줄다리기의 원형·전형·변형

Abstract

In this study, the discussions on the historic research on the original form of Samcheok Gijuldaligi (Tug-of-War) on its 350 years of history were verified. In the archetype-oriented context of transmission, the Jeongwol Daeboreum Festival event must use the restored Gijul in the future, because the traditional Gijuldaligi of the Samcheok Jeongwol Daeboreum Festival was not restored. It’s difficult to confirm the original form of the restoration on the height of the thatched roof in the front and crab-type pre-memorial ceremony & post-play, but it is appropriate to restore to the most traditional form before it was discontinued during the Japanese colonial era. While protecting the identity of the Samcheok Gijuldaligi, future-oriented prescription and verification are required on the ‘changing’ factors. Due to the value higher than just play within the community, the people of Samcheok persisted on Gijuldaligi in the past. The historic research on the archetype and foundation of the transmission group recently emphasized by the Cultural Heritage Administration and UNESCO are very important. First of all, the focus must be made on restoring the traditional Samcheok Gijuldaligi. Confirmation on the coexistence of Yin-Yang in the group play and the will & wisdom of the people of Samcheok must be gathered. The typical value of the Samcheok Gijuldaligi is the crab-type (tentacle-type) Amsutjul & Keunjul. The Samcheok Gijuldaligi was a seasonal custom of wishing for unity, good harvest and a good catch by the people on the 15th day of the New Year according to the lunar calendar, and this custom was discontinued during the Japanese colonial era. The custom was then resumed in 1973 and was designed as Gangwon-do Intangible Cultural Asset No. 2 in 1976. The limit of restoring the original form is 1930s, and the cultural structure of the Samcheok Gijuldaligi, in other words, the status of the conservation association and the festival committee must be reconsidered. The organization of the conservation association and the foundation for transmission must be solidified through the academic & historic research on restoring its original form. Especially, expertise and genealogy must be secured on establishing the Sulbitongnori and on the Gijulteugi. Also, the dichotomy of the original form and creativity must be considered through the diachronic perspective on the Samcheok Gijuldaligi, and this part must be applied very importantly also on continuing the Samcheok Jeongwol Daeboreum Festival. The key to Samcheok Jeongwol Daeboreum Festival is not only restoration or conservation of the traditional culture, but also reinterpretation and recreation of the traditional cultural asset such as Gijuldaligi. Samcheok Gijuldaligi is a village-type Ssangjul, and it is mainly ‘pre-memorial ceremony & post-play’ type group play. After having the memorial ceremonies such as the Seonangdang, Dongjae and Sunongje, the juldaligi (tug-of-war) was enjoyed by the people in the village, and before participating in the Gijuldaligi, the members would rub hands prayerfully to participate in the Gijuldaligi. Gijuldaligi was discontinued by the Japanese in 1936, and in 1973, ‘Samcheok Folk Game Committee’ was organized, and centrally of the ‘Gijuldaligi’ in the 15th day of the New Year according to the lunar calendar, the Samcheok Folklore Festival was hel in the Samcheok-eup Square to be recreated. The event was newly established as the Samcheok Jeongwol Daeboreum Festival, but there are limits in the fundamental originality. Therefore, the original form, archetype and transformation of the Samcheok Gijuldaligi must be integrated into a professional academic book. Also, satisfying the Cultural Heritage Protection Act, and the issues regarding the dispute on the designation and restoration are matters that must be solved. In terms of having new understanding on the value of Samcheok Gijuldaligi, it must breake free from the preconception of a Gijuldaligi for competition, and revive the tradition as a play between the village people and as a group play. Also, the universality as a world intangible cultural heritage, and the distinctiveness of the Samcheok culture must be established to have the responsibility to prepare a sustainable manual in detail. Moreover, comparison with the cultures of other regions, joint registration countries, and international conference with Japan and China must be held to enhance the status of the Samcheok Gijuldaligi. In the future, the restoration-type Samcheok Gijuldaligi Prototype must be revived of its symbolic heritage and the communication as a cultural & touristic resource through permanent storage during the Jeongwol Daeboreum Festival. Through these verifications and granting value, the original form of the Gijul must be confirmed, the possessor of the Gijul production technique must be expanded, and policies on activating the resource on Gijul must be arranged.