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초록· 키워드
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The aim of this paper is to analyze choreography, style and structure of ritual dances and artistic dances of Hayachine Kagura of Japan for understanding the locus of rituality and artistic values of ethnic dances. The relationship between rituality and artistic characteristics of kagura dance performance will be investigated at the same time.
Kagura, a form of religious dance performance prevalent in Japan, is performed as part of local religious festivals. Kagura represents Japanese folk religious and artistic traditions, attitudes and practices, which have been neglected in Korean scholarship until recently.
In chapter Ⅱ, the history and context of Hayachine Kagural will be provided. Main purposes and roles of Hayachine Kagura in the context of Reidaisai(great festival of Dake) are explored. In chapter Ⅲ, the basic structure of Hayachine Kagura and the setting of the performance are described. In chapter Ⅳ, an analysis of the rituality of Gongen mei is provided. It seeks to show how religious content, practice, and attitude are communicated through the performative and aesthetic aspect of kagura dances. In chapter Ⅴ, by the analysis of Sambaso no mei, artistic aspects of Hayachine Kagura dances is presented. Artistic dances of Hayachine Kagura are characterized by frequent, fast and powerful stamping of the feet, which resonate rhythmically to the beat of the drum.
Finally, in chapter Ⅵ, I will argue that the repertoire of Hayachine Kagura contains two main patterns which can be divided into the ritual dance(dance of purification and pacification) and the artistic dance(artistic and entertaining performance). While the ritual dances like Gongen mei are based on its formality, following the traditional rule, regularity, and repetition, the artistic dances like Sambaso no mei are based on its manner of performance, delicacy of expressions, dramatic development and effect, entertaining contents, and interaction with the audience. However, the two aspects of kagura dances can not be divided. Rather those are intimately connected and enhance the power of each other.
Additionally kagura dances are compared with Korea's Gut(shamanistic performance) and Talchum(masked dance and drama). Examining the similarities and differences between those, this work is trying to find the dues of comparative studies between those.
This study is based mainly on field-work, conducted in 2002 at Ewate area of Japan.
Kagura, a form of religious dance performance prevalent in Japan, is performed as part of local religious festivals. Kagura represents Japanese folk religious and artistic traditions, attitudes and practices, which have been neglected in Korean scholarship until recently.
In chapter Ⅱ, the history and context of Hayachine Kagural will be provided. Main purposes and roles of Hayachine Kagura in the context of Reidaisai(great festival of Dake) are explored. In chapter Ⅲ, the basic structure of Hayachine Kagura and the setting of the performance are described. In chapter Ⅳ, an analysis of the rituality of Gongen mei is provided. It seeks to show how religious content, practice, and attitude are communicated through the performative and aesthetic aspect of kagura dances. In chapter Ⅴ, by the analysis of Sambaso no mei, artistic aspects of Hayachine Kagura dances is presented. Artistic dances of Hayachine Kagura are characterized by frequent, fast and powerful stamping of the feet, which resonate rhythmically to the beat of the drum.
Finally, in chapter Ⅵ, I will argue that the repertoire of Hayachine Kagura contains two main patterns which can be divided into the ritual dance(dance of purification and pacification) and the artistic dance(artistic and entertaining performance). While the ritual dances like Gongen mei are based on its formality, following the traditional rule, regularity, and repetition, the artistic dances like Sambaso no mei are based on its manner of performance, delicacy of expressions, dramatic development and effect, entertaining contents, and interaction with the audience. However, the two aspects of kagura dances can not be divided. Rather those are intimately connected and enhance the power of each other.
Additionally kagura dances are compared with Korea's Gut(shamanistic performance) and Talchum(masked dance and drama). Examining the similarities and differences between those, this work is trying to find the dues of comparative studies between those.
This study is based mainly on field-work, conducted in 2002 at Ewate area of Japan.
목차
Ⅰ. 들어가는 말
Ⅱ. 레이다이사이와 하야치네 카구라
Ⅲ. 하야치네 카구라의 기본구조
Ⅳ. 하야치네 카구라의 제의성 분석
Ⅴ. 하야치네 카구라의 예술성 분석
Ⅵ. 맺는 말
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