• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.111-122
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• 2019

The advent of the Fourth Industrial Revolution provides new civilized convenience, while the humanistic ecological environment is at stake. Therefore, looking at our culture and arts ecological foundations is ultimately for the preparation of a rich life for the future. Therefore, establishing a desirable cultural ecosystem begins with an enduring tradition of traditional art.This study examined the dancing characteristics of gabbigochanong-ag, which maintains the nongsapul-inong-ag performance pattern. Two field studies and image analysis studies showed that gabbigochanong-ag maintained the characteristics of traditional nong-ag, which strengthened the solidarity and cooperation of village community members and shared community identity. gabbigochanong-ag encourages the participation of the members of the village community through mechanistic dance movements based on soundness, imitative dance movements with minimal movement, repetitive dance movements, and communicative dance movements, As a result of the change, the members of the group were attracted to each other. Although gabbigochanong-ag was not sophisticated or sophisticated, it had a dancing structure that could create aesthetics and marginal aesthetics of slowness from the swiftness and convenience of civilization and bring harmony among the members of the community with warm emotion.

• (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.