공주지역 ‘논두렁밭두렁’ 풍물의 공연 양상과 문화적 의미

Abstract

This paper examines the activities of the traditional performing arts group “Nondureongbatdureong” in the Gongju region, focusing on the reenactment nature of village pungmul music and the changing paths of its transmission within the cultural heritage of the region. In pre-modern society, pungmul was transmitted primarily through specialized performing groups and villages known as “Durepungjang.” However, with the dissolution of Dure, village pungmul-gut gradually lost its transmission power. Pungmul of specialized performing groups, centered around Ttunssoe, can be seen as having established its lineage and achieved “branding” through the intangible cultural heritage system. Among village pungmul-gut, those selected as intangible cultural heritage has formed another brand centered around preservation societies. As a result, this particular branded pungmul has established itself as a distinct brand and secured its transmission power through various preservation and hobbyist associations, primarily located in urban areas. The traditional performing arts group “Nondeureongbatdeureong,” established in 2006, operates at the intersection between branded pungmul and village pungmul. Based in the Gongju region of Chungcheongnam-do, the group engages in performances rooted in Dure Pungjanggarak. The majority of its members are elderly individuals aged 60 and above. It aims to represent a “traditional performing arts group” by reenacting the folk culture and heritage passed down in the Gongju region. The activities of Nondeureongbatdeureong can be categorized into performance activities and transmission activities. In their performance activities, they focus on showcasing village pungmul, but they go beyond simply reenacting Village Pungjanggarak. They also intend to convey the intrinsic value that village pungmul holds. As for their transmission activities, they consistently engage in educational activities by visiting local elementary schools. The purpose of Nondeureongbatdeureong is not to cultivate new artists through elementary school education but rather to expose local elementary students to the village pungmul of their region, even if it is just once. These performance and transmission activities embody the founding purpose of Nondeureongbatdeureong, which is to pursue the concept of “Nosodongrak (enjoyment of all ages together)” as stated in their mission statement. This paper examines the activities of Nondeureongbatdeureong within the context of the transmission patterns of pungmul culture in the Gongju region. It holds significance as it provides a condensed representation of the broader transmission patterns of Korean pungmul. Through the activities of Nondeureongbatdeureong, it aims to explore new directions in the transmission patterns of pungmul culture.