고창농악 잡색의 연행에 대한 문화기호학적 분석

Abstract

The Nongak(Traditional Korean music performed by farmers) Japsaek(Dancing actors without playing a musical instrument) is a symbol containing value, aim and finality shared in transmission group. The Japsaeks appearing in contemporary Pangut are the ones recovered by depending on the memories of elder members who organized the Gochang Cultural Center Nongak Band. Japsaek performs a narrative role of presenting the social and cultural values according to character type and relation-planning of them in Geontbatang(exterior background) where the Jinpuli(Gut procession with playing a traditional instruemnt) is progressed and in Anbatang (interior background) where the dramatic performance is played. The performance of Japsaek is stereotyped and not smoothly played in terms of causality, and each Japsaeks composes the different dramatic transitions. This paper examines the quality and trait of Nongak Japseak, the relation-planning between characters, and discusses the specific structure of Japsaek performance as marked or unmarked process. In the whole Gutbatang, the markedness appears as abnormality, disorder, defeat, instability,incompletion, danger, contamination, death, female and violation of taboo, and the unmarkedness shows up as normality, order, victory, stability, completion, purification,life, male, maintenance of taboo. The Japsaek is a relatively special marked existence,even given the position or rank of it in performance group and the name distinguished from other Chibae. In the <Munjaebigut(a ritual of grasping a door)> and the <Dodukjaebigut(a ritual of catching a thief)>, the recognition of village Dangsan as a divine space/inside boundary area obviously distinguished form outside world, the taboo on the enterance of village which connects and separates between inside and outside worlds are presented. Aiming at achieving a series of purposes of identifying whether the Geolguungpae entered the village in the boundary area around which the Geum jul is ornamented, the whole process of Munjaebigut is systematically performed through a narrative composition consisting of ‘Munseugi(standing a door)’, ‘Muninsa (a greeting door)’, ‘Mundallaegi (appeasing a door)’ and ‘Munyeolgi(opening a door)’. The Geolgungpae enters the village by creating the unmarked situation in the performance of ‘Munjaebigut’. The dissolution of taboo on Geongungpae by villagers requires the good order of Geolgungpae which does not violate the internal regulations of village, power and dignified attitude to repel the injustice and set the stage for Gutpan, and a series of activities to pray the peace and abundant harvest. Then, Chanbu and Daeposu perform their narrative functions. On the other hand, in the Dodukjaebigut, the marked situation as a violation of taboo is dramatized as the advent of thief, a virtual accident, which is unmarked not to violate the order required by village society. From the view of transvaluation, the narrative structure of the Dodukjaebigut follows the principles of disruption of a hierarchy, hierarchical crisis and reintergration of a hierarchy, which is derived from the relations of Daeposu, sangsoe and the theft of a kkwaenggwari. In Pangut, from the Ochae Jilgut, the Obangjin is identified as an activity moving through space by Geolgungpae, as well as the process of occupying the space, separating between outside and inside worlds. The whole Gutpan consisting of Geotbatang where Gunchong or all Chibaes perform the Jinpuli and Anbatang where after building the Wonjin, a certain performer surrounded by other Chibaes plays a performance by displaying his talent, can be also conceptualized as Gutbatang(a ritual background). <