영무장 농악 예인들의 활동과 잡색의 전승

Abstract

As Japsaek (雜色) play is subordinate performance of Nongak (農樂, agricultural music and dance), the performance and inheritance of Japsaek is, above all, directly connected with change in Nongak condition and field setting of inheritance of Nongak and it is necessary to pay attention to its network. Nongak Japsaek is a member of ‘Ujungjaebie’ and Gulgungpae as ‘a performer operating Gutpan.’ Inheritance of Japseak play is inseparably related to rise and fall of village Gut and sharing of Dangolpan. Artists of Youngmujang Nongak had strong solidarity due to teacher-student relationship in the passing of the art in addition to network of blood and local ties and they travel around Gulgoongpan as if they shared labor. During the exchange, acquisition of art and techniques between performer and performance group and sharing of experience became the motive of mixing and spread of similar Japseak play in Honam area. Japseak play thick with misfortune-preventing ritual nature such as Dodookjaebie Gut and Moonjaebie Gut were passed down in Gulgungpan around Youngmujang. The scope of activity of Nongak artists who led Gulgungpae around Youngmujang was expanded to Changguek (唱劇, traditional song and play) groups, Nyrong (Nyon) theaters and movie theaters. Nongak ‘technicians’ came to share workforce, accept various performances which overflowed at the time and create ‘performance products’ which satisfied the value of the money. Especially, prime period of local Hyupryulsa and Changguek groups was a transitional period when Nongak artists of Youngmujang with arts and techniques switched into artists of traditional art circle (傳統藝術界). They were artists performing traditional art, entertainers meeting the taste of the public and sales people selling various products and medicines. After the Liberation from Japanese occupation, Nongak artists wandered around the nation selling their art and techniques in diverse contests, entertainment business and promotional activities. As a traditional art which stimulated consumer sentiment, major selling channels of Nongak were traditional markets and theaters. Crowds gathered at New Year ceremonies and anniversaries, facilitating the commercialization of Nongak. With the beginning of ‘New Village Movement (Sae Ma Eul Movement)’, various promotional activities were reproduced as traditional performances led by government authorities. Scope of activity of Youngmujang Nongak artists was the field where Nongak Japsaek and its performance were passed down and was a cultural stratum. Since current inherited Jsapsaek masks and performance texts are not completed works but products of inheritance in progress which originate from repetitive performance of Japseak, change of Japsaek play converges in composition of performance made by Japsaek and change of ‘Doeggut’ or ‘performance repertoire’ accompanied by Nongak performance. For example, Daeposoos, among Yoounggwang Nongak's Japsaek, were special and famous Daeposoos who know the introduction and rules of Gut joined Gulgungpae. Ones who had special techniques even when they could not be ‘Apjaebies’ who played musical instruments became the clowns. Residents became the Japsaek who are free-playing ‘Doeguncheong’ with all the adornments. Although Japseaks did not take full charge of Nongak performance, they were as good as talented actors and actresses who dominated Gutpan to fit the situation and actively move each time. Japsaeks with excellent performance abilities accompanied Youngmujang artists and expanded their scope of activities. They performed their own functions such as comic talks, songs and acting and acted as performance subjects who performed various techniques and skills like songs, dance, jokes in disguise. The Youngmujang artists mentioned in this study were Hwa Jip Choi, Man Sik Kim, Sung Guen Park, Sung Rak Kim, Hak Joon Kim, Oh Chae Kim, Byung Nam Jeon, Gyung Hwan Jeon, Jae Sik Lim, Doo Ok Shin, Young Chang Shin, Jae Joon Pyeon, Sam Chae Pyo, Gyu Un Hwang, Dong Un Kim, Yong Ha Park, Sung Ok Kang, Gi Hwa Kim, Gil Soo Park, Sung Guen Jeon, Baek Soo Huh, Sang Soon Lee and Chun Shim Lee (Chun Sup Lee).