한국 죽방울돌리기의 변화와 전망－한중비교를 중심으로－

Abstract

Jukbangul spinning is similar to the Chinee play of kōngzhú (空竹). It was carried out around the 18th century by professional performing art groups or traveling merchants. In 2004, the Jinju Sotdaejaengyi Coservation Association started their restoration project. Thanks to multiple years of efforts, it became reborn as a play that values the unique characteristics of the performer and player. Jukbangul spinning was a game that piqued people’s curiosity and excitement before a major stage play was performed, and it usually consisted of a single act. Despite the long break in history and harsh conditions in the environment, the traditional wooden sample has been restored. The witty jokes show well the characteristics and value of traditional performances and games where communication with the audience was important. Meanwhile, the Chinese kōngzhú was gradually restored around the 90’s and was finally registered as an intangible cultural asset in 2006. Since then, it has seen progress in leaps and bounds. The massive subsidies provided by the Chinese government led to large-scale kōngzhú competitions for the Beijing Olympics and a rapid increase in performers. In addition to the traditional artisans, both public and private circus groups adopted variations in their style and contributed to the mass appeal of the performing art genre. This makes it a good example of how traditional play and game can be expanded, built upon and reproduced through the popular cultural space in different cultural and geographical environments. This paper will examine how Jukbangul spinning sticks to distinctive Korean characteristics which are differentiated from kōngzhú and developed into popular cultural space and restored. First, historical development process of Jukbangul spinning will be analyzed using data and field survey interviews. Third, performance aspects of Jukbangul spinning will be discussed through performers, techniques, production and joke play space and etc. Fourth, the possibility of continuous development of the play and the issues after the foundation of peddler village will be expected. Once the Bobu Sangchon is completed in 2018, a permanent stage will be established for the art. Preserving the original prototype as an intangible cultural asset and promoting it as a popular play is a long held hope and task that needs to be achieved. Only when the government-led events that make such cultural assets a one-off occasion are averted can the art grow onto the international stage. Creative stage performance opportunities must be sought through collaboration with overseas performing groups as well as performing groups across Korea. This researcher hopes that Jukbangul spinning which has thus far grown in a scattered manner will become more concentrated and consistent to serve as a fun, interesting and easy to learn game for the masses.