• (The) Research of the performance art and culture
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• no.22
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• pp.45-61
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• 2011

Performers of 'Seoul Jinjinokigut' point to aesthetics of performance centered on sense of sight, not sense of hearing. 'Seoul Jinjinokigut' is a kind of theatrical mode of performance, not narrative mode of performance. Performers of 'Seoul Jinjinokigut' succeed in making of relationships of harmonious fusion between 'social drama' and 'stage drama' through performing of Jinjinokigut. 'Seoul Jinjinokigut' is a kind of mode of performance that fuses life and death, not narratively but theatrically.

• (The) Research of the performance art and culture
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• no.33
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• pp.355-374
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• 2016

This paper is a report on the real aspects of Darigut that was performed in Pyungyang in 1955. The data on 1955 Darigut that is kept in a publishing company through a complicated process contains sound source, records of shamanic songs, and various photo data so it is highly valuable. The Darigut that was eventually known to the world through the performance in Seoul in 1981 is meaningful in itself, but it will have a more solid identity through the comparison with the data on the Darigut of 1955. This paper presented the form in which the data on Pyungyang Darigut remains and deduced the original form of Darigut through the comparison with Seoul Darigut. It is expected that this data will be widely publicized and contribute to the study on Korea's shamanism.

• (The) Research of the performance art and culture
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• no.36
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• pp.365-414
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• 2018

This paper studied the type and character of the Divinity in Korean shamanism. The study of the Divinity means the hierarchy of shamanism, the relationship between shamanism and divinity, and the comparison between shamanism and divinity. The study of the shamanistic divinity based on Kim Tae - Gon's collection of anthology by Shaman(1971). The Jaesugut was composed of the contents of the gods blessing human beings. The JaesuGut of Seoul vary from 10 to 18 depending on the author. The JaesuGut of Goseong consists of 8 Gut. The essence of the ritual gut is to pray for the peace of the individual by using the world which is not explained by reason and science. It is a reincarnation that reflects the world of experience that is stored in the memory of human being that both reason and science can not explain. And the desire to escape from fear was reflected in Jaesu Gut. Every Jaesu Gut in Seoul and Goseong has a main divinity. This main divinity is attached to the divinity in another Gut and becomes a subordination divinity. It also becomes a subordinate-subordination divinity to the another Gut. The gods of reincarnation are basically taken in the order of national security ${\rightarrow}$ local security ${\rightarrow}$ home security.

• (The) Research of the performance art and culture
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• no.20
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• pp.309-338
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• 2010

This article is about seeking for modern festival possibility of Mudang gut with noticing a festival essence of it. Several components and process of performing Maeul gut can be a festival. But the recent condition of gut pan obstructs becoming a festival. Above of all, distorted eyes on Mudang gut deny a festivity. Transition into seeking for private fortune and the duplicity of concealing a Mudang gut have weakened a festivity of Mudang gut. Maeul gut becomes a ceremony with unequal distribution of support fund and the support fund on intangible cultural assets. Therefore, we should consider Mudang gut as a game. People need to change their preception as a performance that people can actively take part in. Mudang gut need a active participants not bystanders. When people consider them selves as actors, Mudang gut will be a festival.

• (The) Research of the performance art and culture
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• no.34
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• pp.215-240
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• 2017

This paper reviewed the aspects of using Seoul gut and Hwanghaedo gut, which are gangshingut(exorcism by possessed shamans), and Gyeonggidodanggut and Southern coast byeolshingut, which are seseupmugut(exorcism by hereditary shamans), and based on that, examined the universality of using beats of mudanggut. This study should have examined the use of beats in donghaeangut and honamgut and it was the limitation of this paper. While it examined the universality and mentioned several cases of donghaeangut, this paper will have a clearer point when it studies the use of beats in donghaeangut. Through the process, this study tried to present that though the groups and aspects of performance differ from region to region, the universal principle may be the same. The beats used in gut of different regions have clearly different systems. Depending on performers and ways of performance, different beats are used. As for the system of beats, the name of beats and composition has uniqueness but there are similarities when compared to gut of other regions. In this paper, this was called universality. It means that there are significant differences in the composition of shaman songs, ways of performance, and use of beats but the system of beats is the same. Different aspects of using beats depending on performers are also regional universality. In Seoul gut, the use of beats is different depending on whether a janggujaebi performs gut in the sitting position, singing shamanistic songs or a shaman performs gut in the standing position. Gyeonggidodanggut is representative when it comes to the use of beats being clearly distinguished depending on performers. Beats differ depending on whether the performer is Miji or Sani. Also it is common that through the use of beats they convey the significance of performing shaman songs. It is found in the gut of all areas to express the meaning of cheongshin and oshin and this is seen more conspicuously when expressing some beats are closely related to the status of spirits. In Seoul gut, as the name sangsanjangdan and byeolsangjangdan show, the name of spirits are used as the name of beats and gut of all regions express the significance of expelling spirits through the use of beats. It means that ways of performance differ depending on regions, but there is an awareness of spirits, the main agent of gut. Though seseupmugut has weaker awareness than gangshingut and there are not various factors of performance that show divine power, the use of beats reveal that there is awareness about spirits.

• (The) Research of the performance art and culture
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• no.18
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• pp.73-100
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• 2009

This article is considered how to utilize mime in the mudang gut. Actually, mime can't be the crux of mudang gut, and the only factors of mime is utilized. Therefore, the purpose of this article is to draw another nets of meanings in Mudang gut, not to study mime. First of all, I surveyed the constituent factors of mudang gut. One gutpan is combined with various factors. As a shamans(mudang), a musician, a jang gu player, a gongyangju(taking charge of food), a sibongja(helper for a shaman), and madangsoe (an under servant), they played their roles. The gut consists of equipment, food, clothes, music and dance. Next, I derived two nets of meaning out of considering a mudang gut performance of mudang (shaman). First, god in a general gutgeori appears expressing their existence by using mime with the music. Second, the following god appears expressing themselves using only mime without music. After showing who he is through action and facial expression, he continues to play a gut. Accordingly, mime of seoul gutpan plays a role to reveal the existence of god. Also, I divided the way of performing mudang gut into language performance and motions and then suggested that mime was mainly used in the motions. I surveyed a gutgeori using mime in the concrete. Through this, I suggested that the shaman used mime, when sending a deadman to the next world in a Jinogi gut. I suggested that mime was utilized repeatedly at the process of repelling the misfortune in a jaesu gut.

• Proceedings of KHEA Conference
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• 2001.10a
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• pp.66-66
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• 2001

• (The) Research of the performance art and culture
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• no.22
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• pp.63-92
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• 2011

This paper intends to clarify the characteristics of Seoul Ginoguigut in ritual form. This paper points out three characteristics; materialization of the journey to the world of the dead, direct communications with the dead, inclusive blessings for the dead and the living. Firstly, the journey to the world of the dead is materialized through various ritual processes of Seoul Ginoguigut. This characteristic is prominent in the context of comparisons with the death rituals of Confucianism and Buddhism, and of shamanism in other regions of Korea. Secondly, in Seoul Ginoguigut the communications of the dead and the living are made through direct dialogues between them through shaman's possession. The communications by direct dialogues between the dead and the living make it easy to accept death as a real fact, and have an effect of recognizing the individuality and uniqueness of each death. Thirdly, the blessings of Seoul Ginoguigut are so inclusive that they cover the dead's safe journey toward the world of the dead as well as the happiness of the living. This characteristic is related to the understanding of death of Korean shamanism that does not separate death and living. These three characteristics are perceived in the context of comparisons with the death rituals of Confucianism and Buddhism, and of Seoul Ginoguigut. And they give a clue to understand how the death rituals of Korean shamanism have persisted in Korean society.

• (The) Research of the performance art and culture
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• no.36
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• pp.505-530
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• 2018

The purpose of this study is to examine the meaning of learning methods for education to transmit the items designated as intangible cultural heritages focusing on Seoul-gut. Recently, as the Act on the Preservation and Promotion of Intangible Cultural Heritages was promulgated, 'the archetype' instead of 'the prototype' has become highlighted as a crucial axis for transmission. Although there are some controversies over the definition of the archetype among scholars, it is now possible for transmitters to make use of transformations rather freely being freed from strict orientation to the prototype to follow some fixed frame. Examining learning methods used in education to transmit mudang-gut, one of the items designated as intangible cultural heritages, however, this author has found that the prototype is still emphasized or in the center of learning instead. Presenting learning methods employed for Hwanghaedopyeongsansonoreum-gut of a national intangible cultural heritage, Namijanggunsadang-gut of Seoul Special City's intangible cultural heritage, and Bonghwasandodang-gut as examples, this researcher intends to reveal the reality. In the recent situation that education centering around academies is being widely spread to transmit mudang-gut, setting forth the designation of some of the items as intangible cultural heritages, they are publishing articles on newspaper as an advertisement to encourage learning about mudang-gut. Responding to the advertisement, there are more and more shamans intending to learn mudang-gut coming to the society for preserving items designated as intangible cultural heritages. They can, of course, perform mudang-gut on their own but come to learn it as there is no fixed or definite system for it. Even though the concept of the archetype was introduced, as now it is possible to learn the fixed frame through learning about the prototype regarding the item of mudang-gut as an intangible cultural heritage, those involved in shamanism are coming to it more and more. As transmitting the prototype rather deteriorated the liveliness of gut, those involved in shamanism are coming to it to learn about gut thinking that it is where they can learn the basic frame and also acquire more detailed knowledge about shamanism. Therefore, it is needed for the item of mudang-gut designated as an intangible cultural heritage to accept the aspects of change and develop new methods of education to transmit intangible cultural heritages.

• The Critical Review of Religion and Culture
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• no.32
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• pp.186-218
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• 2017

The ritual food is one of the indispensable elements in rituals of Korean folk beliefs. This is ascertained by the fact that a very simple ritual cannot be practiced and performed even without offering a bowl of water. In this regard, it is properly claimed that food is an essential medium of communications between man and gods if they spiritually meet and communicate each other by way of various rituals in Korean folk beliefs. It is possible to point out Gut, the typical ritual of Korean Shamanism as an example of serving the ritual foods among Korean folk beliefs. One of the striking phenomena in Gut(Korean Shamanism's rituals) is various ritual foods on the tables for Gut. There is no Gut performances without offering ritual foods, and the ritual food in Gut practices is more than just food offering to the gods. Moreover the ritual food tells that what kind of Gut it is and for what purpose it is performed, for whom it is set up. And even the invited gods of Musok are disclosed according to the ritual food in Gut. Also some parts of Musok's worldview are appeared and actualized through the ritual food in Gut. In this sense the ritual food in Gut is one of the important channels for understanding Gut and Musok, and one of the explanation systems about Musok. Even if recognized the importance of the ritual food in Gut, it still has not been draw proper attentions to deserving its importance in the researches on Musok and Gut. Upon the critical reviews on such tendencies of the previous studies this paper tries to clarify the characteristics and significances of the ritual food in Gut by examining the Jinjuk Gut in Seoul area as an case study. On the basis of this examination, the ritual food in Gut comes up to be one of the important paths to understanding Gut and Musok as an explanatory system on Musok in general.