• Korean Journal of Heritage: History & Science
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• v.7
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• pp.206-216
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• 1973

• (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.

• (The) Research of the performance art and culture
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• no.36
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• pp.693-724
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• 2018

This article was started to find a way for creating a performance out of Gut. In order to find such way, the first thing that had to be done was to organize the Gut performances that had been made until now. It was to organize the existing study on the performances and to seek a different way from it, believing that the virtue of a performance is to 'create diversity'. However, it was not easy to organize the Gut performances, which became full-scale in the 1980s, because they were never organized before. Therefore, based on my direct and indirect experience, I have organized the most important performances in chronological order. Most importantly, as the planners of the performances (can sometimes be a group or an organization instead of an individual) are the ones who make the show possible, I have noted on them with keen interest. The National Folk Art Performance Contests in Korea, Theater 'Space Sarang', The Association of Gut, Theater 'Madangsesil', Seoul Nori Madang, and National Gugak center were the center space and planning body of the Gut performances. Recording the history of Gut is a worthwhile work of its own. However, it is a substantial amount of task to be done with individual effort, and it has to be progressed as a public project in order to promote and spread its value. Therefore, this article raises the need for it. Meanwhile, as stated earlier, this article has recorded the history of Gut performances as a precondition to finding a way to create a performance out of Gut. From the experimental organization of the Gut performances history, I could find out that most of the performances had the people who did Gut as the main body and the method of the Gut performance did not significantly deviate from just reenacting the original Gut at the time of when it was performed. Therefore, I have introduced Shinmyeong, the Nori-Pae (troupe), and TheGwangdae, the Korean Traditional Performance troupe, who create Madangguk from various Gut materials. By refining the wholly complicated performance elements of the Gut, it could escape from the 'reenacting' performance to becoming a material or a metaphor for a whole new performance.