• (The) Research of the performance art and culture
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• no.19
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• pp.35-60
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• 2009

I insisted that the structure should be set newly, pointing out problems in a structure of the big gut, Jain dano je in this paper. Although, the big gut is playing now in Jain dano je, the features of gut geo-ri are vague ; that's why gut geo-ri and performances are entangled. Therefore, the gut geori showing strange structures not fitted with korean shamanist custom is playing these days like Pawangbyeolhui and Eoudong geori. The detailed procedure is also awkward. It is mixed with aspects of shaman custom in each region, instead showing features of regions. What's more, it became a dance drama, not gut geo-ri with several shamans dancing in a gut. Overcoming these problems, the big gut will be a cultural asset. Therefore, when considering the structure of korean gut, we will fit the order of gut geo-ri into the system of divine spirits keeping a plot-opening, developing and closing. It should be a gut geori-oriented play with only gut geo-ri things. Gut should be gone forward main shaman-oriented gut, setting up a main shaman who takes charge of each gut geo-ri. We should find out a new shaman who knows gut of Gyeong sang province well, if shaman who now takes charge of it has a problem. The big gut of Jain dano je became a part of intangible cultural assets. The performance is not a subject of curiosity and people's interests any more as it was in a past. It should be a traditional performance of representing our traditional culture. We should reorganize an epochal gut geo-ri after reexamining gut geo-ri which has played so far.

• (The) Research of the performance art and culture
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• no.19
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• pp.88-123
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• 2009

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 "Hanjanggun Nori" in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut - Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut - Ex: 'Hanjanggungut' or 'Keungut' 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is 'Hanjanggungut,' and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.

• (The) Research of the performance art and culture
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• no.39
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• pp.393-413
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• 2019

As one of a shaman song to reveal features of the byeolsin rite, East Sea coast, Gyeongbuk, Korea is matgut have been discussed for a long time. The rite is held to greet other shamans who were invited by a village resident and the highest shaman to perform the rite. When there is no highest shaman in the village, or when the highest shaman lacks the ability to perform the exorcism, other shamans are invited if a person is required to meet the scale of the rite, which is a rite of passage to verify their abilities and to become a community, even while the byeolsingut is held. The best shaman team, or village Pungmul team, and shaman team, When the strings are between them, they play music and struggle with each other, and the strings are lifted, they greet the god of the game at the altar, and the shaman turns around and plays with the field. However, the process of greeting the shaman at the exorcism rite after 2000 and the procedure of "Paggi-bogi" in which shamans take turns singing songs are disappearing. In addition, although the village Pungmul team has participated in the rite as a welcoming party for the shaman team, the purpose of the rite, which is to greet the shaman, is also being tarnished by leaving the role of the village Pungmul team to the outside team. This is due to changes in the villagers' perception of gut and shaman. As in the old days, it was necessary to greet a shaman as a rite of worship, although it was not necessary to confirm its ability to perform the rite of the village, due to the disparity of status. However, after the shaman has been transformed from a 'mysterious' existence into an intangible cultural asset functional owner, the perception of shaman changes and the village confirms the shaman's ability through an intangible cultural asset certificate. In addition, the number of villagers who know the details of the rite is decreasing, and most of the tasks such as preparation and proceedings of the rite are delegated to the shaman to hold the byeolsingut, and the nature of the exorcism of the exorcism is changing.