TY - JOUR
AU - Jin Myung
AB - This paper compares the transmission of traditional performing art schools and intangible heritage safeguarding systems of Japan and Korea. The focus of the research is on Kyougen and Pansori; both are traditional performing arts that are designated as intangible cultural heritage of each nation. Moreover, these elements have the common trait that they are passed down through oral transmission from generation to generation between teachers and students. The method of pursuing individual artistry is also similar.The research showed that Kyougen and Pansori established schools according to the cultural features of each nation and the background of the generation, while showing unique development in the intangible cultural heritage system as well.Firstly, it examines the range of recognition of the schools and the designation of the intangible cultural heritage. Kyougen is transmitted by its original schools and do not recognize other traditions as a school of Kyougen. However, Pansori recognizes other schools that establish their own achievements even if it was not from the original schools. In addition, it can be found that such concepts of schools affected the designation of intangible cultural heritages in each countries.Secondly, it overviews the range of certification of skill holders and its designation as an intangible cultural heritage. In Japan s Kyougen, there is no individual certification of skill holders in this field, but rather, it designates National Human Treasures by selecting a person from the desiganted group. Korean Pansori, however, is categorized into individual fields and these fields are never designated as designated groups. Also, in Japan, all people in the designated groups are certificated to be skill holders of the concerned elements, but there are only one or two skilled holders in designated groups in Korea. Meanwhile, Korea certificates apprentices and scholarship students of heritage to differentiate the level of mastering the different fields.Lastly, it examines the transmission and educational activities of each heritage. Japan embraces the Iemoto system that maintains transmission of such artistic abilities passed down by house heads and men. Although women do appear in Noh performances, they are limited to a supporting role that helps with the flow of the stage. However, in modern Korean, female composers were cultivated and today, female vocals outnumber male vocals. There is a need to conduct research in the future on the changes of such artistic skills with the inflow of women in the field.The review of schools is the best approach to see the history and present of the field. In addition, with the recent inscription of these elements on the UNESCO representative lists of intangible cultural heritage of humanity, interest from countries around the world has grown, which led to cultural power. Thus, research on overseas intangible cultural heritage systems have increased in order to designate and safeguard the intangible cultural heritage of their own nation. Under such circumstances, The advanced intangible cultural heritage system of Japan can be viewed as an important subject for comparative research for the current issues of Korea’s intangible cultural heritage systems. Furthermore, another reason that this paper discusses the intangible cultural heritage system is to consider the challenge and issues on the current certification of skill holders in Pansori.
BT - Asian Comparative Folklore
N2 - This paper compares the transmission of traditional performing art schools and intangible heritage safeguarding systems of Japan and Korea. The focus of the research is on Kyougen and Pansori; both are traditional performing arts that are designated as intangible cultural heritage of each nation. Moreover, these elements have the common trait that they are passed down through oral transmission from generation to generation between teachers and students. The method of pursuing individual artistry is also similar.The research showed that Kyougen and Pansori established schools according to the cultural features of each nation and the background of the generation, while showing unique development in the intangible cultural heritage system as well.Firstly, it examines the range of recognition of the schools and the designation of the intangible cultural heritage. Kyougen is transmitted by its original schools and do not recognize other traditions as a school of Kyougen. However, Pansori recognizes other schools that establish their own achievements even if it was not from the original schools. In addition, it can be found that such concepts of schools affected the designation of intangible cultural heritages in each countries.Secondly, it overviews the range of certification of skill holders and its designation as an intangible cultural heritage. In Japan s Kyougen, there is no individual certification of skill holders in this field, but rather, it designates National Human Treasures by selecting a person from the desiganted group. Korean Pansori, however, is categorized into individual fields and these fields are never designated as designated groups. Also, in Japan, all people in the designated groups are certificated to be skill holders of the concerned elements, but there are only one or two skilled holders in designated groups in Korea. Meanwhile, Korea certificates apprentices and scholarship students of heritage to differentiate the level of mastering the different fields.Lastly, it examines the transmission and educational activities of each heritage. Japan embraces the Iemoto system that maintains transmission of such artistic abilities passed down by house heads and men. Although women do appear in Noh performances, they are limited to a supporting role that helps with the flow of the stage. However, in modern Korean, female composers were cultivated and today, female vocals outnumber male vocals. There is a need to conduct research in the future on the changes of such artistic skills with the inflow of women in the field.The review of schools is the best approach to see the history and present of the field. In addition, with the recent inscription of these elements on the UNESCO representative lists of intangible cultural heritage of humanity, interest from countries around the world has grown, which led to cultural power. Thus, research on overseas intangible cultural heritage systems have increased in order to designate and safeguard the intangible cultural heritage of their own nation. Under such circumstances, The advanced intangible cultural heritage system of Japan can be viewed as an important subject for comparative research for the current issues of Korea’s intangible cultural heritage systems. Furthermore, another reason that this paper discusses the intangible cultural heritage system is to consider the challenge and issues on the current certification of skill holders in Pansori.
PY - 2012
SP - 195
EP - 233
T2 - Asian Comparative Folklore
TI - A Comparative Studie on the Transmission of Traditional Performing Art Schools and Intangible Cultural Heritage System in Korea and Japan －Focusing on Kyougen and Pansori－
VL - 49
SN - 1598-1010
ER -