• Title/Summary/Keyword: 무형문화재조사보고서

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An Essay on the Change of Jinju Sword Dance after being designated as an Important Intangible Cultural Asset (<진주검무> 중요무형문화재 지정 이후의 변화에 관한 소고)

  • Lee, Jong Sook
    • Korean Journal of Heritage: History & Science
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    • v.49 no.1
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    • pp.4-21
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    • 2016
  • The purpose of this study is to investigate changes of Jinju Sword Dance, characteristics of the changes, and the current condition of its preservation and succession after the designation as the important intangible cultural property no. 12 in January 16th, 1967. In other words, this study understands the situation which has established the present state of after changes over generations. As of now. the year of 2015, the 3 generation holders have been approved since 1967. In 1967, 8 members of $1^{st}$ generation holders were selected from gisaengs of Gwonbeon. However, the succession training was incomplete due to conflicts among the holders, the deaths of some holders, and economic activities of the individuals. As the need of a pivot for succession training and activities was rising, Seong, Gye-Ok was additionally approved as the $2^{nd}$ generation holder on June $21^{st}$, 1978. Seong, Gye-Ok who had never been a gisaeng had dramatically changed with a lot of new attempts. After the death of Seong, Gye-Ok in 2009, Kim, Tae-Yeon and Yu, Yeong-Hee were approved as the $3^{rd}$ generation holders in February, 2010. Based on the resources including the "Cultural Research Reports of Important Intangible Cultural Properties" in 1966 and videos up to 2014, the changes of the dance and surroundings are as follow. 1. The formation of musical accompaniment has been changed during the 3 generations. In the video of the $1^{st}$ generation(in 1970), the performance lasted about 15 minutes, whereas the performance lasted 25 minutes in the video of the $2^{nd}$ generation. Yumbuldoduri rhythm was considered as Ginyumbul(Sangryeongsan) and played more slowly. The original dance requiring only 15 rhythms was extended to 39 rhythms to provide longer performance time. In the $3^{rd}$ generation, the dance recovered 15 rhythms using the term Ginyumbul. The facts that Yumbul was played for 3 minutes in the $1^{st}$ generation but for 5 minutes in the 3rd generation shows that there was tendency pursuing the slowness from the $2^{nd}$ generation. 2. For the composition of the Dance, the performance included additional 20 rhythms of Ginyumbul and Ah(亞)-shaped formation from the $2^{nd}$ generation. From the $3^{rd}$ generation, the performance excluded the formation which had no traditional base. For the movement of the Dance, the bridge poses of Ggakjittegi and Bangsukdoli have been visibly inflexible. Also, the extention of time value in 1 beat led the Dance less vibrant. 3. At the designation as an important intangible cultural property (in 1967), the swords with rotatable necks were used, whereas the dancers had been using the swords with non-rotatable necks since late 1970s when the $2^{nd}$ generation holder began to used them. The swords in the "Research Reports" (in 1966) was pointy and semilunar, whereas the straight swords are being used currently. The use of the straight swords can be confirmed from the videos after 1970. 4. There is no change in wearing Jeonlib, Jeonbok, and Hansam, whereas the arrangement of Saekdong of Hansam was different from the arrangement shown in the "Research Reports". Also, dancers were considered to begin wearing the navy skirts when the swords with non-rotatable necks began to be used. Those results showed that has been actively changed for 50 years after the designation. The $2^{nd}$ generation holder, Seong, Gye-Ok, was the pivot of the changes. However, , which was already designated as an important intangible cultural property, is considered to be only a victim of the change experiment from the project to restore Gyobang culture in Jinju, and it is a priority to conduct studies with historical legitimacy. First of all, the slowing beat should be emphasized as the main fact to reduce both the liveliness and dynamic beauty of the Dance.

A Folkloric Demonstration on 'Sam-gama' The Field Report on the Construction, Structure and Utilization of 'Sam-gama' ('삼가마' 유구에 대한 민속학적논증 '삼가마'(삼굿)의 축조와 구조, 운용에 대한 현지조사 보고)

  • Lim, Hyoung Jin
    • Korean Journal of Heritage: History & Science
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    • v.42 no.4
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    • pp.4-19
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    • 2009
  • Though admitting that, in light of the recent archaeological trend, the excavation on relics of Sam-gama (a sort of kiln steaming the hemp) is increasingly reported, little efforts by far have been made not only to restore its traditional structure design but also to research hardly the change of hemp-steaming technologies in ages. In this regard, this paper shows the exploration of structural method and design as well as operability with regard to Sam-gut, traditional hemp-processing equipment that was recently reconstructed in Jungsun, Kangwon Province. Samgut, generally positioned at the waterside area, is an traditional device for steaming hemp to get bast fibers from the raw material of hemp, principally consisting of HWA-JIP(fire-place) to obtain steams by feeding fire ad Mong-got(boiling chamber) to make the hemp steamed after stacking. More specifically, thick round-logs were piled at the bottom of Hwajip prior to stacking stones around its circumferential area. When the timber positioned below gets burned with high temperature to heat stones existing in the upper side, waters then poured onto it after laying a bundle of grass and soil up to the boiled stones. If so, there generates hot vapor, which is conveyed to Monggot to steam the hemp. Functionally, it is of outstanding importance that Samgut is capable of producing high-temperature water vapors instantaneously under the intensive manpower, thus being constructed achievable for those purposes. The Samgut made by digging the ground is an instant facility that is closed after use. The remains, which were used to generate higher thermal power for steaming hemp, make it hard to excavate the historic traits because there left little vestiges in the soil, which means keen attention must be paid to find out the trace of Smgama relics. Future research stall be focused on collection of broader data regarding Samgut including technological review in extracting bas fibers from the hemp.

An Analysis of Gyeonggi Sinawi Dance in the Fashion of Kim Sukja (김숙자류 경기시나위춤에 관한 고찰)

  • Han, soomoon
    • (The) Research of the performance art and culture
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    • no.22
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    • pp.413-439
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    • 2011
  • This study aims to look for the proper directions of following and developing Gyeonggi sinawi dance in the fashion of Kim Sukja by closely examining its kinds and patterns. First, its characteristics and education reality were investigated. Second, the seven kinds of Gyeonggi sinawi dance Kim Sukja allegedly handed down (according to the 121st Report of the Intangible Cultural Assets) were concretely examined. Third, the composition of each dance pattern was studied. Fourth, various beats used in Gyeonggi sinawi dance were revealed. The late Kim Sukja had outstanding artistic talent and ability in Gyeonggi sinawi dance movements, musical composition, gayageum accompanied singing, and pansori episodes. Behind her were master singer Kim Seokchang (grandfather), father Kim Deoksun (belonging to Hwaseong Artist Board), shaman-mother Jeong Gwiseong, and great dancer Jo Jinyeong. Kim sukja's seven Gyeonggi sinawi dance types were bujeong nori, teo beollim, jinsoe, jeseok, kkaekkeum, ollimchae, and dosal puri (designated as Important Intangible Cultural Asset in 1990). Such beats as seopchae (dosal puri), mori, bal ppeodeurae, bujeong nori, ollimchae, jinsoe, and teo beollim (ban seoreum) were mainly used in Gyeonggi sinawi dance. In sum, Kim Sukja's dance was more than an individual's dance to represent the cultural types and life at that time in Gyeonggi-do and be a very important academic historic material. Therefore, it is the responsibility of the present generation to hand down and develop such invaluable traditional cultural materials.

Search for an archaic form of Jain-Danoje - Focucing on 'Yeowonmoo' and 'Hojanggut' - (자인단오제의 고형(古形)에 관한 탐색 - '여원무'와 '호장굿'을 중심으로 -)

  • Han, Yang-myung
    • (The) Research of the performance art and culture
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    • no.19
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    • pp.5-33
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    • 2009
  • Jain-Danoje's course since modern is not different with almost all of folk performances, which were restored and reconstructed with a background of the designation of an intangible cultural heritage and National folk arts contest sine the 1960s. Generally, these folk performances were decontextualized in course of extinction and reappearance, and recontextualized in course of new directions on tradition. Also, the performances were interpreted differently and transformed by the main constituents of reappearance. Jain-Danoje nowadays has a regular form just at that time that has been designated as a cultural heritage at 1970s. But, today's Jain-Danoje is clearly different with the last appearance in 1936 and some Literature and jainhyun-eupji. I think such differences would stems from the process of reproduction. From this perspective, I had investigate Old literature and the early days report, and the current text. Especially, I will show the considerable change which has been occurred in the Yeowonmu and Hojanggut, the central role to configure that identity, by comparing past and today. As a result of consideration, today's form of the Yeowonmu and Hojanggut are created texts that mind the designation of an intangible cultural heritage and National folk arts contest. These texts has been reproduced without understanding about structure and current of folk festival and state of performance which has been transmitted on premodern society. some intellectuals search for an archaic form of Jain-Danoje based on jainhyun-eupji that created in 1895, except the other jainhyun-eupji. Moreover, because of the understanding with a bias, they can't grasp the meaning about the religious service for Hanjanggun, and they can't see the facts of Yeowonmoo. In addition, they were aware of 'o-sin' that led by Hojang as a fancy dress parade in a carnival, and that is recognized as a component of Jain-Danoje, so there was other text which is different from our own festival.