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르콘 콜(LKHON KHOL) 보호를 위한 공동체의 노력

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Manage No	DI00000235
Country	Republic of Korea
Author	산 팔라 사무관, 문화예술부 서적독서과 차이 다빈 연구원, 문화예술부 문화기술과 , Lkhon Khol Community
Published Year	2016
Language	Korean
Copyright
Attach File	Preview (KOR)

Description	프놈펜에서 약 15㎞ 정도 떨어져 있는 메콩강의 동안(東岸)에는 왓 스베이 안뎃(Wat Svay Andet)이라는 불교사원 공동체가 있다. 이 공동체는 주로 칸달(kandal)주 르비-엠(Lveaam)구의 두 개의 마을 타 스코르(Ta Skor)와 핌 엑(Peam Ek)의 지원을 받는다. 왓 스베이 안뎃은 성가 암송이 함께 이루어지는 극의 일종인 르콘콜(lkhon-khol)의 고향이다. 여기에 나오는 배우는 모두 남자들로 구성되는데, 이들은 옻칠을 한 가면을 쓰고 산스크리트어로 된 라마야나(Ramayana) 서사시의 캄보디아 버전인 림커(Reamker)에 나오는 장면만을 공연한다. 이 무극은 전통 타악기 핀-핏(pinpeat)악단의 반주에 맞추어 공연된다. 춤은 마을 사람들에의해 연행되지만 의상과 장신구는 고전 궁중무용만큼이나 화려하다.

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EE00000056 Lkhon Khol Wat Svay Andet
Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana. Lkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.

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SS00000179 Lkhon Khol Community
Lkhon khol of Wat Svay Andet continues today because of its significance in the community’s beliefs and identity, but over the last decade it has been experiencing difficulty. Despite of having some support from the state, NGOs, and the community itself, the troop has faced some challenges, such as the lack of dance costumes, ornaments, masks, stages, and musical instruments. Furthermore, the number of performers has been gradually decreasing due to aging and a lack of natural talent, and the younger generations show little interest since the performances generate no income and they are busy with their studies or working. Traditionally, the lkhon khol is transmitted orally within a family and through informal, master-apprentice relationships. Community leaders, masters, and the temple patriarch also encourage younger generations to learn lkhon khol skills to ensure that the art form remains part of the community’s living cultural practice. Apprentices have historically learned their preferential skills at their masters’ house at night, a time they were free from their agriculture work. While the same practice continues, recently amateurs are learning their art skills in groups during the day on Sundays or occasionally Thursday at the temple compound.

Cambodia Community

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DC00000086 아태무형문화유산꾸리에 한국어판 VOL.29 (전통선박 건조기술)
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ICHCAP 2016