INTANGIBLE CULTURAL HERITAGE OF KOREA
Contents
2. Types and characteristics of Talchum
Seonanggut talchum: mask dance performed as part of shamanic rituals 89
Tal: Displaying the Beauty of Traditional Korea 1. What is Tal? 2. Different kinds of masks and their characteristics
88
Ogwangdae: mask dances of five clowns
106
Yaryu: mask dances performed in an open field
130
10
14
Characteristics of Korean ritual masks
15
Unique functions of masks used for mask dance performances
22
Characteristics of Korean theatrical masks
34
Sandae nori: mask dances from the Seoul and Gyeonggi Province region 144 Haeseo talchum: mask dances from Hwanghae Province
164
Saja noreum: lion dance performance
190
Kkun: People who embrace Talchum as part of their lives
Talchum: Evoking an Intrinsic Sense of Joy 1. What is Talchum? Types of Korean mask dance performance
66 68
Basic themes of talchum
70
Talchum movements of joyful and charming beauty
76
Venue for talchum
84
1. Transmission and preservation of Talchum
208
2. The making of Korean masks
214
Gourd mask
216
Paper mask
220
Wooden mask
224
Bamboo mask
230
Tal and Talchum
Mask, so-called ‘The Other Face of Humanity’, creates another
This book explains Tal and Talchum including types and charac-
character of human being veiling the original face. Throughout the
teristics of Tal, kinds of Talchum and making process of Tal. A
world, masks have been transmitted into diverse forms embodying
variety of photographs are used to help better understanding of
each community’s cultural identity. In Korea, masks are called
the readers. This book is also the second publication of the series
Tal.
of ‘Intangible Cultural Heritage of Korea’ planned by the National Research Institute of Cultural Heritage for publicizing of Intangible
Tal, the Korean traditional masks has been used since prehistoric
Cultural Heritage of Korea to the world.
era. They are typically worn in cases of ceremonies in royal court, folk belief rituals and entertainments performed in various places
National Research Institute of Cultural Heritage will continue to
of Korea. Talchum, the Korean mask dance drama has been
publish the series of books on Korean intangible cultural heritage
particularly developed as a folk entertainment played in open-air
based on the accumulated research findings. I sincerely hope
theaters.
that this book could provide valuable information to the general public and those who are interested in Korean Intangible Cultural
Talchum has been commonly performed in many parts of the
Heritage.
country sharply satirizing the contemporary society and humorously depicting the falsehood and hypocrisy of the upper classes. In addition with cheerful music and energetic dances Talchum has been recognized as one of cultural symbols of Korea.
October 31. 2011
KIM Young-Won Director General National Research Institute of Cultural Heritage
Tal: Displaying the Beauty of Traditional Korea
What is Tal?
The Korean word tal refers to an article that is crafted by shaping wood or sheets of paper into a representation of a human or animal face and worn to cover the entire face. However, the word tal includes a second meaning of misfortune, illness or difficulty. For example, when someone becomes sick or runs into trouble, Koreans use the word tal, as in the phrase “talinatda” (‘I am sick’ or ‘I’m in trouble’). Tal represents something that Koreans hope is only a passing event. Tal: Displaying the Beauty of Traditional Korea
1. What is Tal?
Interestingly,
Koreans
were
also
reluctant to hold onto tal in its meaning of a mask. In the past, they believed if they kept a tal (mask) nearby, they would be in tal (trouble) due to the bad luck attached to the tal. Therefore, they stored masks in a village shrine or burned them immediately after the ritual for which they were created. Koreans regarded tal as an object of religion, something that should be feared, worshiped and enshrined. The following legend of Cheoyong has been passed down from the kingdom of Silla from the ninth century and tells us more about Korean masks.
What is tal?
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11
Cheoyong, a son of the dragon king, had such a beautiful wife that devils wanted her
a ferocious animal or to console the spirit of that
for themselves. One night, after Cheoyong had been out all day, he came back home to find the
animal. They also attached symbolic meanings
spirit of smallpox in bed with his wife. Despite what he had witnessed, he did not allow any
to terrifying theomorphic masks (masks in the
expression of rage to cross his face. Rather, he stepped back out of his house and began to sing
shape of a god) meant for protection against
and perform a dance.
evil spirits or external enemies. It was common
The song was like this:
to believe one could become an animal or a supernatural being by wearing such a mask.
“With the bright moon in the east, after wandering around all day, I come back and see four legs in my bed.
From ancient times, as in many other areas of the planet, Koreans used masks in rituals designed to pray for a bountiful harvest,
Two are surly mine but whose are these other two?
cure diseases, drive away evil spirits or serve
They used to belong to my wife, but what can I do after being robbed?”
the gods. Cheoyong mask from the Canon of Music (1493)
The spirit of smallpox was more than a little surprised to see Cheoyong singing and dancing rather than furious. The spirit recognized that Cheoyong was such a magnanimous man that he could not stand against him. He kneeled down in front of Cheoyong and said, “My Lord, I am deeply impressed by your virtue. Upon my oath, I will never go near any place that has a likeness of your face. Please forgive me this one time.” Afterwards, the spirit of smallpox would not pass through a door with a representation of Cheoyong hanging on it. This is when the people of Silla began putting a likeness of Cheoyong on the gate to drive away evil spirits and invite good fortune. This legend of Cheoyong led to the creation of the Cheoyong mask, which was designed to drive away negative spirits and was revered as an object of worship. In ancient Korea, it was believed that illness was brought by evil spirits and that they could be repelled by means of fearsome-looking masks. Thus masks were always used in exorcism rituals, funerals and communal rites for praying for the well-being of their village. This suggests a tal (trouble) can only be defeated by using an even more frightening tal (mask). Such exorcism function is not unique to Korean masks. Various types of masks have long existed all over the world, originating in religious or exorcism ceremonies dating back to the earliest times. In prehistoric eras, people wore animal-inspired masks created to channel the power of
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Dance of Cheoyong
What is tal?
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13
Different kinds of masks and their characteristics
Masks of all kinds can be found in every part of the world, but Korean masks contain their own unique shapes and functions. Korean masks are generally divided into ritual and theatrical masks; ritual masks are used for exorcisms or religious ceremonies, while theatrical masks are important in dance and dramatic performances. We will start by examining different ritual masks to define some of the main Tal: Displaying the Beauty of Traditional Korea
2. Different kinds of masks and their characteristics
characteristics of Korean masks.
Characteristics of Korean ritual masks Bangsangssi mask Bangsangssi is considered the oldest traditional mask in Korea, passed down since the Silla Dynasty, around the 6th century. It was designed to protect the dead from evil spirits.
Different kinds of masks and their characteristics
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15
Designated
as
Important
Folklore
Material No.16, the mask pictured here is the only Joseon-era Bangsangssi mask remaining today. It was constructed from pine, is 72 centimeters long and 74 centimeters wide, and was mainly used for court functions. Bangsangssi was generally placed in front of a funeral bier to banish evil spirits during funeral services or used in the royal exorcism ceremonies.
Bangsangssi mask (Important Folklore Material No.16) Bangsangssi masks used for the funeral of Emperor Sunjong (1926)
16
Different kinds of masks and their characteristics
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The Bangsangssi mask was used to banish evil spirits during funeral services. It was commonly made of paper, rice straw or wood and then buried near the grave or burnt after use, out of the belief that masks were prone to attract misfortune, illness or mishap.
The person wearing the Bangsangssi mask is leading a funeral procession on a cart while exorcising evil spirits.
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Different kinds of masks and their characteristics
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Cheoyong mask The Cheoyong mask was derived from the legend of Cheoyong. It was made by using carved lime wood or lacquered hemp cloth. The branch of a peach tree hanging at the head of the mask and the dark red color of the face serve to drive away malignant spirits. Cheoyongmu or the Dance of Cheoyong has been passed down since the Goryeo Dynasty as a part of exorcism ceremonies. Dancers wear the Choeyong masks during the performance. While no longer performed as an exorcism, the Dance of Cheoyong is still transmitted as part of traditional dance performances. As a result, the Cheoyong masks are now classified as theatrical masks.
mask of Cheoyong
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Different kinds of masks and their characteristics
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21
Unique functions of masks used for mask dance performances Korean masks were intended primarily for religious activities, but their use changed over time. They originally served as tools for exorcism, but as the culture evolved, they became a central feature of artistic activities such as dance and drama performances. Since many different regions in Korea have unique forms of talchum, or mask dance drama, there are a variety of regional versions of theatrical masks. Most of these theatrical masks depict the face of a human, but there are also masks portraying existing animals such as Saja (lion) or imaginary animals like Yeongno (legendary monster). Some masks represent divine figures such as Obangsinjang (the five directional gods) or Gaksi (bride). The Saja, Obangsinjang and Gaksi masks serve not only as theatrical masks for talchum performances but also as sacred masks in exorcisms. Next, we will look at theatrical masks serving religious purposes in order to better identify the unique functions and characteristics of traditional Korean masks.
Gaksi (bride) mask In Hahoe Byeolsingut Talnori, the mask dance drama transmitted in the village of Hahoe, Gaksi represents a local guardian deity known as Seonangsin. Legend has it that a young woman died of a broken heart and then transformed into local goddess residing in the village. One eye on the mask looks down while the other gazes straight ahead, suggesting the mask represents both the social restraints placed upon Gaksi and her determination to overcome them. The distinctively wide cheekbones portray one of the most common facial features found in many Koreans.
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Gaksi mask (National Treasure of Korea No.121)
Different kinds of masks and their characteristics
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Sacred Hahoe masks The residents of Hahoe village held all types of masks to be sacred, including the Gaksi mask. They stored the masks separately in the village shrine and would not even approach the masks because misfortune would befall them if they touched them. In particular, the Gaksi mask, as a local guardian deity, was considered so sacred that the villagers could safely look at it only after a shaman had offered it a sacrifice. The Hahoe masks are said to have been made in the middle of the Goryeo Dynasty (918-1392). Currently there are a total of eleven Hahoe masks handed down from old times (maker and period unknown). They were designated as National Treasure No.121 in 1964 and are housed in the National Museum of Korea.
The head priest (sitting in the front row) and clowns gathered for a temporary performance in 1940.
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Masks of Hahoe Byeolsingut Talnori
Different kinds of masks and their characteristics
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Saja (lion) mask In ancient times, Koreans regarded lions as containing the power to expel evil spirits and bring good luck. They began to perform lion dances as part of exorcism rites at the beginning of a year in the Goryeo period. For the rites, people put on a frightful, oversized lion mask impressive enough to drive off evil spirits. The most important aspect of the lion mask is the golden eyes, which take after the gold-colored eyes of the Bangsangssi mask used in funeral services to expel negative spirits. Bongsan and Gangnyeong mask dances make use of lion masks with rolling eyes and a large bell on its head. It is said that the bell rings whenever the lion moves in order to scare off demons. Bukcheong Saja Noreum (lion dance traditional to the Bukcheong region) is the classic example of Korean lion dance performances conducted as part of exorcism ceremonies. One folk belief is that children will enjoy good health and a long life if they are set on the lion’s back during the lion dance performance.
Children are set on the lions’ backs during the Bukcheong Saja Noreum
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Lion mask from the Gangnyeong Talchum
Different kinds of masks and their characteristics
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Lion mask from the Bongsan Talchum
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Lion mask from the Eunyul Talchum
Different kinds of masks and their characteristics
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Obangsinjang (five directional gods) masks Obangsinjang refers to the gods of the five directions (East, West, South, North and Center). The Obangsinjang masks were believed to have exorcising powers as well. They were used for the Dance of the Five Directional Gods, known as Obangsinjangmu, which was performed to expel all directional demons out of the area where the mask dance was performed. Among the mask dance performances still
being
transmitted
to
date,
Gasan
Ogwangdae (the mask dance traditional to the region of Gasan) features the Dance of the Five Directional Gods. Five actors wearing the masks and costumes of the five directional colors (blue for east, white for west, red for south, black for north and yellow for center) dance to expel evil spirits from the playground.
Gasan Ogwangdae features the Dance of the Five Directional Gods
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Different kinds of masks and their characteristics
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Nunggeumjeogi and Yeonnip masks The Nunggeumjeogi and Yeonnip masks appear in Yangju Byeolsandae Nori, the mask dance traditional to the region of Yangju, Gyeonggi Province. Nunggeumjeogi and Yeonnip represent symbolic religious characters that punish corrupt monks; the former scares away Omjung (depraved monk with an itch), personifying an evil spirit, while the latter scolds the dishonest Sangjwa (youthful monk). This calls to mind the Bansangssi mask expelling bad spirits from funeral services. The mask dance of Yangju began with a sacrificial rite. The twin masks were placed on the ceremonial table and honored because they were believed to drive off bad spirits. In addition, the Sangjwa and Palmeokjung (eight unworthy monks) masks are also considered theatrical masks with an exorcism function. Korean mask dance performances were strongly influenced by exorcism ceremonies. Nearly every masked performance features one or more exorcising masks and ritual dances.
Nunggeumjeogi from the Yangju Byeolsandae Nori
Yeonnip from the Yangju Byeolsandae Nori
Nunggeumjeogi and Yeonnip from the Yangju Byeolsandae Nori
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Different kinds of masks and their characteristics
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Characteristics of Korean theatrical masks Korean masks feature prominent unique facial attributes. They are distorted, exaggerated or otherwise expressed in a comical way. The facial features are out of proportion in most cases: the eyes are larger and more circular than in actuality, the noses are long and droop down, and the corners of the mouth are excessively lifted. This is done to symbolically represent the social status or condition of the characters. Koreans placed a great amount of symbolism into masks. They used masks as a means to represent the people of the time across gender, class and age and dealt with social, religious and family issues through humor. When reading about the symbols depicted in the masks, some of the unique nature of Koreans can be perceived.
“Masks depicting the conflict between the classes: the irreconcilable relationship between aristocrat and servant� Malddugi (servant) mask Malddugi appears in nearly every mask dance performance. He is a servant but makes no bones about criticizing and ridiculing the ruling class yangban. The Malddugi mask has larger eyes, nose and ears than other masks, suggesting that he must carefully watch and listen to yangban’s corrupt and devious schemes. The particular feature of the Malddugi mask used in Dongrae Yaryu (the mask dance traditional to the Dongrae region) is the nose that hangs from the forehead to the mouth. This is to represent the desire of commoners for great fertility.
Malddugi mask used in the Dongrae Yaryu
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Malddugi mask used in the Suyeong Yaryu
Malddugi mask used in the Songpa Sandae Nori
Different kinds of masks and their characteristics
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Yangban (nobleman) mask Along with Malddugi, Yangban appears in nearly every mask dance performance. Yangban enjoyed a privileged status as members of the ruling elite, and commoners pointedly satirized members of this class through talchum for their vanity and corruption. From the perspective of commoners, nobles were a waste of resources that should be expelled from society. Yangban masks clearly show the smoldering sense of rebellion felt by commoners toward the nobility. This explains why nearly all Yangban masks are harelipped, disfigured or otherwise designed in an outlandish shape, with the exception of the Hahoe Yangban mask which instead portrays the authority
Nambang Jeokje Yangban from the Goseong Ogwangdae
and dignity of the nobility. As one example, the Hongbaek Yangban mask appearing in Goseong Ogwangdae (the mask dance traditional to the region of Goseong) is painted half white and half red to reveal the duplicity of the character. In the mask dances of Bongsan, Songpa, Yangju and Dongrae, the yangban character appears as Saennim or Mo Yangban, which include sarcastic connotations. The yangban masks feature ugly and deformed faces to express the bitter hostility suffered by commoners toward the nobility.
Bukbang Heukje Yangban from the Goseong Ogwangdae
Hongbaek Yangban from the Goseong Ogwangdae
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Different kinds of masks and their characteristics
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Yangban from the Hahoe Byeolsingut Talnori
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Yangban from the Suyeong Yaryu
Different kinds of masks and their characteristics
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Noble brothers from the Bongsan Talchum
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Saennim from the Songpa Sandae Nori
Different kinds of masks and their characteristics
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Yeongno (legendary monster) mask Yeongno is a legendary monster which is said to have been expelled from heaven after committing a sin. He is required to eat 100 aristocrats in order to return to heaven. The hatred of commoners for aristocrats must have been intense, seeing that such an aristocrateating monster was featured in a good number of Korean mask dance performances. Yeongno uses a willow pipe to let out a crying tone, after which he is also referred to as Bibi. He appears not only in the mask dances traditional to the regions of Eunyul, Gangnyeong and Bongsan but also in the mask dances traditional to the regions of Tongyeong, Goseong and Gasan, as well as the mask dance performances traditional to the regions
Yeongno mask used in the Tongyeong Ogwangdae
of Suyeong and Dongrae. The Yeongno mask takes on a variety of shapes by region.
Yeongno mask used in the Goseong Ogwangdae
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Yeongno mask used in the Suyeong Yaryu
Yeongno mask used in the Goseong Ogwangdae
Different kinds of masks and their characteristics
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“Masks depicting the rampant corruption of monks: here comes Chwibari to scold apostate monks!�
Chwibari (drunkard) mask In many Korean mask dance performances, corrupt monks are also held up as parasites deserving of expulsion together with aristocrats. Chwibari plays the role of chastising lecherous, depraved monks. He is as strong as an ox and appears to enjoy himself and drink heartily. The red face of the mask reveals his aggressive nature, while the big, bright eyes and knotty bumps on the face are suggestive of his energetic spirit. He appears in the mask dances transmitted in the regions of Yangju, Songpa, Bongsan and Gangnyeong.
Chwibari mask used in the Eunyul Talchum
Chwibari mask used in the Bongsan Talchum
Chwibari mask used in the Songpa Sandae Nori Chwibari mask used in the Gangnyeong Talchum
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Different kinds of masks and their characteristics
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Nojang (old monk) mask Nojang is an old monk who apostatizes from Buddhism after falling for Somu (little shaman). His blackened face and sagging lips reveal an insidious and wicked character, symbolizing the duplicity of corrupt monks. However, a certain amount of humor is depicted in the mask as well. According to one theory, the white spots on his black-colored face show that Nojang once devoted himself to the study of Buddhist scripture. The white spots represent fly-specks accumulated on his face while he was intentely focused on his study. He appears in the mask dance performances traditional to Nojang mask used in the Bongsan Talchum
the regions of Gangnyeong, Bongsan, Songpa and Yangju.
Nojang mask used in the Gangnyeong Talchum
Nojang mask used in the Yangju Byeolsandae Nori
Nojang from the Songpa Sandae Nori
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Different kinds of masks and their characteristics
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Omjung (depraved monk with an itch) mask The criticism of Buddhism is further depicted in the mask of Omjung. Omjung is another apostate monk, infected with an itch and possessing a coarse, ugly face. He mocks his teacher, Nojang, and behaves in a rude, disrespectful manner. It is said that he did not know what to carry with him, so he brought an itch when he first entered Korea, implying a criticism of imported religions. He appears in the mask dances traditional to the regions of Yangju and Songpa.
Omjung from the Yangju Byeolsandae Nori
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Omjung from the Songpa Sandae Nori
Different kinds of masks and their characteristics
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Somu (little shaman) mask Somu, also called Somaegaksi, is a young shaman, but actually plays a role of gisaeng (Korean geisha). She appears as a flirtatious young woman attracting an old monk in the mask dance dramas of Songpa, Bongsan and Gangnyeong. The young and beautiful Somu becomes Chwibari’s wife after Chwibari kicks the old monk out, and gives birth to his baby. The character’s mask portrays a young woman with black hair and wearing rouge on her white face. In the mask dance of Yangju, she appears as a concubine of Saennim.
Somu from the Songpa Sandae Nori
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Somu from the Bongsan Talchum
Different kinds of masks and their characteristics
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51
Somu mask used in Bongsan Talchum Somu (right) from the Gangnyeong Talchum
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Different kinds of masks and their characteristics
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“Masks depicting a love triangle involving a husband, wife and mistress: the cold-hearted husband and his long-suffering wife�
Miyalhalmi (old woman) mask Miyalhalmi is an old woman who has been abandoned by her husband. Her darkened face covered with spots and the toothless mouth represent the poverty and hardship suffered by the women of the time. The Miyalhalmi mask reveals the flaws of the patriarchal family system and male-dominated society. A viewer of this mask, however, cannot help but feel amusement before it turns to pity for the character. Does this indicate that a sense of humor is one key to solving unfortunate family dynamics? In this way, Korean masks
Miyalhalmi mask used in the Gangnyeong Talchum
criticize and satirize the patriarchal system and the social issues of the time without sacrificing a sense of humor. Miyalhalmi appears in the mask dance performances traditional to the regions of Yangju, Songpa, Gangnyeong and Bongsan.
Miyalhalmi mask used in the Tongyeong Ogwangdae
Miyalhalmi from the Songpa Sandae Nori
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Different kinds of masks and their characteristics
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55
Halmi from the Suyeong Yaryu
56
Halmi from the Eunyul Talchum
Different kinds of masks and their characteristics
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57
Yeonggam (old man) mask Miyalyeonggam is Miyalhalmi’s husband, who keeps a younger concubine and mistreats his wife. His overbearing, patriarchal attitude causes constant conflicts and frictions with his wife. In the mask dances of Gangnyeong and Gyeonggi Province, the character appears as an old man with white eyebrows, mustache and beard.
Miyalyeonggam from the Gangnyeong Talchum
58
Miyalyeonggam from the Eunyul Talchum
Different kinds of masks and their characteristics
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59
Deolmeorijip (concubine) mask Deolmeorijip is Miyalyeonggam’s mistress, appearing in the mask dances of Bongsan and Gangnyeong. She is a young woman and wears rouge on her pale face, in sharp contrast to the blackened face of Miyalhalmi. Her whole appearance is similar to that of Somu. This character appears in other mask dance performances under different names: Jedaegaksi in the mask dances of Tongyeong, Suyeong and Dongrae; Seoulaegi in the mask dance of Gasan; and Jemilju in the mask dance of Goseong.
Jedaegaksi from the Dongrae Yaryu
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Ddungddanjijip from the Eunyul Talchum
Different kinds of masks and their characteristics
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Yongsansamgaejip from the Gangnyeong Talchum
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Deolmeorijip from the Bongsan Talchum
Different kinds of masks and their characteristics
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Talchum: Evoking an Intrinsic Sense of Joy
What is Talchum? Talchum is a form of drama featuring the wearing of masks, singing and dancing. It was originally a regional term only applied to mask dances traditional to Hwanghae Province. It eventually became a general term referring to all forms of the art after the Hwanghae Province style of mask dance received extensive publicity. Talchum is referred to by different names depending on where it originated. The mask dances from Hwanghae Province are known as talchum, whereas those from the Seoul and Gyeonggi Province area are known as sandae nori. The region of Bukcheong, North Hamgyeong Province, located in North Talchum: Evoking an Intrinsic Sense of Joy
1. What is Talchum?
Korea, is famous for its saja noreum, meaning lion dance performance. With the Nakdong River as a divider, the western part of South Gyeongsang Province calls its version of the mask dance ogwangdae, which is made up of a performance by five clowns or five scenes. The eastern half refers to it as yaryu or deulloreum, which means a performance conducted in an open field. In addition, the mask dance drama from the region around Andong, North Gyeongsang Province is called Byeolsingut Talnori, which means a mask performance conducted as part of shamanic rituals.
What is Talchum?
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67
INE:H D; @DG:6C B6H@ 96C8: E:G;DGB6C8: The tradition of mask dance is found throughout the Korean Peninsula and each regional variation displays distinctive characteristics. As the aftermath of the Korean War divided the country into North and South, the geographical distribution of the mask dance tradition was changed markedly. Displaced natives of regions in North Korea where particular mask dance traditions originated fled to the south during the war and began to perform their local styles Saja Noreum s "UKCHEONG 3AJA .OREUM
of mask dance around the southern capital region. These North Korean defectors have actively engaged in transmitting and preserving their mask dance traditions. Bukcheong Saja Noreum, Bongsan Talchum, Gangnyeong Talchum and Eunyul Talchum are examples which have been transmitted in the south with their original names left unchanged. This chapter will take a closer look at those twelve mask dance performances designated as Important Intangible Cultural Properties of Korea.
Seonanggut Talchum (mask dances performed as part of shamanic rituals): • Hahoe Byeolsingut Talnori
Ogwangdae (mask dances of five clowns):
Haeseo Talchum s "ONGSAN 4ALCHUM
Sandae Nori
• Tongyeong Ogwangdae
s 3ONGPA 3ANDAE .ORI s 9ANGJU "YEOLSANDAE .ORI
• Goseong Ogwangdae • Gasan Ogwangdae
Yaryu or Deulloreum (mask dances played in the open field): s 'ANGNYEONG 4ALCHUM
• Suyeong Yaryu Seonanggut Talchum Ogwangdae
• Dongrae Yaryu
s (AHOE "YEOLSINGUT 4ALNORI
Sandae Nori (mask dances from the Seoul and Gyeonggi Province area):
s 4ONGYEONG /GWANGDAE
• Songpa Sandae Nori
s %UNYUL 4ALCHUM
• Yangju Sandae Nori
s 'OSEONG /GWANGDAE
Yaryu or Deulloreum s 3UYEONG 9ARYU
Haeseo Talchum (mask dances from Hwanghae Province): • Bongsan Talchum • Gangnyeong Talchum • Eunyul Talchum
s 'ASAN /GWANGDAE
68
Saja Noreum (lion dance performance): s $ONGRAE 9ARYU
• Bukcheong Saja Noreum
What is Talchum?
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Talchum is a type of drama divided into
Basic themes of Talchum
several acts, but they are not closely connected to form a unified story as in Western plays. It is comprised of several gwajang (scenes or chapters), which deal with distinct episodes in
a separate way. No scene is directly connected to the others and each presents a different conflict and theme. The structure of chapters and the performance style differ, as do the names used in each region. However, scenes featuring yangban (noblemen), pagyeseung (apostate monk) and miyalhalmi (old woman) are included across nearly all mask dance performances. Through satire, talchum criticizes decadent noblemen, ridicules apostate monks and shames patriarchal husbands. These are the basic themes running through all Korean mask dance performances.
Yangban (nobleman) scene This episode ridicules noblemen. A nobleman brags about himself by showing off his
Yangban scene from the Goseong Ogwangdae
learning, but Malddugi (servant) ridicules his master’s knowledge. The nobleman does not even recognize that he is being mocked by his servant.
Yangban scene from the Hahoe Byeolsingut Talnori Yangban scene from the Bongsan Talchum
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Basic themes of Talchum
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Pagyeseung (apostate monk) scene This episode satirizes a depraved old monk. He is tempted by a flirtatious young woman into removing his precious Buddhist rosary. Despite having passed through a long period of ascetic training, the old monk, charmed by Somu (young shaman), forgets his duties and attempts to seduce her. However, Somu’s prodigal lover, Chwibari, comes on the scene to criticize the old monk for his depravity and attacks him in order to win back his love. The old monk loses the young woman and is chased away by the stronger Chwibari. Pagyeseung scene from the Eunyul Talchum
Pagyeseung scene from the Hahoe Byeolsingut Talnori
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Pagyeseung scene from the Bongsan Talchum
Basic themes of Talchum
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Miyalhalmi (old woman) scene This episode shows the conflict between husband and wife. Miyalhalmi, the wife, wanders all over the country searching for her husband. She finally finds him, but the callous husband breaks her heart by keeping a beautiful young concubine at his side. With everything she once had taken from her, Miyalhalmi leaves home and dies of a broken heart. Lamenting the death of his wife, the husband invites a shaman to comfort her soul (in Haeseo-style talchum and sandae nori) or hosts a funeral service with a decorated bier (in yaryu and ogwangdae). This scene displays the conflict between husband and wife, separation and reconciliation, and demonstrates shamanism taking root in the lives of commoners.
Sinhalmi episode from the Songpa Sandae Nori. A shaman performs a ritual to comfort the soul of the dead Sinhalmi.
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Miyalhalmi scene from the Eunyul Talchum
Basic themes of Talchum
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Talchum movements
Talchum movements of joyful and charming beauty
Each regional version of talchum features unique dance movements and a different structure of scenes and expressive styles. The unique movements of talchum are designed to create a deep sense of joy. The Yangju and Songpa mask dances make use of two styles of dance known as geodeureumchum, which is performed to the slow yeombul rhythm, as well as ggaeggichum, which is performed to a four-beat taryeong rhythm, in order to reveal their beauty and uplift the audience. Haeseo talchum boasts a powerful dance known as sawichum, which is performed by leaping in the air while swirling hansam. Hansam refers to a long white sleeve attached to the cuff that covers the hand. This creates particularly dynamic and spectacular movements. The mask dances from Gyeongsang Province feature the heoteunchum dance, which is performed through improvisational movements. This freestyle dance emphasizes slow and subtle movement of the shoulders, representing the characteristics of dances traditional to the region. Rhythmic patterns are created on percussion instruments such as the janggo (hourglass-shaped drum) and buk (double-headed drum), while melodies are played on daegeum (large bamboo flute), haegeum (two-stringed fiddle) and piri (cylindrical bamboo oboe). A variety of styles of dance are performed to tunes with rhythms ranging from fast to slow. Exciting dances are performed to a rapid gutgeori rhythm, powerful dances to the taryeong rhythm,and elegant dances to the slow yeombul rhythm. These rhythmic patterns help to enhance the festive spirit of the dances.
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Dance movements of Sandae Nori : Songpa Sandae Nori
Talchum movements of joyful and charming beauty
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Dance movements of Haeseo talchum : Bongsan Talchum
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Dance movements of Haeseo talchum : Eunyul Talchum
Talchum movements of joyful and charming beauty
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Dance movements of yaryu and ogwangdae : Dongrae Yaryu
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Dance movements of yaryu and ogwangdae : Goseong Ogwangdae
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Musician scene The mask dances of Yangju, Songpa, Bongsan, Gangnyeong and Eunyul are performed to the accompaniment of samhyeonyukgak (a wooden clapper, two oboes, a flute, a fiddle and two drums) plus ggwaenggwari (small gong) and jing (large gong). Yeombul, taryeong and gutgeori rhythmic patterns are mainly performed for the mask dances. On the other hand, the mask dances of Gyeongsang Province, including Tongyeong Ogwangdae, are performed to the accompaniment of a small gong, janggo (hourglass-shaped drum), buk (double-headed drum), a large gong and taepyeongso (double-reed oboe), and to gutgeori and jajinmori rhythmic patterns. Such different instrumentations stem from the fact that the mask dances of Hwanghae and Gyeonggi Provinces were accompanied by professional musicians, while those from Gyeongsang Province utilized farmers’-music bands. The Bukcheong lion dance is performed to the accompaniment of buk, janggo, jing and, distinctively, tungso (six-holed bamboo flute). Tungso is reserved for musicians with over ten years of playing experience and contributes to elevating the mood with a variety of tunes.
Musicians from the Dongrae Yaryu
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Musicians circling around the playground during the Bukcheong Saja Noreum
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Venue for talchum
Talchum can be presented on a temporary stage, but is generally performed on an open field without any stage. In a venue where the center of the field serves as the stage and the surroundings become the auditorium, actors lead the performance with their dialogue and dancing while musicians accompany the actors on instruments, enhancing the mood. The audience watches the performance from seats around the performers. Surrounded by the audience, the actors modify their lines depending on the atmosphere of that day’s performance or vary their performance to encourage an audience response. From the perspective of the audience, they are not simply observers of the performance, but join in with the actors in the festive mood and enjoy themselves. Such passionate audience involvement is its most appealing feature and has endeared talchum to the public for centuries. Gangnyeong Talchum
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Venue for talchum
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Open-air mask dance performance encouraging interactive audience participation
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Venue for talchum
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Seonanggut talchum: mask dances performed as part of shamanic rituals • Hahoe Byeolsingut Talnori
Hahoe Byeolsingut Talnori is a mask
Talchum: Evoking an Intrinsic Sense of Joy
dance performance handed down in the village
2. Types and Characteristics of Talchum
of Hahoe near Andong, North Gyeongsang Province. It is typical of mask dances performed as part of shamanic rituals to pray for the wellbeing of the village and a bountiful harvest. Since ancient times, Koreans have put faith in their local guardian gods. The residents of Hahoe similarly undertook sacrificial rites in honor of their guardian deity. Byeolsingut refers to a special shamanic ritual held once every five or ten years rather than annually. The following story is about the origins Seonanggut talchum: mask dances performed as part of shamanic rituals
of the masks used for the Hahoe Byeolsingut Talnori:
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In the middle of the Goryeo Dynasty, there lived a craftsman, who went by the name Heo. For years his village suffered from constant misfortunes but no one knew why. One day, Heo dreamt about a mountain god and received an oracle message that the misfortunes would disappear if the villagers danced with masks made by Heo. The god said Heo was not to have any contact with anyone until he finished. Awaking from his dream, Heo could not ignore the instructions. He had a straw rope wound around his workshop to allow him to work undisturbed by others and immediately set to work making the masks. At long last, one hundred days had passed. A young woman named Kim was in love with Heo and was growing weary of waiting. She broke her vow to leave him undisturbed for one hundred days and peeked into her lover’s workshop to see what he was doing. He was carving the last mask, Imae. The moment she glanced inside, Heo collapsed spitting blood and died. The mask was left unfinished. Out of guilt for causing his death, the young woman committed suicide. Afterwards, the residents of Hahoe village decided to serve the dead woman as a tutelary god and held annual rituals to assuage her soul.
Musicians and clowns participating in the pre-show parade of the Hahoe Byeolsingut Talnori
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Seonanggut talchum: mask dance performed as part of shamanic rituals
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서낭각시의 무동 춤 (무동과장)
This is the myth behind the masks and
서낭당
shamanistic ritual passed down in the village of Hahoe. Why did the broken hearted young woman become a guardian deity of Hahoe village? There is a common saying around the world, also treasured by Koreans, “Hell hath no fury like a woman scorned.” The residents of Hahoe village did not want evil spirits bringing illness and bad luck to set upon them by the dead woman. They held sacrificial rites to appease the soul of the broken-hearted woman and to ask her to protect the village from evil A rite performed to hand over masks to clowns
Preparing for a street parade
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spirits.
Mask rite at Samsindang shrine
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Hahoe Byeolsingut Talnori has been performed as part of shamanic rituals and thus the dance features distinctive shamanic characteristics. The basic content and themes are not particularly different from those of other mask dance performances, but the Gaksi character, personifying the guardian deity of the village, plays a more important role in the mask dance drama. Hahoe Byeolsingut Talnori consists of eight scenes, among which the honrye (wedding) and shinbang (bridal chamber) scenes are performed separately after the previous six episodes have been concluded and the audience returns home. The final two scenes and the first mudong (dance by the Gaksi character) scene serve as a ritual to assuage the guardian deity, who died a virgin. These three scenes can only be found in this mask dance performance. Hahoe Byeolsingut Talnori is one of the oldest mask dance performances known in Korea. The Hahoe masks also boast their own long history. While most masks were burnt immediately after performance, the Hahoe masks were protected in the village shrine. This has enabled them to last until today exactly as they were first created during the Goryeo Dynasty period.
A scene from the bridal chamber episode of the Hahoe Byeolsingut Talnori
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The Hahoe mask dance features eleven characters: Gaksi (bride), Yangban (nobleman), Seonbi (scholar), Bune (flirty young woman), Jung (Buddhist monk), Baekjeong (butcher), Halmi (old woman) and Choraengi (servant of the nobleman), including two Juji (lion) and half-finished Imae (foolish servant of the scholar). The Hahoe masks are aesthetically valuable as wooden sculptures. Each has distinctive
characteristics
elaborately
to
allow
and
changes
was in
cut facial
expressions according to the movements of the performers.
Mask rite at Samsindang shrine
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Seonanggut talchum: mask dance performed as part of shamanic rituals
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Imae (foolish servant) mask Legend has it that a young man named Heo carved this mask as the final piece but was unable to finish it. As a result, the mask has been handed down missing the jaw. With a cleft lip and crooked nose, the Imae character plays a foolish servant in Hahoe byeosingut talnori. He does not lose his smile despite constant ridicule.
Imae mask of the Hahoe Byeolsingut Talnori. Its lower jaw is left unfinished.
Long drooping eyes make the face look foolish.
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Choraengi (servant) mask Choraengi plays the servant of a nobleman. Choraengi plays the same role as Malddugi does in other mask dance performances. The crooked mouth and severed nose of the mask represent the situation in which commoners were not allowed to give voice to their complaints under the strict social system. In the play, however, Choraengi pokes fun at his arrogant master to his heart’s content, surpassing the limits of his lowly status.
Choraengi mask of the Hahoe Byeolsingut Talnori
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Choraengi speaks for members of the low class
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Masks of the Hahoe Byeolsingut Talnori
Halmi (Old Woman) Jung (Buddhist monk)
Choraengi (servant of the nobleman)
Baekjeong(Butcher)
Juji (lion) Masks
Imae (foolish servant of the scholar)
Yangban(nobleman)
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Gaksi (bride) Seonbi (scholar)
Bune (flirty young woman)
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All of the nine masks of the Hohoe Byeolsingut Talnori feature facial attributes that suit their own names and roles.
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Seonanggut talchum: mask dance performed as part of shamanic rituals
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Ogwangdae: mask dances of five clowns • Gasan Ogwangdae • Tongyeong Ogwangdae • Goseong Ogwangdae
Owangdae and yaryu are mask dance variations handed down in Gyeongsang Province in the southeastern corner of Korea. Ogwangdae has been transmitted on the west side of the Nakdong River, while yaryu has been handed down on the east. Both styles of mask dance are believed to have originated in the riverside area known as Chogye Bammari (currently located in the region of Hapcheon, South Gyeongsang Province). Roughly one hundred years ago, in the marketplace of Bammari, an itinerant professional entertainment troupe, known as Daegwangdaepae, performed mask dances as part of their performances. This element of the troupe’s dance was handed down on both sides of the Nakdong River, creating the twin regional forms of mask dance: ogwangdae and yaryu. A scene from the old monk episode of the Gasan Ogwangdae
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Ogwangdae: mask dances of five clowns
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Ogwangdae refers to a mask dance which is either performed by five clowns or consists of five chapters. Today, the ogwangdae dances from the regions of Tongyeong and Goseong are comprised of five chapters. The ogwangdae dance in the Gasan region consists of six chapters, but features five characters in each chapter, including the five directional gods in the first chapter, five lepers in the third chapter and five shamans in the final chapter. Gasan Ogwangdae includes distinct characteristics. Its first chapter begins with a ritual dance for exorcism called Obangsinjangmu (Dance of the Five Gods of the Five Directions), which is not found in the other types of ogwangdae. Another unique characteristic is that the Yeonggam (old nobleman) character dies in the episode of the old couple. The death of a male character is rare in other types of mask dance, where the Halmi (old woman) character, or the wife, comes into conflict with her husband’s mistress and then dies of a broken heart. Gasan Ogwangdae portrays a woman defying her patriarchal husband by insisting upon her rights.
Gasan Ogwangdae : Yanban(noblemen) scene
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Gasan Ogwangdae : Halmi-Yeonggam (old couple) scene
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Clowns and musicians of the Gasan Ogwangdae
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Tongyeong Ogwangdae does not include the ritual dance for exorcism or the criticism of apostate monks. Instead, it levels much more severe criticism at the nobility than do other mask dances in Korea. The first chapter depicts a nobleman as a pathetic leper and the second chapter pokes fun at the nobility by presenting a variety of noblemen suffering diseases, such as Won Yangban (eldest nobleman), Cha Yangban (second nobleman), Hongbaek (red and white faced nobleman), Bbiddurumi (faltering nobleman), Geomjeong (black-faced nobleman) and Sonnim (nobleman with the pockmarked face). The third chapter presents a nobleman threatened with death by Yeongno, the legendary beast that must devour one hundred noblemen before returning to heaven and turning into a dragon.
A scene of fighting between Yeongno and Bibi Nobleman from the Tongyeong Ogwangdae
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Ceremonial table prepared before the performance of the Tongyeong Ogwangdae
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pre-show parade of the Tongyeong Ogwangdae
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In contrast, Goseong Ogwangdae levels a softer criticism at the nobility. Although a leper appears in the opening chapter, he does not simply sit and bewail his lot. This leper makes up his mind to begin a new life while cheerfully dancing with a small hand drum. Moreover, the forth chapter presents a nobleman and Yeongno dancing together to make up with one another. This kind of reconciliation is closely related with the social conditions at the end of the Joseon Dynasty. Due to repeated invasions by foreign powers, it was urgently required for Koreans to unite in resistance rather than remaining internally divided. The changing perceptions of Korean society were reflected in this mask dance performance.
Reading of a written prayer to announce the beginning of mask dance performance
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Mundungi’s drum dance from the Goseong Ogwangdae
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A scene from the Goseong Ogwangdae. Bibi ridicules Bibi Nobleman.
Scenes from the Goseong Ogwangdae. Noblemen and Malddugi dance together.
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Goseong Ogwangdae : Monk dance
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Tongyeong Ogwangdae uses thirty-one masks for its performance, including Mundungi (leper), Hongbaek, Bbiddurumi, Geomjeong, Sonnim, Jorijung (monk) and Malddugi (servant), along with a baby doll; Goseong Ogwangdae uses nineteen masks and a baby doll; Gasan Ogwangdae uses thirty masks including Obangsinjang (five directional gods), Yeongno (legendary beast), Yangban and Malddugi. The ogwangdae masks are characterized as rough, rustic and simple. They are also known for their distinctively odd features. It is clear how public grievances and resistance against the ruling class are depicted in the masks.
Mundungi (leper) mask Mundungi is a descendant of the aristocracy,
suffering
from
leprosy
in
retribution for his ancestral sins. He bewails his lot, but tries to smother his resentment while performing a drum dance. The dance throws him into an ecstasy in which he finally finds a new life. The character appears in almost all the mask dance performances transmitted in Gyeongsang Province.
Mundungi mask of the Tongyeong Ogwangdae
Mundungi mask of the Goseong Ogwangdae
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Masks of the Gasan Ogwangdae
Seobang Baekje Janggun
Yangban (nobleman)
Bukbang Heukje Janggun
Malddugi
Hwangje Janggun
Jageun yangban (little noblemen)
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Nambang Jeokje Janggun
Dongbang Cheongje Janggun
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Pojol (police constable)
Mundungi (leper)
Mundungi (lepers)
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Mudang (shamans)
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Masks of the Goseong Ogwangdae
Bukbang Heukje Yangban
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Dongbang Cheongje Yangban
Jungang Hwangje Yangban
Hongbaek Yangban
Madangsoe
Blind Hwang
Nambang Jeokje Yangban
Malddugi
Bibi
Seonnyeo
Sangju
Mundungi
Jongga Doryeong
Jageuneomi
Bibi Yangban
Keuneomi
Seobang Baekje Yangban
Monk
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Masks of the Tongyeong Ogwangdae
Mundungi
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Malddugi
Halmi Yangban
Hongbaek Yangban
Bitteul Yangban
Gombo Yangban
Geomjeong Yangban
Won Yangban
Second Yangban
Yeongno (Bibisae)
Bibi Yangban
Halmi
Jageuneomi
Bongsa
Jeongdori
Posu
Dambo
Saja
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Yaryu: mask dances performed in an open field • Suyeong Yaryu • Dongrae Yaryu
Yaryu refers to the style of mask dance transmitted from the regions of Suyeong and Dongrae in Busan, located on the eastern side of the Nakdong River. Suyeong Yaryu was created first and Dongrae Yaryu was developed later. Both mask dances consist of four chapters; the performance is short in length and the number of masks used is relatively small. However, this type of mask dance begins with a boisterous parade called gilnori and ends with daedong juldarigi, a tug-of-war designed to promote team spirit. This is the reason yaryu has been characterized as one of the traditional folk performances to encourage communal spirit. Suyeong Yaryu : Gilnori (parade)
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Yaryu: mask dances performed in an open field
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Dongrae Yaryu consists of four scenes (leper, nobleman, Yeongno and old couple), with a structure of chapters and themes generally similar to those of other mask dances. The mask dance of Suyeong, like that of Dongrae, consists of four scenes, but it begins with the nobleman chapter and ends with a lion dance performance. The lion dance depicts a lion winning a fight with a tiger and eventually eating it. The lion dance is a reflection of the geographical features of the Suyeong region. Legend has it that the locals believed that a mountain in Suyeong (Mt. Baek) looked like a lion running away from the village and they needed to create a dance to comfort the lion. After the lion dance ends, the Suyeong Yaryu performers hold a sacrificial rite and burn their masks to prevent bad luck and attract good fortune.
Suyeong Yaryu : Halmi-Yeonggam (old couple) scene
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Suyeong Yaryu : Yangban(noblemen) scene
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Although similar to ogwangdae dances in terms of content, the process of Suyeong dance seems closer to Hahoe Byeolshingut Talnori, which is performed as part of a communal shamanic ritual. Suyeong Yaryu has distinctive characteristics as a folk exorcism, given the fact that it was performed on Daeboreum (the first full moon of the lunar New Year), one of the major traditional Korean holidays, together with a ritual for a mountain spirit.
Street parade of the Dongrae Yaryu
A scene from the Dongrae Yaryu. Jongga Doryeong ridicules Mo Yangban.
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A scene from the Dongrae Yaryu. Bibi Yangban tries to escape from Yeongno.
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Dongrae dance uses eleven masks made from gourd, including Mundungi (leper), Won Yangban (eldest nobleman) and Cha Yangban (second nobleman). Suyeong dance also uses eleven masks including Malddugi (servant), Su Yangban (primary nobleman), Saja (lion) and Beom (tiger).
Masks of the Suyeong Yaryu
Halmi (old woman) Yeongno
Cha Yangban
Yeonggam (old man)
Su Yangban
Sejje Yangban
Jedaegaksi Nejje Yangban
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Jongga Doryeong
Saja (lion)
Bum (tiger)
Malddugi
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Masks of the Dongrae Yaryu
Jongga Doryeong Big Mundungi
Little Mundungi
Malddugi Yeonggam
Won Yangban
Halmi
Jedaegaksi
Mo Yangban Cha Yangban
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Nejje Yangban
Bibi Yangban Yeongno
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Sandae nori: mask dances from the Seoul and Gyeonggi Province region • Songpa Sandae Nori • Yangju Byeolsandae Nori
Sandae nori is a type of mask dance handed down around the Seoul and Gyeonggi Province area. The word sandae literally means a makeshift elevated stage where mask dances were performed as part of the welcoming reception for foreign envoys or whenever royal events were held. At the beginning of the Joseon Dynasty, sandae dramas were performed as part of court functions and the performers were managed by a government office called Sandaedogam. After this office was disbanded, however, the dramas were converted into folk plays performed for the entertainment of commoners. Songpa Sandae Nori : Gilnori (parade)
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Sandae nori: mask dances from the Seoul and Gyeonggi Province region
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The regions of Songpa and Yangju are famous for their own versions of sandae nori. The two regional mask performances are similar in terms of content, structure of scenes and dance movements. With origins in royal ceremonies, sandae nori is performed on a large scale and its expressive styles are more sophisticated than other regional mask dances. It has different styles of movements, embodying the basic structures of traditional Korean folk dance. Sandae nori consists of eight chapters: Sangjwachum (ritual dance by young monks); Omjung and Sangjwa nori (episode of a sinful monk with scabies and young monks); Meokjung and Omjung nori (episode of Omjung and a black monk); Yeonnip and Nunggeumjjeogi nori (episode of a virtuous priest with supernatural power and a blinking priest); Palmeokjung nori (episode of eight unworthy monks); Nojang nori (episode of a debauched old monk); Saennim nori (episode of a feeble-minded nobleman); and Sinhalbi and Miyalhalmi nori (episode of an old couple).
Sinjubu (acupuncturist) episode from the Songpa Sandae Nori
Dance of young monks from the Yangju Byeolsandae Nori
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Old Monk episode from the Songpa Sandae Nori
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Songpa Sandae Nori : Chwibari holding his baby
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Songpa Sandae Nori : Shaman delivering an oracle to Doggi
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Yangju Byeolsandae Nori : Chwibari lulling his baby son
Yangju Byeolsandae Nori : Sangjwa dance
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Yangju Byeolsandae Nori : Doggi lamenting the death of Miyalhalmi
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Sandae nori performances feature a great number of characters and run from three to ten hours. The masks used in Songpa Sandae Nori are made from gourd, pine and paper, and a total of thirty-two masks are featured in the performance. Yangju Byeolsandae Nori presents thirty-two characters, but only twenty-two masks are actually used in performance since some characters share a mask. The sandae nori masks are characterized by realistic, detailed expressions. The masks used for yaryu and ogwangdae are simple and distinctive, while those of sandae nori are crafted with numerous small decorative touches. In addition, the sandae nori masks are roughly the same in terms of size.
Yangju Byeolsandae Nori : Mask rite
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Palmeokjung (eight unworthy monks) Palmeokjung refers to eight apostate monks. They assume a defiant attitude toward the ruling class, but also reflect the simple and optimistic nature of the commoners of the time. Palmeokjung in the mask dance of Yangju consists of two Sangjwa (young monks), four Meokjung (apostate monks), Omjung (a sinful monk with scabies) and Wanbo (senior monk), while Palmeokjung in the mask dance of Songpa includes only eight apostate monks.
Dialogue between Wanbo, Omjung and young monks from the Yangju Byeolsandae Nori
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Waejangnyeo (mother of a young waitress) Waejangnyeo refers to a well-built woman who does not hesitate to commit shameless deeds. She appears as the mother of Aesadang (young female clown) in the play. She sells her daughter to a monk without any embarrassment.
A scene from the Songpa Sandae Nori : Aesadang playing a drum
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Yangju Byeolsandae Nori : Waejangnyeo ordering her daughter Aesadang to serve a monk
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Masks of the Songpa Sandae Nori
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First Sangjwa
Second Sangjwa
Omjung
Malddugi
Chwibari
Sinjubu
Yeonnip
Nunggeumjeogi
Meokjung - gab
Sinjangsu(shoe peddler)
Wonsungi(Monkey)
Nojang
Meokjung - eul
Meokjung - byeong
Meokjung - jung
Chwibari
Waejangnyeo
Aesadang
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Somu
Saennim
Doryeonnim
Miyalhalmi
Podobujang
Sinharabi
Sinhalmeom
Dogginui
Mudang
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Masks of the Yangju Byeolsandae Nori
Meokseung
Sinjubu
Nojang
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Mokjung
Omjung
Wonsungi
Wanbo
Malddugi
Chwibari
Saennim
Yeonnip
Nunggeumjeogi
Sangjwa
Podobujang
Sinharabi
Sangjwa
Chwibari’s baby son
Somu
Miyalhalmi
Waejangnyeo
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Haeseo talchum: mask dances from Hwanghae Province • Bongsan Talchum • Gangnyeong Talchum • Eunyul Talchum Haeseo talchum refers to a type of mask dance transmitted around Hwanghae Province, currently governed by North Korea. It thrived in the Bongsan, Gangnyeong and Eunyul regions. Among the three Haeseo-style variants, the Bongsan mask dance enjoyed the widest popularity for its well-organized plot and elevated dialog. The
Bongsan
mask
dance
was
performed in nearly every five-day periodic market held in the region, and was annually staged on a grand scale to celebrate Dano, one of the major traditional holidays falling on the fifth day of the fifth lunar month. According to historical records, this mask dance could draw up to 20,000 people in its heyday. Most mask dance performers were lowranking local government employees. The costumes were more colorful compared with those in other mask dances, and verses from Chinese poetry were frequently quoted in the dialog. In addition, musicians belonging to the government office provided well-organized background music.
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Pre-show yard play of the Bongsan Talchum
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One interesting traditional story about the Bongsan mask dance is as follows:
At the end of the Goryeo period, there lived an old Buddhist monk called Manseok. He was widely respected for his deep devotion to Buddhism. Among his acquaintances was a mean and ill-behaved man called Chwibari. He was always thinking about how to make a fool of Manseok in front of the local people. One day, Chwibari came up with an idea to cause the monk trouble and asked a charming young woman to seduce him. Manseok devoted most of his time to studying Buddhist scripture, but ten year’s study went up in smoke when the flirtatious young woman approached him. In the end, Manseok became a laughing stock to the villagers. Afterwards, a man heard the tale of Manseok and created the Bongsan mask dance based on this story. It is said that the man created the mask dance because he could no longer stand the degraded state of Buddhism and the lack of public morals.
Dance of four young monks from the Bongsan Talchum
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Haeseo talchum: mask dances from Hwanghae Province
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At first, the Bongsan mask dance was performed as part of the rituals held on Buddha’s Birthday (the eighth day of the forth lunar month). However, as it slowly began to lose its religious qualities and increasingly served as a form of popular entertainment, it became one of the main folk performances in celebration of Dano. The Bongsan mask dance consists of seven scenes and most of them, including the first episode where four young monks perform a ritual dance, are closely related to Buddhism. Meanwhile, the Eunyul mask dance consists of six scenes; the first begins with a dance by a white lion. Unlike the Bongsan dance, it was performed mainly by farmers and other members of less-educated classes and its lines are based on everyday language rather than verses from Chinese poetry.
Noble brothers and Malddugi from the Bongsan Talchum
Dance of Nojang from the Bongsan Talchum: Somu riding on a sedan chair.
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Lion dance from the Bongsan Talchum: Dance of Mabu and Lion
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Although the Eunyul and Bongsan mask dances were all created in Hwanghae Provice, their contents, structure of chapters and characters vary.
Street parade of the Eunyul Talchum
Lion dance from the Eunyul Talchum
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Monk Dance of the Eunyul Talchum
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Palmeokjung (eight monks) dance together to the taryeong rhythm in the Eunyul Talchum.
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The Gangnyeong mask dance is quite distinct from the Bongsan variant in several ways: first, it consists of eight scenes; second, the motions of its dance are elegant and smooth; third, the costumes are simple; and lastly, it is a folk performance focusing on religious values while the Bongsan dance is mainly for amusement.
Lions’ dance from the Gangnyeong Talchum
Mask dance performers participating in the street parade preceding the Gangnyeong Talchum
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Noblemen’s dance from the Gangnyeong Talchum
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Burning masks after a mask dance performance
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People around the area of Hwanghae Province believed that mask dance performances could banish misfortune from their villages and bring about a good harvest. To this end, mask dance performances began with ritual dances for exorcism, such as the four young monks’ dance in honor of the four directional gods and the lion dance, and ended in mask-burning ceremonies.
Sinjangsu (shoe peddler) mask Sinjangsu is an itinerant shoe peddler. Nojang (old monk), seduced by Somu (little shaman) buys a pair of shoes on credit, and the shoe seller sends Wonsungi (monkey) to the monk in order to collect the money owed for the shoes.
A total of twenty-six masks are used in the Bongsan mask dance. The Gangnyeong mask dance presents nineteen masks, including two horsemen, two servants, two monks, an old man and a drunkard.
Wonsungi (monkey) mask Wonsungi serves as the shoe seller’s errand boy in the Bongsan mask dance, while in the Gangnyeong mask dance he amuses the audience with his tricks.
Wonsungi from the Gangnyeong Talchum
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Wonsungi from the Bongsan Talchum
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Masks of the Bongsan Talchum
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Mokjung
Nojang
Miyalhalmi
Namgang Noin
Somu
Chwibari
Yeonggam
Mudang
Yangban
Malddugi
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Masks of the Eunyul Talchum
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First Yangban
Second Yangban
Third Yangban
Mokjung 1
Mokjung 2
Mokjung 3
Malddugi
Yeonggam
Mudang
Mokjung 4
Mokjung 5
Mokjung 6
Choegwari
Saemaeksi
Halmi
Mokjung 7
Mokjung 8
Sangjwa
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Wonsungi
Noseung
Ddungddanjijip
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Haeseo talchum: mask dances from Hwanghae Province
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Masks of the Gangnyeong Talchum
Wonsungi
Malddugi
Mokjung
Saja
Sangjwa
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First Yangban
Second Yangban
Third Yangban
Doryeong
Yeonggam
Miyalhalmeom
Namgang Noin
Somu
Noseung
Chwibari
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Yongsansamgaejip
Mabu
Mudang
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Haeseo talchum: mask dances from Hwanghae Province
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Saja noreum: lion dance performance • Bukcheong Saja Noreum
Bukcheong Saja Noreum is a style of lion dance performance handed down in the region of Bukcheong, South Hamgyeong Province, in what is now North Korea. Originally, this lion dance was performed as part of rituals to expel evil spirits and pray for good fortune on the night of the first full moon of the year. In Korea, a variety of folk practices were held every year in the first month of the lunar calendar to wish for a bountiful harvest and the prosperity of the village. The Bukcheong lion dance is commonly categorized as a folk play rather than as a masked performance. It involves only four or five masked performers and does not address the basic themes of other masked performances, such as the biting satire of apostate monks or criticism of a patriarchal society based on the strict notions of male superiority. Street parade of the Bukcheong Saja Noreum. Led by lions, performers call from door to door.
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Saja noreum: lion dance performance
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A lion goes to a soy-jar terrace to expel evil spirits.
A lion enjoys itself to the full in the yard.
Instead, it features powerful and dynamic lion dances followed by other kinds of dances, such as a dance of two male-female pairs, a dance of children upon the shoulders of adults, a dance of a hunchback, a sword dance and Neokduri dance (a simple dance featuring rhythmical movements of the shoulders and waist). It is also unique for being performed to jaunty melodies A lion comes out of a kitchen holding a gourd bowl in its mouth.
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played on the tungso, a six-holed bamboo flute with a distinctive tone.
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A lion dance normally involves two people, with one in front operating the head and forelegs and the other in the rear representing the hind legs. The head of the lion is constructed from paper and the body is assembled with a wool-laced net through which the performers can view the outside.
Mudong (children dancers) dance
Geosa dance
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Ggopchu (hunchback) dance
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Yangban and Ggoksoe from the scene of Aewonseong Dance
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sword dance
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Dance-along after a mask dance performance
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Saja noreum: lion dance performance
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The Bukcheong lion dance uses various masks including Saja (lion), Yangban (nobleman), Ggeoksoe (servant), Ggopchu (hunchback), two Saryeong (runners). The characters such as Mudong (children dancers), Sadang (female clown), Jung (monk), Wuiwon (doctor) and Geosa (leaned man) appear unmasked. Among the mask dances currently being transmitted in Korea, Bongsan, Gangnyeong, Eunyul, Suyeong, Tongyeong and Hahoe mask dances also include a lion dance. While not regarded as the main segment of a mask dance, the lion dance has long been performed to ward off bad luck and pray for good fortune.
Lion dance: standing up
Saja (lion) mask
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Lion dance: turning with the jaw on the ground
Lion dance: stepping forward
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Masks of the Bukcheong Saja Noreum
Lion dance: eating preys
Lion dance: pressing the lips against each other in a kissing motion
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Ggoksoe
Yangban
Saryeong
Ggobchu
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Lion dance from the Eunyul Talchum
Lion dance from the Bongsan Talchum
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Lion dance from the Gangnyeong Talchum
Saja noreum: lion dance performance
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Kkun: Peo who embrace People talchum as part of talc their lives thei
Transmission and preservation of Talchum
Talchum is a definitive aspect of the Korean cultural heritage that has enjoyed great support and love from many people. However, it had to withstand enormously adverse circumstances before achieving such popularity. While talchum reached its peak at the end of the nineteenth century, the tradition was nearly lost when it passed through difficult times during the colonial period. By the 1960s, however, the art form was restored through the vigorous efforts of folklorists, talchum researchers and performers. Talchum performers came from various Folk performances staged around a marketplace of the Dongrae region in the early 20th century
classes, but most of them were farmers drawn from the surrounding region. However, around
Kkun: People who embrace Talchum as part of their lives
Yangju, mask dance performances included
1. Transmission and preservation of Talchum
many participants from the lowest classes, such as slaves in government employ; in the Songpa region, there were great numbers of local merchants performing the regional variation of the mask dance. Bukcheong Saja Noreum is a lion mask dance performed on the fifteenth day of the first lunar month in villages around
Transmission and preservation of Talchum
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the Bukcheong region, Hamgyeong Province, located in what is now North Korea. Residents of
to keep their traditions alive. Thanks to their untiring efforts, the mask dances contributed to
each village, generally local farmers, made their own versions of lion masks and visited each
alleviating homesickness and strengthening the overall sense of belonging among the displaced,
house in their village while performing the dance. Residents of Bukcheong who fled from North
and have grown into a form of folk performing art enjoying considerable popularity.
Korea during the Korean War established the Bukcheong Saja Noreum Preservation Association
Sandae nori, or mask dances traditional to Seoul and Gyeonggi Province, has two regional
in 1960 and began to transmit their lion dance tradition with the help of members who retained
variants: Yangju Byeosandae Nori performed by local government employees and Songpa
some experience with performing the dance.
Sandae Nori performed by professional entertainment troupes in marketplaces. The sandae mask
The Haeseo-style mask dances traditional to Hwanghae Province in North Korea, including
dances were originally practiced mainly by professional performers, but today local residents
Bongsan Talchum, Gangnyeong Talchum and Eunyul Talchum, have been transmitted mainly
and ordinary citizens take the lead in sustaining the tradition. While retaining their original
by individuals who escaped from North Korea during the Korean War. These mask dances
characteristics, the sandae mask dances have adapted themselves to the increasingly urbanized
were developed around commercial markets where agricultural and marine products from the
environment, growing into a regional form of performing art.
neighboring areas were distributed. Merchants and patrons willing to sponsor performance
In southern Korea, talchum performances were presented to celebrate the return of spring
expenses could easily be found in these marketplaces. In this region, mask dances were performed
on the first full moon of the lunar year. These regional talchum variants have long been cherished
annually by professional performers and talented local farmers for the Dano spring festival.
by local citizens and performed for entertainment or as part of shamanic rituals such as Hahoe
Those mask dances originating in regions now located in North Korea were introduced to the south by performers who escaped from North Korea during the Korean War. They struggled
Talchum experience program for elementary school students
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Byeolsingut Talnori. Although the transmission of mask dance traditions was interrupted for an extended period,
University students taking a talchum training course
Transmission and preservation of Talchum
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researchers, performers and local residents managed to revive the traditions in the 1960s and 1970s and successfully developed mask dance as a definitive Korean folk art genre. As a result, talchum has been designated an Important Intangible Cultural Property of Korea and local governments have designated their own masters and institutions for the transmission and preservation of the art. Nowadays, as members of preservation associations, performers are making great efforts to sustain the effective transmission and preservation of talchum. In particular, each preservation association establishes a permanent performance venue, offers regular performances for the general public and holds a variety of events, including invitational performances at home and abroad. In addition, to hand down the tradition of talchum to future generations, the associations provide experience programs for elementary and secondary school students and operate elite training courses for professional performers.
Members of a preservation association practicing basic talchum movements
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Transmission and preservation of Talchum
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The making of Korean masks
Depending on the type of materials used, Korean masks can be divided into four categories— wooden, paper gourd and bamboo masks. The masks of Hahoe Byeolshingut Talnori are made of wood; those of Haeseo talchum are made of paper, while the ogwangdae and yaryu masks are mainly made from gourd. In addition, bamboo is used with some masks, Kkun: People who embrace Talchum as part of their lives
2. The making of Korean masks
including the lion mask of Bongsan Talchum, the lion and tiger masks of Suyeong Yaryu, and the leper, servant and lion masks of Tongyeong Ogwangdae. Some masks were made originally of wood but were later constructed from paper or gourd. Here is the process of making masks by using gourd, paper wood and bamboo.
The making of Korean masks
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Gourd mask 01 Draw the facial
pattern with a pencil and use a knife to cut it out.
02 Separately make a nose and attach it to the face. Glue pieces of hanji over the nose.
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Glue pieces of 03 hanji, traditional Korean paper, over the gourd.
Drill holes for the 04 eyes and mouth.
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05 Paint the mask to suit the character.
06 Paint the mask to suit the character.
Suyeong Yaryu : Mask of Maddugi
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The making of Korean masks
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Paper mask 01 Mold clay into the shape of a face and pour plaster over it.
When the glued 03 hanji dries, remove it from the plaster mold.
02 When the plaster hardens, dig out the clay and apply soapy water to the inside of the plaster mold and glue in pieces of hanji.
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The making of Korean masks
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04 Paint the mask to suit the character.
05 Attach a strip and a piece of cloth to the end of the finished mask.
Eunyul Talchum : Mask of Yeonggam
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The making of Korean masks
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Wooden mask 01 Use a saw and a chisel to cut the wood along the outline.
02 Chisel the back of
Chisel the front of 03 the wood.
Carve the face. 04
the wood.
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The making of Korean masks
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05 Glue pieces of hanji over the mask.
06 Paint the mask to suit the character.
Hahoe Byeolsingut Talnori : Mask of Yangban
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The making of Korean masks
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Bamboo mask 01 Prepare a big
bamboo basket.
02 Twist paper ropes.
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Glue the paper 03 ropes on the basket to make eyes, wrinkles and lips.
Attach white 04 paper clay all over the surface.
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05 Dry the mask in the sun.
06 Paint the mask orange.
Gangnyeong Talchum : Mask of Lion
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The making of Korean masks
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Publisher
National Rearch Institute of Cultural Heritage
Producer
Song Min-Sun, Head of division of Intangible Cultural Heritage
Planning
Lee Jae-Phil, Pang In-Ah
Written by
Kang Nan-Sook
Translated
Hwang Eunhee
Proofread by
Bill Sharp
Design & Edition
GraphicKorea Co, Ltd.
Art director
Yun Jae-joong
Printed by
Graphic Korea Co, Ltd
Publication Date
October 31. 2011
Published by
NRICH(National Research Institute of Cultural Heritage) 132 Munji-ro, Yuseong-gu, Daejeon, 305-380, KOREA Tel +82-42-860-9232 Fax +82-42-861-4927 www.nrich.go.kr
ISBN 978-89-6325-735-8 93670 Government Publication Number 11-1550011-000446-01 CopyrightŠ NRICH(National Research Institute of Cultural Heritage), All rights reserved Cover Paper : Shin funshi Natual 209g/m2 Inner Paper : Montblanc Natural 130g/m2 Book Binding : Soft-Cover Size : 180 X 240/mm The number of pages : 248
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