농악 전승집단의 새로운 생태계 구축과 예능 복원․ 재현의 가치 －고창농악보존회의를 주목하며－

Abstract

With the weakening of the traditional foundations for inheriting Nongak, traditional instrumental music of peasants, preservation societies began to be formed to conserve the performing art of Nongak. Villages that still have active Nongak tradition have formed preservation societies, and villages with no active tradition left have formed local preservation societies to establish the system of Nongak and carry out education and performance. Most preservation societies, however, have systems considerably different from those in the traditional environment to pass down Nongak because they were formed for the ‘purpose of preserving Nongak in a state where the community basis had disappeared’. This paper proposes OS 2.0/2.1 to examine the environment for transmitting Nongak tradition that was built by preservation societies, and discusses the art of Nongak according to the division of Nongak Ver.2.0/2.1. The process up to Nongak OS 2.1 focused on expanding the boundary of Nongak. Due to the decline of communities and the sense of duty to preserve Nongak on the brink of extinction, the first step was to establish the prototype of Nongak and increase the number of people to engage in Nongak. This was the reason for the performer-centered transmission of Nongak. As the preservation societies proceeded up to the operating system OS 2.1, there arose the problem of a pyramid structure of transmission system, with its tendency toward centralization of cultural power and standardization of performance. It has been verified that in the performance, various existing forms were recombined to form performance repertories that acquired a prototypical character. Therefore, this paper defines the style of Nongak in the traditional period as Nongak Ver.1.0, and the new types of Nongak performance established by preservation societies as Nongak Ver.2.0. The reason for this classification is that the traditional Nongak and professional Geolgungpae Nongak establish local brands of Nongak, based on the designation as intangible cultural properties and formation of preservation societies in each of the administrative districts. Regarding the establishment of the Nongak Ver.2.0 version of Nongak, this paper pays attention to the constant efforts of the Gochang Nongkak Preservation Society to restore and reproduce Nongak performance. Lastly, this paper discusses the various attempts of the society at transmission and creation of Nongak. The society has been trying to create new forms of Nongak since the 2010, in an effort to move further than the traditional genre of Nongak that was handed down to modern times. New creations have considerable repercussion in Nongak today, and it has been confirmed that the performance regained through reproduction and restoration plays a key role. New creations did not start by forgetting the past; rather, the tradition retrieved by restoration and reproduction was the key to the future.