A Study on the Transitional Aspects of Nongakmu since the Designation of UNESCO

The purpose of this study was to identify the changing patterns of Nongakmu and their current meaning by the comparing of the Nongak of Korea and Nongakmu of China. It is because of the Nongakmu which has been handed down and created for the purpose of stage performance showed the change pattern called “the return of the tradition” or the appearance of the “natural Nongakmu” after the UNESCO intangible cultural heritage listed. Analyzing whether these changes are based on the locality or prototype of the Nongakmu in china, or whether it is changing the direction by means of importing contents from Korea will help to judge the change pattern of future Nongakmu.For research, we refer to the previous research data and actively used the video to confirm the current status of Chinese Nongakmu. In the comparative study of Nongak and Nongakmu, it was difficult to overcome the differences of time and space between China and Korea. The analysis of video data was used appropriately to confirm the change pattern of Nongakmu practices.As a result of the study, as already confirmed in previous research, there have been many changes in the Nongakmu in China, and the most dramatic change is the reappearance of the disappeared music performance. In addition, the reappearance of music performance was affecting the performance structure of Nongakmu. Also, other traditional elements such as Maeulgi(Korean traditiong village flag) and Japsaek are being introduced to Nongakmu.Based on these changes, judging from where the traditional elements of Nongakmu are coming was an important clue to the future direction of Nongakmu. It is unclear at this time whether the changes that company the performance of Nongakmu are based on the locality and archetype of Nongakmu in China or the import of contents of Korean Nongak. However, based on the analysis results, both methods seem to be borrowed.These results reflect the characteristics of Joseonjok as a Korean diaspora, which can be borrowed all Korean culture as a their own, and also reflects the problems of Locality and multi-layered archetypes inherited from Nongakmu. The change in Nongakmu is expected to continue in these two directions.