Protection and Transmission of Korean Folk Theatre

Abstract

[First two paragraphs] Without transmission, without passing on traditional knowledge, the arts will come to an end. In these pages, I will summarize my major findings related to the protection and transmission of yeonhui (Korean folk theatre). However, I ask the reader to consider this chapter as the broad brushstrokes of a much more complicated story, because there are significant differences in the transmission environments and practices among yeonhui groups– some unavoidable and related to their location or dramatic content, others tied to chance, such as the charisma of a leader.

My own path to comprehending these processes was primarily gleaned from interviews and participant-observation, the standard tools of ethnographic research. After beginning formal research in 2004, I practiced one type of pungmul (drumming while dancing) and three different mask dance dramas in seven different settings. I also observed rehearsals and performances and talked with a range of practitioners and enthusiasts ranging from beginning students to National Human Treasures from dozens of arts, and from academics to employees at the Cultural Heritage Administration.