• (The) Research of the performance art and culture
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• no.23
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• pp.185-212
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• 2011

Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance's unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style's dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance's dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han's dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee's dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation's dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.

• (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.40
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• pp.71-109
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• 2020

Nihonbuyo(日本舞踊), a typical traditional Japanese dance, began with kabuki dancing and formed many schools, and was managed by Iemoto system. Iemoto(家元) is the head family of a school of a traditional Japanese art. Iemoto(家元) existed after the establishment of the ancient family system, and it was established as a system during the modern feudal period. Especially in Nihon Buyo, the Iemoto system has developed greatly since the modern era. Iemoto System has has contributed greatly to the succession of traditional arts and has been considered one of the characteristics of Japanese society. Basically, Iemoto system considers it the best authority to pass on the skills of excellent teachers without any distortion. It has various forms depending on the field and the school, but it is an organization with a family structure similar to that of a family with Iemoto at the top. In this article, I examined the establishment and background of the Nihonbuyo and considered the succession of the fame and authority of Iemoto through the system of succession. There are so many schools in the Nihonbuyo world that it is said to be a school kingdom. These schools were divided into kabuki actors, choreographers, female entertainers, ChiutaMai dance(地唄舞) and new dance styles, and the aspect of the Iemoto system was examined through the background and characteristics of each school. While Iemoto system has a positive aspect of inheriting the tradition, there are also many negative criticisms in the art world, such as rigid organizational management, the products of feudal society, the power of Iemoto, and the stalemate of arts. Nevertheless, in a Japanese society that places importance on tradition, the landlady system will not disappear easily. In fact, today, when there are many different art genres in common, young dancers are starting to challenge themselves along with self-examination of Iemoto in order to make the best use of traditional art. We hope that through consideration of the Japanese housekeeping system, it will become a place where intangible cultural properties will be re-acknowledged.