This thesis is begun to interest to Jinju Ogwangdae restored in 1998. The clause of Jinju Ogwangdae was only two kinds of tal(mask) and four scripts. If the talchum(mask dance) is performed, it appears a reality. So, it is impossible to restore with only tals and scripts. But it performed the 3rd Ji...
This thesis is begun to interest to Jinju Ogwangdae restored in 1998. The clause of Jinju Ogwangdae was only two kinds of tal(mask) and four scripts. If the talchum(mask dance) is performed, it appears a reality. So, it is impossible to restore with only tals and scripts. But it performed the 3rd Jinju Talchum-fest in 1998. The Talchum was experienced extinct in historical. The extinctive period of Jinju Ogwangdae is 60 years, two times of others. There are no live performers in Jinju Ogwangdae, it has a limit to be restored to the original form. It is Bae Woomunjun only live performer in Dodong Ogwangdae. The purpose of this thesis is to attention this aspect, to study how to make sure of legitimacy of Jinju Ogwangdae. The tradition has been continuing, changing and creating. The restoration of Jinju Ogwangdae was in 1928 and 1934. It was investigated by Jung In-sub in 1928 and Song Seok-ha in 1934. The study in 1934 means a lot to main group of Jinju Ogwangdae's restoration. This was to Song Seok-ha's folklore phase. The Jinju Ogwangdae in 1934 was performed in culture-nationalism. This was recognized the phases of that times, the context of ?the study of Jinju Ogwangdae? written by Song Seok-ha and a disposition of performers at that times. It was organized the Group for restoration of Jinju Ogwangdae at 9, September in 1997 and the association at 9, January in 1998. The main group of Jinju Talchum-fest from 1996 exert themselves to restore of Jinju Ogwangdae. They have had ing the popular·culture movement with talchum(mask dance). The union with Chae hee-wan led to participate to the main group. The work to compose Jinju Ogwangdae was processed for 9 months by stages. The script for restoration was written by Kim Su-eob. They learned the talchum(maskdance) from Ogwangdae and yarew. In the consist of perform, it could not know the state of past, they had take the future in matter of time. The talchum is changeable. So, a dance restored in Jinju is performed and it has changed, it was intent that we can say the “Jinju Ogwangdae” in the future. First of all, it could secure the ritual point of view for Jinju Talchum-fest in natural. This means that it creates ritual coherent. Also, it has secure the traditional times making the restorative atmosphere like a Jinju Ogwangdae in 1934. Last of all, it has secure the reasonable restoration with Jinju-spirit expressing the historic experience of Jinju symbolically. Jinju Ogwangdae has cultural meaning as the invention of tradition. There is a restoration in the performance form and it appears in the making of value. Each time to maximize the national sentiment, talchum has appearing as a value system. It was that, the cultural-nationalism in under the rule of Japanese imperialism, the crisis of national identity be due to industrialization and an inflow of foreign culture, the traditional culture policy for securing legitimacy in dictatorship, the re-interpretation of tradition in popular·culture movement, the crisis of national identity in discourse of globalism and the strategy to commercialization of traditional culture. Talchum has existed a interpretable variously traditional culture as a composite art. Jinju Ogwangdae was restored in this point of view, recreated value and meaning.
This thesis is begun to interest to Jinju Ogwangdae restored in 1998. The clause of Jinju Ogwangdae was only two kinds of tal(mask) and four scripts. If the talchum(mask dance) is performed, it appears a reality. So, it is impossible to restore with only tals and scripts. But it performed the 3rd Jinju Talchum-fest in 1998. The Talchum was experienced extinct in historical. The extinctive period of Jinju Ogwangdae is 60 years, two times of others. There are no live performers in Jinju Ogwangdae, it has a limit to be restored to the original form. It is Bae Woomunjun only live performer in Dodong Ogwangdae. The purpose of this thesis is to attention this aspect, to study how to make sure of legitimacy of Jinju Ogwangdae. The tradition has been continuing, changing and creating. The restoration of Jinju Ogwangdae was in 1928 and 1934. It was investigated by Jung In-sub in 1928 and Song Seok-ha in 1934. The study in 1934 means a lot to main group of Jinju Ogwangdae's restoration. This was to Song Seok-ha's folklore phase. The Jinju Ogwangdae in 1934 was performed in culture-nationalism. This was recognized the phases of that times, the context of ?the study of Jinju Ogwangdae? written by Song Seok-ha and a disposition of performers at that times. It was organized the Group for restoration of Jinju Ogwangdae at 9, September in 1997 and the association at 9, January in 1998. The main group of Jinju Talchum-fest from 1996 exert themselves to restore of Jinju Ogwangdae. They have had ing the popular·culture movement with talchum(mask dance). The union with Chae hee-wan led to participate to the main group. The work to compose Jinju Ogwangdae was processed for 9 months by stages. The script for restoration was written by Kim Su-eob. They learned the talchum(maskdance) from Ogwangdae and yarew. In the consist of perform, it could not know the state of past, they had take the future in matter of time. The talchum is changeable. So, a dance restored in Jinju is performed and it has changed, it was intent that we can say the “Jinju Ogwangdae” in the future. First of all, it could secure the ritual point of view for Jinju Talchum-fest in natural. This means that it creates ritual coherent. Also, it has secure the traditional times making the restorative atmosphere like a Jinju Ogwangdae in 1934. Last of all, it has secure the reasonable restoration with Jinju-spirit expressing the historic experience of Jinju symbolically. Jinju Ogwangdae has cultural meaning as the invention of tradition. There is a restoration in the performance form and it appears in the making of value. Each time to maximize the national sentiment, talchum has appearing as a value system. It was that, the cultural-nationalism in under the rule of Japanese imperialism, the crisis of national identity be due to industrialization and an inflow of foreign culture, the traditional culture policy for securing legitimacy in dictatorship, the re-interpretation of tradition in popular·culture movement, the crisis of national identity in discourse of globalism and the strategy to commercialization of traditional culture. Talchum has existed a interpretable variously traditional culture as a composite art. Jinju Ogwangdae was restored in this point of view, recreated value and meaning.
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