전남 농악대의 잡색과 탈[광대]활용의 맥락과 전승 향방

Abstract

In the nongak (farmer’s band), japseok (clowns) do theatrical acts and sometimes wear masks called gwangdae . However, it is considered that the role and meaning of japseok in the nongak are gradually being lost. In this study, we examined the usage patterns of japseok and masks in the nongak, focusing on the villages of Jeollanam-do, and explored the direction of future transmission. First, the nongak area of Jeollanam-do was divided into three districts: east, west, and south. In the west coast region, there is a relatively even distribution of japseok types and mask usage. In the east coast region, there is a strong emphasis on the characteristics of the tteunso farmer’s band, also known as the Honam-Udo farmer’s band. In the southern coast region, there is a higher concentration of japseok and greater variation in japseok types, as well as the addition of new japseok. In terms of mask usage, the halmital mask is more prevalent in the west coast region, while the changbu mask is more commonly used in the southern coast region. Changes in japseok composition can be summarized as differentiation and expansion of characters, the creation and addition of new characters and overlapping characters. More changes are pursued when a character gains popularity. The use of masks in japseok is highly flexible, but the use of the changbu mask and the jorijung and halmi characters is related to exaggerated acts or formal occasions. Yangban (noblemen), gaksi (female entertainers), and daeposu (cannoneers) use black makeup, facial powder, and beards instead of masks. To ensure the transmission of japseok, it is necessary to assign new meanings to them that are attractive and relevant to modern people while preserving historical traditions and the sensitivity of local residents. Physical gestures should not be changed lightly.