농악 공연문화에서 바라본 젠더, 여성, 여성농악

Abstract

This study seeks to explore the possibility of an academic discussion of nongak from the perspective of gender studies. Furthermore, if gender-related discussions are possible, we will reveal what perspectives and attitudes are required through interpretation of female Nongak cases. In order to see the existence of women in Nongak performance culture and the possibility that female Nongak, which has been used as a real symbol of female Nongak in this school, can be discussed academically in terms of gender issues, meaningful phenomena should be presented from Gender's perspective. In response, the researcher examined the performance culture and social and cultural context of women's nongak, including women's roles, traditional arts, and male-centered entertainment nongak. In conclusion, female Nongak was born in the context of Nongak tradition and wider social context, and there was a female Nongak centered on "women," so I believe there is a possibility contact point with Gender Studies. However, gender issues such as inequality, absurdity, and anti-human rights that female artists face today are our problems right now. Randomly inserting women's nongak, into the gender studies, without being sure what meaningful topics the existence of women's nongak in the past can throw, cannot be a proper "mirror reflection." In particular, it is very careful to issue and discuss the perceptions and experiences of female farmers in the past from the perspective of gender studies, where feminism is greatly emphasized now. It is undesirable to weigh the past with the present standards. Just as feminism has also changed in times, and has matured through trial and error and reflection, it requires careful attitude, steady discourse formation, and extensive deliberation in discussing Nongak performance culture, women and women Nongak from a gender perspective.