A Study on the Progression of Archetypal Norm in Intangible Cultural Heritage: Based on Dance Event Cases
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This paper aims to explore issue the archetype(jeonhyeong, 典型), a key element of the Intangible Cultural Heritage Act based on dances protected as Korea’s national cultural heritage. Dance does not have standard notation system and dancer’s countless practices get specific style to inscribe he or her body. This natural expressiveness allows dance to have flexibility, and archetype does likewise denotatively. Especially the solo folk dances—seungmu, taepyeongmu, and salpurichum— have a character-driven style and improvisatory by nature, so flexibility is doomed to be emphasized compared to that of court or ritual dances. By contrast the intangible cultural heritage system was made based on the fixedness. While denotative movements can be encoded differently depending on and individual’s natural expressiveness, an intentional property of the dance—like internal bliss of seungmu, elegant relish of taepyeongmu and han of salpurichum—encapsulates the archetype. Therefore, in order to establish archetype norm, I suggest the following steps. First, the Cultural Heritage Administration provides the judges with the survey report and the necessary data at the time of the event recognition and holder recognition. Second, individual answers to the elements of archetype mentioned above should be gathered. Third, the judges should convene to discuss matters on which opinions clash in order to resolve differences.
Abstract
This paper aims to explore issue the archetype(jeonhyeong, 典型), a key element of the Intangible Cultural Heritage Act based on dances protected as Korea’s national cultural heritage. Dance does not have standard notation system and dancer’s countless practices get specific style to inscribe he or her body. This natural expressiveness allows dance to have flexibility, and archetype does likewise denotatively. Especially the solo folk dances—seungmu, taepyeongmu, and salpurichum— have a character-driven style and improvisatory by nature, so flexibility is doomed to be emphasized compared to that of court or ritual dances. By contrast the intangible cultural heritage system was made based on the fixedness. While denotative movements can be encoded differently depending on and individual’s natural expressiveness, an intentional property of the dance—like internal bliss of seungmu, elegant relish of taepyeongmu and han of salpurichum—encapsulates the archetype. Therefore, in order to establish archetype norm, I suggest the following steps. First, the Cultural Heritage Administration provides the judges with the survey report and the necessary data at the time of the event recognition and holder recognition. Second, individual answers to the elements of archetype mentioned above should be gathered. Third, the judges should convene to discuss matters on which opinions clash in order to resolve differences.
참고문헌 (18)
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