광산농악의 성립에 따른 잡색놀이의 전승과 혼종화 과정

Abstract

Every name contains the history of those days from which it was referred to as and its own meanings. The same is true for Nongak. The name of Nongak at a local level arises in the context where the name and identity distinguished from those of neighboring villages or other farm musics should be revealed. In various Nongak competitions held in the Japanese colonial era when the term ‘Nongak’ is generalized, teams were required to register their group names to participate in the competitions. Nongak bands from Gangwon, Chungcheong, Gyeonggi, Gyeonggi and Jeolla are representative of their provinces from which they come, and the names of their villages were not highlighted even though they explained their towns and villages in full detail. It's been a long time since the transmission of Nongak was beyond the scope of the village. In this regard, this paper sought to investigate Nongak performances in the urbanized area and reality of Nongak performers, along with the aspects of transmission and trends of changes in motley crowd play through Gwangsan Nongak. Gwangsan Nongak to be dealt with in this paper has its genealogical record from Udo Nongak led by Yeonggwang Jeon Gyeong-whan, a leading gong-player. From when and for what reason did Gwangsan Nongak have its name? To resolve the question, this paper focused on Jeong Deuk-chae’s life and radius of his activities, and relationship with (Yeonggwang)Udo Nongak, Sochon Nongak and Mareuk Nongak. Since the 1990s, industrialization has been accelerated, and a high-tech industrial complex has been constructed in the entire area of Gwangsan-gu, Gwangju. How could Gwangsan Nongak secure its transmission power in the middle of a whirlwind of these great changes? And how could the motley crowd play equipped with wooden masks and witty remarks be handed down? The motley crowd play in which ‘only motley crowds play all by themselves’ does not exist, and it is performed as a part of Nongak or in connection with a leading gong-player or a percussionist. The site conditions and changes in Nongak performance will definitely have an influence on the transmission of the motley crowd play. Therefore, there is a need to explore the origin of motley crowd masks or presume the performance group by going back to the past, and further to look into the scene in which the actual motley crowd play is handed down. In the body of this paper, the process of establishing Gwangsan Nongak from its origin to its designation as an intangible cultural heritage at provincial level was tracked, and the context in which the motley crowd masks and Dodukjaebi-gut could be handed down was clearly pinpointed.