National Intangible Cultural Heritage, Republic of Korea People in Bukcheong, Hamgyeongnam-do (in North Korea) engaged in a folk play, wearing lion masks on the night of the full moon of January 15 on the lunar calendar thinking that a lion, a powerful animal, could drive away evil spirits for them. Lion-masked people from neighboring villages gathered together and competed with one another. Since the team from Toseong-ri, Cheonghae-myeon, Bukcheong-gun did better than the others, the play gradually disappeared in the other villages. The mask play had come to secure its rightful place among Koreans since the Three Kingdoms Period. Those from the North continued to play it, mostly in Seoul. The mask play was started with young people carrying torches on the night of January 14 and was continued until the daybreak of the following morning. On January 16, they would pay visits to the houses of well-to-do people as prearranged. Upon entering the property, they would go around the courtyard in a line and start dancing. Then, a lion-masked person would join them. The “lion” would go into the inner room and the kitchen and make a gesture of eating someone alive. Then, the lion would return to the courtyard and engage in a lively dance. The lion would make a big bow to the deities kept in the house as requested by the owner of the house. When the lion would pretend to fall down exhausted, people would call an eminent monk to energize it by reciting a phrase of Buddhist scripture or have an herbal doctor apply acupuncture. Upon regaining strength, the lion would dance again with all the others. Participants included those acting as yangban (noblemen), a freakishly tall person, a humpback, a petty local government official, a dancing boy, a dancing woman, a monk, an herbal doctor, a scholar, etc. The dancing boy, the dancing woman, the monk, the herbal doctor, and the scholar appeared without wearing a mask. The musical instruments used were tungso (six-holed vertical bamboo flute), buk (drum), jing (large gongs), and janggo (hourglass-shaped drum). A mask dance performed in Bukcheong often uses tungso as a main instrument while samhyeon yukgak (three strings and six wind instruments) is used in Gyeonggi-do and kkwaenggwari (small gong) in Gyeongsang-do. The owners of the house would have their children ride on the back of the lion based on the belief that it would make them live longer. Money or grains donated by the houses visited by the troupe were used as scholarship fund for children from needy families and to subsidize expenses for senior citizen associations and cover the expenses for the lion play. Bukcheong Saja Noreum is focused on merrymaking, featuring movements more powerful than other lion dances.

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Traditionally, the Namsadang troupes didn’t settle in one place but traveled around, performing their repertoire mostly for grassroots audiences. The only extant group today was originally based in a neighborhood near Cheongnyongsa, a Buddhist temple in Seoun-myeon, Anseong City, Gyeonggi-do Province. Until the early 20th century, this group traveled from village to village around the central district of Korea and sometimes farther to Manchuria in northeastern China. Through its active itinerant performances the group influenced folk entertainment, masked dance plays and seasonal games in various regions. The wandering entertainers lived on small earnings from their shows, usually staying in Buddhist temples. They sold amulets made by monks and donated part of their income to host temples. A Namsadang troupe needs some 40-50 male performers to present its full repertoire. Under the kkokdusoe, literally the “head actor”, the troupe has a planner (gombaengisoe), stage manager (ddeunsoe), actors (gayeol), apprentices (ppiri), elderly seniors (jeoseungpae), errand runners (jan simbureumkkun) and porters (deungjimkkun). They have a strict hierarchy and apprenticeship to hand down their skills from generation to generation. The six acts of their program may be explained as follows: • Farmers’ Band Music (Pungmul): The farmers’ music played by the current Namsadang troupe originated in Gyeonggi and Chungcheong provinces in central Korea. It consists of a road parade and individual skill demonstrations. • Mask Dance Play (Deotboegi): Thirteen actors appear in four scenes – the ground purifier, the episode of scabies sufferer, the episode of feeble-minded scholar, and the episode of black monk. • Tightrope Walking (Eoreum): An acrobat performs a variety of feats on a tight rope between humorous exchanges with a clown on the ground. The rope is some 9-10 meters long and 2.5 meters high. Kwon Won-tae of the present Namsadang group can perform 17 kinds of feats. • Puppet Play (Deolmi): A total of 51 puppets in 31 kinds appear in this play with two acts and seven scenes. The stage is set up with black curtains, some 1.2 meters above ground. Puppeteers manipulate the puppets from behind the curtain, exchanging dialogue with a narrator seated in front of the stage along with musicians. The play consists of the Act of Old Man Park and the Act of Pyongyang Governor. The Act of Old Man Park has four scenes -- Old Man Park Goes on Sightseeing; Pijori (Park’s niece); Kkokdu Gaksi (Park’s wife); Isimi (python). The Act of Pyongyang Governor has three scenes -- Falconing, Pallbearing and Temple Building. • Acrobatics (Salpan): This act has a variety of breathtaking feats performed on the ground. • Sieve Frame Spinning (Beona): An acrobat displays intricate skills for spinning and tossing a sieve frame using a wooden stick some 40cm long. Sometimes he uses a tobacco pipe, a knife or a small reel, or an impromptu device combining these tools. Among the six acts of Namsadang Nori, the mask dance and puppet plays are particularly worthy of note for their explicit social messages. Characters in these humorous plays represent typical Koreans from different social classes, such as an aristocratic master and a defiant servant, an old couple and a concubine, Buddhist monks indulging in worldly pleasures, and the masses suffering from unending suppression and exploitation. These dramas were not simply designed to offer entertainment but also raise issues on behalf of the grassroots who had no means to voice their opinion. They were intended to imbue hopes for freedom and equality in the hearts of their commoner audience under yokes of class distinction. Through humorous depiction of women’s lives in a male-dominated society they also manifested the ideal of gender equality and human dignity. The masks and puppets symbolically express the reality faced by each character. The pains and sorrows in their hearts are soothed and even fears of death are overcome with cheerful plays. Namsadang plays thus advocated the ideas of freedom and equality through witty and humorous dialogue and symbolic dances and gestures. They spoke for the desires of Korean grassroots to pursue a beautiful and dignified life even though they had to accept the limitations of reality. These themes will be easily understood and earn sympathy from audiences around the world. The plays feature many silent characters, as well as abundant gestures and dances, facilitating easier communication and active audience participation beyond language barriers. The Namsadang troupes typically were performed in round outdoor spaces surrounded by crowds except the entrance and exit paths. The performing arenas, therefore, were open to everyone. The wandering entertainers held rites to pray for peace and fertility, playing loud and pleasant music, in every village they dropped in. They entertained the villagers with exciting programs of music, drama, dances and acrobatics, offering joyful moments to the oppressed commoners and boosting their morale. Namsadang Nori possesses intrinsic value as a content source for contemporary cultural creation. With a history spanning 1,500 years at the least, this integrated folk repertoire represents traditional Korean performing arts in broad genres. Its content will be actively utilized in various cultural genres in the years ahead. In this context, the recent hit movie “The King and the Clown” (2005) deftly proved such potential. The movie featured tightrope walking, farmers’ band, mask dance drama and puppet play in a number of scenes. Its two lead characters are wandering entertainers who happen to drift into the royal court. The movie’s phenomenal success has inspired many artists to employ motifs from the Namsadang repertory.

South Korea 2009

National Intangible Cultural Heritage, Republic of Korea Goseong Ogwangdae, whose name is known to have originated from traditional belief in the Five Elements, is a form of traditional folk performance developed in the southern part of Korea including Goseong, hence the name. Initially, Goseong Ogwangdae was performed by the Ogwangdae troupe on the eve of the Daeboreum (full moon of the 15th day of the first lunar month), but it gradually came to be performed on other festive days in spring and autumn as well. Goseong Ogwangdae can be traced back to the 1910s when a group of masked dancers in the Namchon Sect happened to watch a performance of the Tongyeong Ogwangdae (Mask Dance Drama of Tongyeong) which inspired them to develop their own version. It was later influenced by the Changwon Ogwangdae (Mask Dance Drama of Changwon), too, when it developed five dances to form each episode, namely, the Leper’s Dance, Ogwangdae Dance, Monk’s Dance, Bibi Dance, and Jemilju Dance. These dances are presented by a total of nineteen characters including Leper, Malttugi, Won Yangban, Cheongje Yangban, Jeokje Yangban, Baekje Yangban, Heukje Yangban, Hongbaek Yangban, Jongga Doryeong, Bibi, Bibi Yangban, Monk, Bride, Old Man, Old Woman, Jemilju, and Servant. Each performance focuses on the life of commoners, the complex relations between people from different rungs of society, and the absurdity and hypocrisy of Confucian aristocrats and Buddhist priests. Unlike the performances by other Owangdae troupes, its dances lack elements of the shaman’s dance, which was performed to expel evil forces, and instead include more entertaining elements. Performers of Tongyeong Ogwangdae wore paper masks in its early days, but recently they have begun to use masks made of paulownia wood or gourds. Tongyeong Ogwangdae is now inscribed on the list of Important Intangible Cultural Heritages.

National Intangible Cultural Heritage, Republic of Korea Ogwangdae refers to a mask dance played in southern areas. “O” in the name Ogwangdae is said to have stemmed from Ohaengseol (Five Element Theories). This was one of the rites villagers performed at the beginning of the year in the lunar calendar. On the night of the New Year’s Day, people held the rite of Cheollyongje (Rite to the Heavenly Dragon). On the night of the year’s first full moon (January 15 on the lunar calendar), they performed jisin bapgi (“earth spirit treading”) followed by the Ogwangdae Dance. Gasan Ogwangdae is composed of six acts, Obangsin (Deities of the Five Directions)’s Dance, Yeongno Dance, Leper’s Dance, Nobleman’s Dance, Monk’s Dance, and Dance of the Old Couple. The play includes satire about nobles harassing commoners, depraved monks, and male chauvinism as it appears in the custom of allowing a man to take multiple wives. Gasan Ogwangdae Nori is distinguished from the versions performed in other areas, as it includes Obangsin’s Dance with the story that the husband dies at the end of the play unlike the other versions in which the wife dies. One or two lepers appear in the other versions, but this one, performed in Gasan-ri, Chukdong-myeon, Sacheon-si, Gyeongsangnam-do, has five lepers who dance, sing, and engage in tujeon nori (card game).

National Intangible Cultural Heritage, Republic of Korea Yangju Byeolsandae Nori is one of the Sandae Dogam performed by itinerary troupes based in Seoul and the capital region. Consisting of dance, pantomime, well-wishing remarks, and acrobatics, it originated about 200 years ago and came to be performed during holidays and seasonal festivals such as the Buddha’s Birthday, Dano Festival, and Chuseok (Harvest Moon Festival on the 15th day of the eighth lunar month) and during ritual prayers for rainfall. Yangju Byeolsandae Nori is known to have originated from the mask dances performed by the Sajikgol Ttakttagipae group in Seoul. Each performance consists of eight episodes, which were often preceded by a parade in which performers wearing masks would dance around a town playing music, and hold a rite consisting of prayers for the safety of its residents. The main event was essentially a satire of Korean society with 32 characters representing different social groups and stereotypes, including depraved monks, impoverished aristocrats, shamans, buffoons, servants, and commoners.

National Intangible Cultural Heritage, Republic of Korea Ogwangdae refers to a form of traditional folk performance developed in the southern part of Korea including Tongyeong, hence the name Tongyeong Ogwangdae. Initially, Tongyeong Ogwangdae was performed on the eve of the Daeboreum (full moon of the 15th day of the first lunar month), but it gradually came to be performed on other festive days in spring and autumn. Some specialists claim that Tongyeong Ogwangdae originated from a form developed in Changwon Ogwangdae (Mask Dance Drama of Changwon) about a century ago - either by a group of local entertainers or Yi Hwa-seon, an Ogwandae player who moved from Changwon to Tongyeong. Each performance of Tongyeong Ogwangdae is composed of five episodes in which a total of 31 players play diverse characters by donning masks intended to represent them, including Leper, Malttugi, First Yangban, Second Yangban, Hongbaek Yangban, Faltering Yangban, Pockmarked Yangban, Black Yangban, Jorijung, Eight Heavenly Maids, Yeongno, Yeongnong Yangban, Halmi, Jeja Gaksi, Sangjwa, Blind Man, Sangju, Hunter, Mongdori, Lion, and Dambi. Each episode is focused on the complicated relationships between commoners and their views on Korean society and the ruling class. The words exchanged between the characters are typically barbed with sharp satire, effectively mocking the absurdity and hypocrisy of Confucian aristocrats and Buddhist monks. Tongyeong Ogwangdae is also famous for some of its dances, and most particularly the Leper’s Dance, which convincingly expresses the bitter life of a leper, and is also the only Ogwangdae troupe to present the Lion Dance during its performance. Tongyeong Ogwangdae is inscribed on Korea’s list of Important Intangible Cultural Heritages.

National Intangible Cultural Heritage, Republic of Korea Sandae Nori refers to a mask dance performed in the central region of Korea. It is part of Sandae Dogamgeuk, which used to be performed in Seoul and Gyeonggi-do. It is composed of dances, pantomime, and gags, and is performed on the lunar calendar dates of Daeboreum (January 15), Dano (May 5), Baekjung (July 15), and Chuseok (August 15). Songpa was a commercial center of Gyeonggi-do. It is said that the play was frequently performed at the time Songpa Market reached its prime about 200 years ago and has continued to develop and to be one handed down to the present day. The play is composed of seven acts. Prior to the commencement of the play, members of the troupe march, playing music, to the site of performance to entertain spectators along the way. The overall composition, dances, and masks used are similar to those of Yangju Byeonsandae Nori (Mask Dance Drama of Yangju), but certain masks, dances, and characters distinguish it from the other. In Songpa Sandae Nori, 33 masks made of gourd, pine skin, and paper are used.

National Intangible Cultural Heritage, Republic of Korea Mask dance is a stage play wherein one person or several people wearing a mask act as a person, an animal, or a supernatural being (god), delivering a message with dialogues or dances. Talchum (mask dance) was performed throughout the country until the early Joseon Period. When the Sandae (type of mask dance) was no longer performed in the Royal Palace, it was enjoyed as a pastime by ordinary people. Bongsan Talchum was started in Bongsan-gun, Hwanghae-do about 200 years ago. Performed on the night of Dano (fifth day of the fifth lunar month) and Haji (Summer Solstice), it is composed of dances associated with four monks, eight monks in black robe, a female member of a troupe, an old monk, a nobleman, and an old wife. Prior to the start of the play, the 36 members of the play (27 of them wearing masks) march to the site of the play while playing music. They also hold a sacrificial rite. The play contains satire about nobles harassing commoners, depraved monks, male chauvinism in a custom of allowing a man to take many wives, etc. Members dance to the tune of praying to Buddha, taryeong (Korean folk song), and gutgeori rhythm songs accompanied by the playing of samhyeon yukgak (three strings and six wind instruments) such as piri (flute), jeotdae (bamboo flute), haegeum (two-stringed fiddle), buk (drum), and janggo (hourglass-shaped drum). As the best known among the mask dances handed down in Hwanghae-do, Bongsan Talchum displays the lively movements of dancers including the shaking of the sleeves of the robes.

National Intangible Cultural Heritage, Republic of Korea Talchum (Mask Dance) is a stage play in which one person or people wearing a mask takes the role of a person, animal or a supernatural being (god), delivering a message through dialogues or dances. Talchum was performed throughout the country until the early Joseon Period. After the Sandae (a type of mask dance) came no longer to be performed in the Royal Palace in 1634 (the 12th year of King Injong’s reign), it was still enjoyed as a pastime by ordinary people. Eunyul Talchum was performed for 2-3 days on Dano (May 5 in the lunar calendar), Buddha’s birthday (April 8), and on Baekjung (July 15). It is said that people who fled to islands during war 200-300 years before wore masks on their return home as they felt ashamed, and that was the origin of Eunyul Talchum. Eunyul Talchum is composed of six acts, Lion Dance, Sangjwa Dance, Mokjung Dance, Old Monk Dance, and Dance of the Old Couple. Prior to the performance, the troupe held a sacrificial rite in a forest and marched to the site of the performance, entertaining people along the road. There are a total of 28 characters appearing on the performance. The play included satires about nobles harassing commoners, depraved monks, and male chauvinism in the custom of allowing a man to take plural wives. Eunyul Talchum displays a relationship with Bongsan Talchum (Mask Dance of Bongsan) and Haeju Talchum (Mask Dance of Haeju), both of which stem from Hwanghaedo Talchum (Mask Dance of Hwanghae-do).

National Intangible Cultural Heritage, Republic of Korea Talchum (mask dance) was performed across the country up to the early Joseon Period (1392 – 1910). Gangnyeong Talchum (Mask Dance Drama of Gangneung) is a type of Sandae Dogamgeuk, which was performed at the Royal Palace. After the mask dance drama came to be no longer performed there by 1634 (the 12th year of King Injo’s reign), it was still enjoyed as a pastime by ordinary people. The Mask Dance Drama of Gangnyeong is performed on Dano (May 5 on the lunar calendar) in Gangnyeong-eup, Hwanghaenam-do, and dates perhaps from the late Joseon Period. The event is composed of seven acts, Lion Dance, Malttugi Dance, Mokjung Dance, Sangjwa Dance, Dance of the Nobleman and Malttugi, Dance of Chwibari and the Old Monk, and Dance of the Old Couple. Prior to the performance, the 20 members of the troupe march, playing music to entertain spectators along the road. The play includes satire about such issues as nobles harassing commoners, depraved monks, and male chauvinism as shown in the custom of allowing a man to take plural wives. Dance movements are slow. The main dance is Jangsamchum (Long Sleeve Dance). The rhythms used are dodeuri, taryeong, and jajin gutgeori. Thirty-plus types of narration are used, each of them using its unique rhythm. The parts concerning three brothers of a noble family talking about the essentials of the noble class or calling Malttugi, or Malttugi’s gag are similar to those of Ogwangdae (Mask Dance Drama) of Gyeongnam-do. The scene of an old female clown turning a spinning wheel is similar to that of Ogwangdae of Gasan. These similarities have a very important significance in the handing-down of mask dance in the country. Performers wearing masks displaying realistic facial expressions and engaging in elegant and slow dancing movements are features of Gangnyeong Talchum, which distinguish it from Bongsan Talchum, another kind of mask dance performed in Hwanghae-do.