남사당의 이합집산과 당진지역 걸립패의 활동

Abstract

This study focused on entertainers (e.g., Ilpa Jung and Sunggu Choi), who were retired to hermitage in Dangjin, Chungnam, and the scope of movement and the origin of Gulrippae based on the Dure culture until the Minsok-Gukhoi-Namsadang appeared in the middle of 1960s. Several circumstances indicated that Namsadang plays and Maul Pungmul were merged through Gulrip and Junsu or talented entertainers were took out of a town. Ilpa Jung, who was a member of a Nasadang group, was active. Several Gulrippaes, named after Maul Sangsoi or Soinapjangi, were active as well. It is especially interesting that famous entertainers such as Sunggoo Choi was invited to a town and asked to teach Pungmul. It is possible to grasp the inside story of how a Namsadang group was reorganized by Woosung Sim after it was disbanded by focusing on stories revolved around Sunggu Choi, who was retired to hermitage in Dangjin. It can be confirmed that entertainers worked as farmhands in other areas and they taught Namsadang plays to the locals in Dangjin and Susan areas. Sunggu Choi had an excellent Pupo play ability and he carved dolls by himself to show Ggokdugaksi play. He taught bowl spinning or long-ribbon-hat plays to locals. He was invited to nearby towns and taught them Pungmul. Other excellent entertainers such as Ilpa Jung, Kunbae Jun, and Soongap Song interacted with Sunggu Choi and their techniques could be transmitted through the personal connection. Soongap Song was about 4-5 years older than Sunggu Choi. They played in the Simjunok group together for several months and they went on Gulrip together. It is possible to identify the transmission path of Sunggu Choi’s technique through the interaction between Soongap Song and Sunggu Choi and the technique learning process of Soongap Song. It seems that Sunggu Choi learned bowl spinning, Parkchumji play, and so forth under the influence of Sungsu Kim, Soongap Song, and Woonyong Nam. Ansung-jang was right across the Asan bay in the Naepo region. The unique site characteristic of the Naepo region was good enough to induce Nasadang. Community leaders had affinity to Pungmul to support Namsadang actively. They played a critical role for the survival of Namsadang, who were wonderers and barely made a living. Woosung Sim was a folk scholar. He was involved in the reorganization of Namsadang group and designating them as a cultural asset with academic passion. He was a reliable support. This paper evaluated the activities of Ddunsois, who helped Dangjin folk music have performing art characteristics, the scope of Namsadang’s movement, the town unit folk music transmission pattern, and the performance aspects and the movement range Garak and Pangut based on empirical field surveys.