This is an aesthetic study of “Jisinbapgi”, a collective event to bring new things to the community and an event that personal desires and pray arise simultaneously. For the purpose of this study, structure and performance principle of jisinbapgi was searched first, and then, by studying aesthetic t...
This is an aesthetic study of “Jisinbapgi”, a collective event to bring new things to the community and an event that personal desires and pray arise simultaneously. For the purpose of this study, structure and performance principle of jisinbapgi was searched first, and then, by studying aesthetic theories, working methods and aesthetic experiences of ‘Byeoksa’ and ‘Jingyeong’ implied in jisinbapgi performance were analyzed and generalized respectively. By conducting these studies, it was researched whether unique aesthetic meaning of ‘byeoksa jingyeong’ in jisinbapgi could be identified.
It can be defined that jisinbapgi is a ritual and a play performed by a Pungmul band composed of the community members or is led by invited professional performers in the beginning of the year to conduct byeoksa and petition simultaneously by praying for the year’s happiness for both their community and families.
To make a jisinbapgi event organized, a meeting issued for jisinbapgi should be held first by the people who commonly share their resources of products and lifestyle. Also, as well as an object of deification and materials for shamanic rituals, various ritual materials such as instruments and flags should be prepared, and diverse methods of plays may exist, too.
As jisinbapgi is performed consecutively in order of time, it has a sequence structure;however,itisexpressedinbyeoksa and jingyeong simultaneously in persistent manner without discontinuation. Each phase’s byeoksa and jingyeong are expanded and reproduced in larger and larger scales. Jisinbapgi having an expansive and reproductive structure is inevitable to proceed towards the moment of new start departing from the past. The intrinsic time of jisinbapgi performance is stayed in the non-routine chaos situation. On the ground of non-routine time, by performing jisinbapgi, the routine space is changed to the non-routine space where both divinity and humanity exist simultaneously. As the space for time is transmitted to non-routine state, jisinbapgi begins to change roles of people who live in the ordinary manners. Throughout the changes of these deviating activities, a symphathy among performer, audiences, and observer occurs. Performing Jisinbapgi rapidly changes its phases of tension and release, and the way of performance is promptly changed sometimes. Such jisinbapgi having both characters of ritual and play exhibited on the same time appears as a form to make an interim knot of their lives in community.
To make a finding of the process as an aesthetic experiences from byeoksa(辟邪), exorcising devil, and jingyeong(進慶), receiving celebration, we may examine diverse western modern and contemporary theories regarding to aesthetic experience. Adopting from John Dewey’s aesthetic experience theory, it was examined how subjects and objects of aesthetic experiences and their surrounding circumstances make linkages and how they are interactive.
It can be said that the objects of byeoksa in jisinbapgi are all elements to worsen our lives unfairly and the stale and useless things we should discard away. On the contrary, the objects of jingyeong are the aggregate matters we desire for what we should keep on taking and the goal we should concentrate on throughout our living systems.
Both performers and audiences try to maintain their aesthetic experiences from byeoksa as they clean out their state of affairs together as companions. It means that they would like to fight commonly against disasters with their collective power made from the situation when the state of affairs was cleaned out. From this, the state of ‘commonly leave’ will occur, and this ‘leave’, has its aesthetic value of cleanse enabling a new situation can be faced because both performers and audiences emptied the state simultaneously.
Along with the process of jingyeong, both performers and audiences have the same experiences as companions to share their actual desire and newly changed situations. This process makes each aesthetic subject move towards the ultimate state of joy with harmony and the state that their whole bodies and spirits are united in oneness. The aesthetic experiences that the line between performers and audiences is collapsed and that their hopes and anxiety towards the future are resolved together elevate their private experiences to collective experiences. It can be stated that this aesthetic experience from jingyeong makes them meet a strange but positive and promising real world based on a changed relationships that each different person experiences a common pleasure.
As jisinbapgi continues, the aesthetic experience spreads down to the audiences. “Daedongnori” is the state that aesthetic experience is delivered from directly concerned performers of jisinbapgi and then its relationship is expanded out. As aesthetic experience is expanded, daedongnori strengthens and unites their community emotionally and then it is developed to a form of sinmyeongpuri for the whole community. Repetitive organic performances of rituals and plays, and aesthetic experiences in expanded space are compiled circularly to make us taste the sense of liberation collectively by participating in a big event on the First Full Moon Day. The power of producing and life which is made up with community pleasure leads us to encounter the upcoming challenge initiatively against the reality the community itself has.
Even today in the industrialized and urbanized society, jisinbapgi still has its aesthetic value and its characters associated with the site of performance which are arisen from byeoksa jingyeong, and its unique character as a ritual play. Jisinbapgi, performed in the space where we live on to get away old things and to bring new things is present here as people’s voluntary activities to change their situations drastically.
This is an aesthetic study of “Jisinbapgi”, a collective event to bring new things to the community and an event that personal desires and pray arise simultaneously. For the purpose of this study, structure and performance principle of jisinbapgi was searched first, and then, by studying aesthetic theories, working methods and aesthetic experiences of ‘Byeoksa’ and ‘Jingyeong’ implied in jisinbapgi performance were analyzed and generalized respectively. By conducting these studies, it was researched whether unique aesthetic meaning of ‘byeoksa jingyeong’ in jisinbapgi could be identified.
It can be defined that jisinbapgi is a ritual and a play performed by a Pungmul band composed of the community members or is led by invited professional performers in the beginning of the year to conduct byeoksa and petition simultaneously by praying for the year’s happiness for both their community and families.
To make a jisinbapgi event organized, a meeting issued for jisinbapgi should be held first by the people who commonly share their resources of products and lifestyle. Also, as well as an object of deification and materials for shamanic rituals, various ritual materials such as instruments and flags should be prepared, and diverse methods of plays may exist, too.
As jisinbapgi is performed consecutively in order of time, it has a sequence structure;however,itisexpressedinbyeoksa and jingyeong simultaneously in persistent manner without discontinuation. Each phase’s byeoksa and jingyeong are expanded and reproduced in larger and larger scales. Jisinbapgi having an expansive and reproductive structure is inevitable to proceed towards the moment of new start departing from the past. The intrinsic time of jisinbapgi performance is stayed in the non-routine chaos situation. On the ground of non-routine time, by performing jisinbapgi, the routine space is changed to the non-routine space where both divinity and humanity exist simultaneously. As the space for time is transmitted to non-routine state, jisinbapgi begins to change roles of people who live in the ordinary manners. Throughout the changes of these deviating activities, a symphathy among performer, audiences, and observer occurs. Performing Jisinbapgi rapidly changes its phases of tension and release, and the way of performance is promptly changed sometimes. Such jisinbapgi having both characters of ritual and play exhibited on the same time appears as a form to make an interim knot of their lives in community.
To make a finding of the process as an aesthetic experiences from byeoksa(辟邪), exorcising devil, and jingyeong(進慶), receiving celebration, we may examine diverse western modern and contemporary theories regarding to aesthetic experience. Adopting from John Dewey’s aesthetic experience theory, it was examined how subjects and objects of aesthetic experiences and their surrounding circumstances make linkages and how they are interactive.
It can be said that the objects of byeoksa in jisinbapgi are all elements to worsen our lives unfairly and the stale and useless things we should discard away. On the contrary, the objects of jingyeong are the aggregate matters we desire for what we should keep on taking and the goal we should concentrate on throughout our living systems.
Both performers and audiences try to maintain their aesthetic experiences from byeoksa as they clean out their state of affairs together as companions. It means that they would like to fight commonly against disasters with their collective power made from the situation when the state of affairs was cleaned out. From this, the state of ‘commonly leave’ will occur, and this ‘leave’, has its aesthetic value of cleanse enabling a new situation can be faced because both performers and audiences emptied the state simultaneously.
Along with the process of jingyeong, both performers and audiences have the same experiences as companions to share their actual desire and newly changed situations. This process makes each aesthetic subject move towards the ultimate state of joy with harmony and the state that their whole bodies and spirits are united in oneness. The aesthetic experiences that the line between performers and audiences is collapsed and that their hopes and anxiety towards the future are resolved together elevate their private experiences to collective experiences. It can be stated that this aesthetic experience from jingyeong makes them meet a strange but positive and promising real world based on a changed relationships that each different person experiences a common pleasure.
As jisinbapgi continues, the aesthetic experience spreads down to the audiences. “Daedongnori” is the state that aesthetic experience is delivered from directly concerned performers of jisinbapgi and then its relationship is expanded out. As aesthetic experience is expanded, daedongnori strengthens and unites their community emotionally and then it is developed to a form of sinmyeongpuri for the whole community. Repetitive organic performances of rituals and plays, and aesthetic experiences in expanded space are compiled circularly to make us taste the sense of liberation collectively by participating in a big event on the First Full Moon Day. The power of producing and life which is made up with community pleasure leads us to encounter the upcoming challenge initiatively against the reality the community itself has.
Even today in the industrialized and urbanized society, jisinbapgi still has its aesthetic value and its characters associated with the site of performance which are arisen from byeoksa jingyeong, and its unique character as a ritual play. Jisinbapgi, performed in the space where we live on to get away old things and to bring new things is present here as people’s voluntary activities to change their situations drastically.
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