• (The) Research of the performance art and culture
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• no.39
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• pp.5-30
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• 2019

Gut, Korean shamanist performance, is the archetype of Korean art therapy. It is because gut has the archetype of Korean mind and expresses the archetype in an artistic and therapeutic way. This paper compares and analyzes Gunung-geori of Hwanhaedo-gut and art therapy theories from two perspectives: the range of therapy and the therapeutic principles of performing ways. Gunung-geori aims to solve prolonged conflicts within a family, linking individual problems to family relationship. Such a therapeutic effect of Gunung-geori is well explained through the theory of Bowen's Family Therapy. Also the therapeutic principles that Gunung-geori's performing way are closely related to "transference" of Freud and "putting in the role" in drama therapy.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.132-151
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• 2009

Gut (Shaman ritual) in the west coast area is consisted to sanyang-geori (hunting), tasal-geori, gunwoong-geori those describe from hunting process to preparing animal sacrifices to a deity. The characteristic of gut in the west coast area which are represented for mock hunting and animal sacrifice ritual is practicing at the sibamasturi in Japan. This paper aims to compare a shaman ritual in west coast area in Korea and Japanese Sibamasturi from the comparative folklore point of view. Gut in the west coast area is well known for dividing sacrificial offering: vegetable for sinryeong and meat for singyeong. This division of spiritual deity shows it has different background from agriculture and hunting culture. Hwanghae-do gut has been formed under the various life environments. Therefore, each stage is conducted according to the purpose of the ritual. Sanyang-geori (hunting) represents the scene of hunting in the mountain and by catching live animals and it refers to Gunwoonsin, and will be offered. Animal sacrifice is a positive ritual which get rid of bad luck and pleased deity. Sibamasturi is practiced in mountain area where most of people involve in hunting and agriculture. Therefore, this area has both agricultural ritual and hunting ritual. Sibamasturi is practiced in January (lunar) and it also has meaning of beginning of agriculture and hunting in mountain area. Ground burnt off for cultivation way symbolizesfire ritual and mock hunting as well as animal sacrifice together. These rituals match to farmers of mountain area in the south-east Asia. The gut in the west coast area and Japanese Sibamasturi have common point that mock hunting and animal sacrifice are practiced at both rituals, however, the structure for these two ritual are different. In other word, there animal sacrifice has been formed with different cultural back ground.

• (The) Research of the performance art and culture
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• no.42
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• pp.233-256
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• 2021

The purpose of this article is to understand the characteristics and meanings of the Hwanghae-do Gutchum, or shamanic ritual dance. First, the characteristics of the Hwanghae-do Gutchum are summarized as follows. The regular dances that appear in all pieces of Gutgeori or the tune of Gut of the Hwanghae-do Gutchum feature Geosangchum, followed by domu and heojeonmu in the sequential order. The accompaniment rhythms are Geosang rhythm, Chum rhythm, and Yeonpung rhythm. The dance featuring mugu, or shaman implements held on shaman's hand as part of the Hwanghae-do Gutchum, which symbolizes the characteristics of deities, is the same as domu aligned with the dance rhythm and the whirling dance aligned with the Yeonpung rhythm. The name of mugu, mubok (shaman clothing) and/or deities may be used as the name of Gutchum but there is no originality of Gutchum. The Beokgu Chum and Samhyeon Chum as part of the Hwanghae-do Gutchum use Beockgu Jangdan and Samhyeon Jangdan, which deserves to have their originality acknowledged. Hwanghae-do Gutchum is closely related to the rhythm. The harmony of janggu player and a female shaman is essential in practicing the Hwanghae-do Gut. If a janggu player fails to perform to properly support the gut practice of a female shaman, the shaman is not able to proceed with a smooth practice and causes confusion. On the other hand, if the gut performance of a female shaman fails to catch up with the performance of janggu, the gut becomes plain and simple at best. Janggu is the single most important element that determines the success or failure of the Hwanghae-do Gutchum. A female shaman takes the harmony and collaboration with a janggu player so seriously that she is willing to reschedule the practice of gut if its schedule does not match that of the janggu player. The Hwanghae-do Gutchum is largely dependent on gyeolrye. However, the difference between the chum and the rhythm caused by gyeolrye has disappeared due to the intangible cultural assets. That is, designating an intangible cultural asset has resulted in eliminating all distinctive characteristics of Hwanghae-do Gutchum. With the distinction of gyeolrye becoming vague, they have lost interest in the genealogy of gut they have learned. It is no longer gyeolrye but the intangible cultural property system that serves as an important factor to distinguish chums.

• (The) Research of the performance art and culture
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• no.37
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• pp.33-60
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• 2018

This article is to present that the research on the Mudang Gut Chum should be within the context of the performance of Mudang Gut and examines its meanings and implications with focus on Seoul Mudang Gut Chum and Hwanghae-do Mudang Gut Chum. Seoul and Hwanghae-do Mudang Gut Chums do not exist in the form of simple dance or movement. They feature continuity while serving the function of revealing the existence of spirit and sometimes show the process of the spirit joining the Gut ritual, which means that the Mudang Gut Chum should not be understood as the dance itself only. Instead, care attention should be paid to the status of the tune of Gut where the dance is placed, relationship between the gut and the spirit, and the flow of narrativity. Also, the Mudang Gut Chum has a lot to do with the tune. Looking at the Mudang Gut Chum simply focusing on dancing steps, and the movement of feet and/or hands fails to gain an accurate understanding of the fundamentals of the Mudang Gut Chum. Closely connected to the tune, which is also associated with the grade of the spirit, the dance shows a variety of performances conducted by entering the Gut ritual of the spirit. In that respect, complex views on the Mudang Gut Chum are required. The same applies to the hereditary shaman Mudang Gut as well. The Korean Mudang Gut Chum has a slight difference between the Gangshinmu gut and the hereditary gut but is in basically the same aspect. The Gut Chum holds its meaning in the flow of gutgeori (tune or dance performed during exorcism, a shaman song) and delivers its own meaning in connection with the tune. It is definitely meaningful to focus on the individual movements of a dancing shaman but one should be able to derive the network of meanings that such movements have within the performance of the gutgeori, which means that intensive studies on the field performance and circumstances should be completed before studying the Mudang Gut Chum. In addition, the Mudang Gut Chum discloses the characteristics of the performance group. The Mudang Gut Chum exists in a complex manner. With respects to the status of the spirit, it shows the characteristics of the performance group. It represents the progress of Gut while closely connected with the tune. Therefore, the way of describing the Mudang Gut Chum should be far more than just simply keeping the dance notations. With this in mind, one should investigate and record the Mudang Gut Chum.

• (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.