공연집단의 성격과 지향에 따른 좌ㆍ우도 농악의 변별성 - 좌도 필봉농악과 우도 정읍농악을 중심으로 -

Abstract

Pilbong Nogak reveals a most representative type of Jwado (left region) Nongak in Jellabukdo where Pungmulgut plays the key role more than shaman rituals in a communal village ritual. Of all kinds of Nongak in Jwado region, Pilbong Nongak displays the purest characteristic of village ritual where Pungmulgut (farmers' band music and play) takes the main part of the ritual with the least of other elements than Pungmulgut. In Pilbong Nongak, village people themselves are the members of the Pungmul band to perform the music and play. It shares common wish for the village (its peace and order warding off the evil and bringing happiness) with the village ritual and it is closely related with the everyday life of the community. Piligbong Nongak depends upon the role of its Sangsoe far more than the ones in Udo region. Not only its performance but also the entire aspects including transmission and almost all activities related to its performance is subject to the role of Sangsoe. The Pilbong Nongak band has been composed of its village people in the beginning and such tradition has kept till the late 1980s when communal village culture had to greatly dwindled by the social phenomena with people moving out to the cities and the consequent rapidly aging village. Pangut performed by the Pilbong Nongak band shows a similar characteristics found in Dwitjeon of shaman rituals. Pangut is divided into two parts - Apgut(the first-half gut) and Dwitgut(the second-half gut). The meaning of Cheongshin (inviting ritual for the spirits) is infused in the part of Apgut and it is naturally linked to the Dwitgut. The sequences of Dwitgut is performed to entertain gods, and to resolve conflicts among village members for their harmonious unity. They are composed of witty remarks, songs, dramatic elements, dances and individual virtuosity and others. Pangut performed by the Pilbong Nongak band exposes its characteristic as a village ritual for the communal community or society in almost entire aspects including formation of ritual, transmission lineage, organization of band members and in performance of Pangut. Such characteristic must be derived from its orientation of performing ritual or gut for 'the common purpose of a village and the cooperation and harmony of village people', so contents of the ritual are composed in accordance with its purpose. With the support of Bocheongyo, a kind of religion that has expanded till the mid 1900s. Jeongeup Nongak has been placed as a representative version of Udo region by the mid 20th century. It it possible to assume that some bands of itinerary professional entertainers had performed Nongak as a most popular repertoire. However, two major factors can be mentioned in discussing the universal features commonly found in almost all kinds of Nongak in Udo region. The first is attributed to that the Bochengyo called a number of Nongak virtuosos in Udo region together and support their performance and the second is the 'Jeongeup Nongak Band'. the group organized to participate the national Nongak competition after the liberation in 1945 and their active performances and extensive influence. Contemporary Jeoeup Nongak is transmitted from the lineage of Kim, Ba-Woo-Park, Nam-Seok-Yoo, Ji-Hwa. The version of Pangut in this region does not display much difference from female Nongak and Iri Nongak. Nongak flourished n this region mainly by the professional Nongak performers of the region. The sequences of Pangut performed by the 'Jeongeup Nogak Band' with Yoo, Ji-Hwa are divided by using the term, 'Madang' but it has not yet identified from when such term were applied to this performance. The Pangut performed by the 'Jeongeup Nogak Band' is divided into five kinds of Madang. Though unique Gutgarak does not appear for each madang, diverse variations from a main Garak is well developed. It may be due to its performing style such as Pojang Geolip and staged Pangut, etc, where the performers had to reduce or omit their gutgarak because of the time limit to play many a kinds of gutgarak at one performance. Instead, the band seems to pursue to develope various and sophisticated forms of variation from a original garak to fascinate the audience with the elaborated techniques of music.