북한에서의 봉산탈춤 연구 양상 고찰 : 1960년대 중반까지 북한에서 간행된 논저를 중심으로

Abstract

Since the mid-1980s, North Korean texts on the dance have repeatedly attached special significance to the “first performance” of Bongsan Mask Dance on June 4, 1946. This emphasizes Kim Il-sung's theory of preserving the dance as a national heritage. However, to the best of my knowledge, no description of the “first performance” has been found in North Korean papers published until the mid-1960s. This paper, critiques Kim Il-sung's role in teaching and developing the Bongsan Mask Dance and analyzes the development of early research by newly identifying North Korean publications from the 1960s. The North Korean authorities had already politicized folk performances in the November 3, 1946 elections and promoted socialist patriotism in the post-Korean War recovery process. In this context, Bongsan Mask Dance was studied alongside the performances. However, previous studies have only dealt with Han Hyo, “An Overview of the History of Korean Theater”(1956), Kim Il-chul, “A Study of Korean Folk Dance” (1958), and Kwon Taek-mu, “Korean Folk Theater”(1966) individually. This study, the original texts were checked and the newly discovered works of Shin Young-don, Goh Jeong-ok, and Park Jong-sung were analyzed. The first research based on fieldwork was conducted by Shin Young-don and Kim Il-chul. Shin Young-don and Kim Il-chul, who studied Mask Dance based on the three scripts they recorded. On the other hand, Han Hyo, Goh Jeong-ok, and Kwon Taek-mu used the term 'Mask-play' from a literary history perspective. During the Japanese colonial period, only the Bongsan masked dance was given special attention and emphasis. In contrast, North Korean research on Bongsan Mask Dance, which lasted until the 1960s, was conducted as part of its research on Hwanghaedo dance. This article presents new materials to overcome the research limited to Reprints by Han Hyo, Kim Il-chul, Kwon Taek-mu, others, and analyzes the research trends of various Bongsan Mask Dances in North Korea until the 1960s. However, due to a lack of related research, this paper is limited to the analysis of the Bongsan Mask Dance.