본문 바로가기
KERD
논문KCI 등재

일본 카구라(神樂)의 문화적 배경

The Study of Kagura's Formation Background in Japan

0

조회

0

다운로드

7

인용

0

참고문헌

키워드

주제분류무용

초록

This study was related to the investigation of Kagura's, which was folk art in Japan, formation background. Kagura was Japan's folk art for a long time and it was influenced by the surroundings' many cultural effects during pass down. Because of these reasons cultural background was important to make regulation of Kagura. This was to prove the identity of Kagura. The reasons for choosing Kagura, which is folk art in Japan, were as follows: First, Kagura was folk religious rituals in Japan by itself and it had a esthetic values as performing art. Japanese seek the origin of all kinds of rituals, traditional performing and dramatic dance from Kagura. The general sense of Kagura was to indicate the entire yearly performing art and it was a part of matsuri, which was each regional festival in Japan. Each region's sinsa set up the seat of kami during the events and then they prayed for their gods and they did a memorial service for repose of soul, purification and calamity in front of their gods. At this time, the ceremony of strengthening human's life force and pray for rebirth were called Kagura. Second, Kagura, which is folk art in Japan, was the basis of Japan's traditional art such as Kabuki, No and Kougen. Kagura became a base of Japanese musok sinang and it contained gamu baekhui of China and Korea and Sarugaku, which was influenced by mountains, and it was a source of Japan's art and it also had effect on today's Kabuki, No and Kougen. In Japan, more than 3000 Kagura were exists yet. Therefore, Kagura was the basis of Japan's folk religious and art. A folklorist, Chu Won Su, said that "for asking Kagura's origin was the same as asking the origin of Japan's traditional culture". That is, the study of Kagurs's origin and nature was the same as study of origin and nature in Japan's traditional culture. Therefore, an investigator's work for studying of Kagura's formation background will be approach closely to the question of what is the Kagura and this study should be form a part of identify Japan's traditional culture.

Abstract

This study was related to the investigation of Kagura's, which was folk art in Japan, formation background. Kagura was Japan's folk art for a long time and it was influenced by the surroundings' many cultural effects during pass down. Because of these reasons cultural background was important to make regulation of Kagura. This was to prove the identity of Kagura. The reasons for choosing Kagura, which is folk art in Japan, were as follows: First, Kagura was folk religious rituals in Japan by itself and it had a esthetic values as performing art. Japanese seek the origin of all kinds of rituals, traditional performing and dramatic dance from Kagura. The general sense of Kagura was to indicate the entire yearly performing art and it was a part of matsuri, which was each regional festival in Japan. Each region's sinsa set up the seat of kami during the events and then they prayed for their gods and they did a memorial service for repose of soul, purification and calamity in front of their gods. At this time, the ceremony of strengthening human's life force and pray for rebirth were called Kagura. Second, Kagura, which is folk art in Japan, was the basis of Japan's traditional art such as Kabuki, No and Kougen. Kagura became a base of Japanese musok sinang and it contained gamu baekhui of China and Korea and Sarugaku, which was influenced by mountains, and it was a source of Japan's art and it also had effect on today's Kabuki, No and Kougen. In Japan, more than 3000 Kagura were exists yet. Therefore, Kagura was the basis of Japan's folk religious and art. A folklorist, Chu Won Su, said that "for asking Kagura's origin was the same as asking the origin of Japan's traditional culture". That is, the study of Kagurs's origin and nature was the same as study of origin and nature in Japan's traditional culture. Therefore, an investigator's work for studying of Kagura's formation background will be approach closely to the question of what is the Kagura and this study should be form a part of identify Japan's traditional culture.

참고문헌 (18)

  1. 강인숙, "한국 탈춤과 일본 카구라의 제의춤 비교", 대한무용학회 논문집, 53(53), pp.1~22 (2007), 대한무용학회
  2. 강인숙, "다카치호 요카구라(高天穗夜神樂)의 제의춤", 민족무용, 7, pp.121~151 (2005)
  3. 강인숙, "일본 카구라춤(神樂)의 제의성과 예술성", 박사, pp.2003
  4. 강인숙, "다카치호 요카구라(高千穗 夜神樂)의 구조와 성격", 무용예술학연구, 9(9), pp.63~97 (2002), 한국무용예술학회
  5. 강인숙, "일본 神樂(카구라)의 기본구조와 성격", 무용예술학연구, 8(8), pp.1~32 (2001), 한국무용예술학회
  6. 김학현, "能" (1997), 열화당
  7. 노성환 역, "고사기(상·중·하)" (1999), 예전
  8. Averbuch, Irit, "God Come Dancing: A Study of The Ritual Dance of Yamabishi Kagura" (1995), Cornell University Press
  9. 坂本太郞, "日本書記(一~五)" (2001), 岩波書店
  10. 萩原秀三郞, "神樂の誕生" (2000), 岩波書店
  11. 鎌田東二, "ウズメとサルタヒユの神話學" (2000), 大和書房
  12. 本田安次, "日本の祭と藝能" (1944), 錦正社
  13. 石塚尊俊, "山陰民俗一口事典" (2000), 今井書店
  14. 宮本常一, "早川孝太郞全集" (1971), 未來社
  15. 福田アジオ, "日本民俗大事典 上․下" (1999), 吉川弘文館
  16. 失富嚴夫, "日本の美を舞う石見神樂" (2000), 石見神樂高津社中
  17. 出雲神話と神樂 實行委員會, "風出雲の風土に生きる" (1997), 日玉綜合製本
  18. 高天穗神樂敎育委員會, "高天穗の夜神樂" (1998), 川辺印刷所

관련 논문AI추천

이 간행물의 다른 논문 (16건)