then as a person not belonging to the yangban class. Such diaries are rare, and its value is highly appreciated as a material, and it is meaningful in the aspects of folklore as well. Therefore, as part of the work to look into folklore found in "Hajaeilgi", this author focuses on national rituals and folk beliefs in it. The things that have been discussed earlier can be summed up as follows: About national rituals, it is sorry that it only deals with the emperor's enthronement and emperor and crown prince's birthday in garye(嘉禮); however, it is meaningful to know that the people faithfully carried out national ceremonies and celebrations then. Particularly, it is noteworthy that during the national ceremonies or celebrations, students were asked to sing the national anthem. About hyungrye(凶禮), only it deals with the court funeral rite. Aside from Minbi's funeral rite, the court funeral rite was performed properly at the right time according to the procedure like before, and also, it seems that the people fulfilled it faithfully by order of the government. Also, it can be learned from it that Japanese killed Minbi, burned the body with oil, and left the ashes behind. About folk beliefs, the branch held a memorial service at the shrine of the town regularly. The town, too, performed Gocheongsinsa each year. The money needed for the memorial service was collected from the town people differently according to their financial situations, and they prepared for jesu for the ancestral rite altogether. The memorial service was carried out in Sansindang or Bugeundang, too, and it was common that they summoned a shaman to perform a gut. The diary is valuable as material. After being a Christian, Ji Gyu-sik once tried to abolish sinsa jesa held in hoesa and get rid of saesin(賽神), that is, a gut or pudakgeori, but he had no choice but to follow the precedent. Meanwhile, it is also noteworthy that when the town suffered from floor and infectious disease, Ji Gyu-sik installed an altar in front of his house for the town's wellbeing and health, prepared for jesu including offerings and drinks, and held a memorial service to Hwangcheonhuto(皇天后土; the gods of heaven and earth) accompanied with the town people. Also, when he had any hardships in his family, Ji Gyu-sik summoned a shaman for a gut or offered a devout prayer to the mountainous god. Such shamanism or the things like worshiping Gwanseongjegun(關聖帝君) mostly in the beginning of January and telling fortunes about the year were all folk beliefs. This was very popular among the people, and it seems that it was deeply rooted in his life as well. Also, Ji Gyu-sik supported Fengshui beliefs, and it seems that it is not different from the people's general tendencies, either. As described above, "Hajaeilgi" dealing with national rituals and folk beliefs in it is valuable as material and is meaningful for research on forklore, and moreover, it is also significant in the aspects of forklore as well.

• (The) Research of the performance art and culture
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• no.37
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• pp.187-221
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• 2018

The style of performance to contemporary nongak is not fixed in a specific period of time, but in conjunction with the total change in society that has occurred during its long time from traditional society to the modern times. It is important to recognize that the traditional performance art forms that we see and feel today, including nongak, are constantly interacting with the times and are a change in the design that has been shaped in the past. Now, we must get rid of the negative idea that there is some fixed prototype in Nongak. Also, the value and the need for preservation of current Nongak should not be evaluated according to the ' pure genealogy of village descent, ' which was possible only in villages with small population movements long ago. If can get rid of the stereotypes, can greatly expand the view that we read the values of a certain Nongak. Looking away from a few of these traditional fixed perceptions can significantly broaden the view of reading the winning values of some farmers ' songs. In this regard, this report determined the performing style and nature of Changwon's Toichon-noangak through a structural analysis of the Toichon-noangak in contemporary, and discussed the significance of the transmittion of Toichon-noangak. Changwon Toichon Nongak started out as an even-present ritual performance based on the religious nature of the village community and actively exchanged with the economic, social and cultural foundations of the Republic of Korea, which began to accumulate in the modern changes. Generally, the performance style of village Nongak has a combination of characteristics according to the ritual, Dure(collective labor), entertainment, and these three functions. Toichon Nongak is also a village Nongak style and in which of ritual nongak and village entertainment nongak are connected in parallel as one in the big total structure. The origin, background, purpose, and style of towing of Toichon noangak demonstrates that the Toichon noangak is originally ceremonial noangak derived from a prayer style of Dongje. Then, various factors influences are interacting with Toichon noangak within the orbit of modern society, such a style of playing, popular nongak, is believed to have undergone an extended change. Overall, Toichon nongak performance style can be called nongak, which maintains traditional customs and it also has the changed characteristics according to the times of village society.

• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.149-188
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• 2011

This thesis presents the research of analytical psycholoy in respect of Jindo Dasiraegi. In a funeral of Jindo, situated in the southern island of Korea, there is a theatrical performance which is called Dasiraegi(rebirth). This research manifested a basic, universal meaning of psychological approach related the implicit of death in performing theatre from a analytic psychological point of view. The characteristics of this theatrical feast are like these ; 1) funeral festival 2) entrance of clown(the existence of antipole and conflict) 3) eroticism 4) active participation of female character 5) difficulty in her delivery 6) the moment of joy thanks to childbirth. The prerequisite of this feast should be a propitious mourning of person dying old and rich. That is, after having a complete life, it could be an entire death. Three main roles in Dasiraegi ; a bat-blind buddhist devotee, a strolling actor teasing men, an apostate monk, theses characters lock horns in a form of triangle conflict relations, then they keep a balance with a fake mourner as a protagonist , modulator and narrator. These characters are indeed clowns who manifested a metaphor as a decent, sacred and reasonable part of shadow regards group consciousness. The alive and the deceased, mourner and fake mourner, piety and confusion, wail and laugh, silence and grumble, death and birth, diverse antipole all coexist then theses are in harmony. The blind devotee and the monk are in antipole, the entertainer(anima) provokes a conflict between them. The infant is a solution as same as a result of conflict. This conflict seems to be eased by birth of a baby which is a symbol of wholeness(ganzheits) but the conflict of antipole is reenacted as insisting his parental right so this solution is leaving the baby to the chief mourner who is fourth character and the first beginning. Unconsciousness, hereby, is negotiating with appeared reality. The Images in unconsciousness are conscious and this new energy in unconsciousness is proceeding towards consciousness, then it became a therapeutic power for the loss of consciousness. Dasiraegi is the play of consolation much more for the alive than the deceased. The death signified not a loss but a resurrection and this intends a transition of new leading independent role for the alive. These make us have more prudent consideration concern the double sense of renewal for the dead and the alive. It is preserved as only a form of drama on stage after disappearance of Dasiraegi in a funeral recently. Dasiraegi was a manifestation of unconsciousness for compensation about the unilateral attitude of group consciousness to the strict death excessively. Therefore, this will enable reflect the relativeness and the attitude which regards the death as the end today.