Buan Nongak (Farmers’ Performance of Buan)
이전 페이지Na Geum-chu (Na Mo-nyeo), a leading gong playerThis photo shows Na Geum-chu (Na Mo-nyeo) who was a leading gong player of Buan Nongak. Performing as the holder of Buan Nongak (leading gong player), which is Jeollabuk-do Intangible Cultural Heritage No. 7-1, she contributed to continuing and developing the Honam Udo Nongak (farmers’ performance of Jeolla-do western region).
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LocationBuan-gun, Jelloabuk-do
- CategoryCultural Heritage / Intangible Cultural Heritage
- Korean「부안 농악」
- Chinese扶安農樂
- FieldLife & Folklore / Folklore
- Contents TypeArts / Dance and Folk Drama
- Definition
- Traditional farmers’ performance (Honam Udo Nongak) developed and preserved by the farming communities of Buan in Jeollabuk-do province.
- Summary
- Nongak, or Farmers’ performance , refers to the musical heritage developed and preserved by local farming communities and performed by bands called ‘dure’ during special communal occasions and seasonal festivities. Each band typically consists of percussionists who play the kkwaenggwari (small gong), jing (large gong), janggu (hourglass drum) and buk (barrel drum). The farmers’ Performance in Buan (hence, Buan Nongak) is part of a larger group called Honam Udo Nongak, which includes the similar heritages of neighboring communities in Gimje, Jeongeup and Iksan. Performances by the Buan ensemble are particularly highly regarded for the delicate and stylish playing of its highly talented musicians.
The heritage of Buan Nongak bands has been transmitted from musicians of the earlier generation to members of the current generation. As regards the soejaebi (gong players), the heritage was transmitted from Kim Ba-u to Park Nam-seok, from Heon Pan-soe to Kim Gyeong-cheon, and from Kim Do-sam and Kim Jae-ok to Na Geum-chu. It also transmitted to Kim Seong-gwon. As for the janggujaebi (players of the hourglass drum), Kim Hong-jip was succeeded by Kim Dae-geun and Yi Myeong-seop, while Sin Kwae-dong was succeeded by Yi Dong-won and Kim Hyeong-sun.
Buan’s Nongak band is a large ensemble composed of three to four kkwaenggwari players, two jing players, two to three buk players, three to four janggu players, ten to fifteen gokkal sogo players, one player of the namu napal, three flag bearers (one Nong and two Yeong flags), and four players of the japsaek (Daeposu, Jorijung, Yangban and Gaksi). Its repertoire includes Madangbalbigut (or Maegwigut), Monaegigut, Duregut, Geollipgut and Yeonyegut (or Women’s Nongak).
Each performance typically consists of a multitude of parts called Eoreumgut, Hwimori, Insagut, Ipjanggut, Ochaejilgut, Ujilgut, Jwajilgut, Neomeoganeun Garak, Yangsando, Samchaemeori Garak, Samchae, Ginmaedoji, Maedoji, Obangjin Garak, Ppareun Obangjin, Noraegut, Gutgeori, and Hohogut. The formation of percussionists in the Buan Nongak consists of Iljajin, Bakkumjin, Kongdongjigi, Yeoppumsari, Anjeun Jinpuri, Wonjin, Dalpaengijin (Banguljin, or Meongseongmarijin), Ssangbanguljin, Obangjin, Iljajin and Jiwabapgijin.
- Forms and Composition
- The repertoire of the Buan Nongak includes Madangbalbigut (or Maegwigut), Monaegigut, Duregut, Geollipgut and Yeonyegut (or Women’s Nongak), each of which has its own characteristic features and is subdivided into a few episodes or performances as follows:
Madangbalbigut is performed in the first or last month of the year to expel evil from and invite good fortune to the family or community for whom the Buan Nongak band is playing. It consists of Dangsangut, Saemgut, Mungut, Seongjugut, Jowanggut, Cheollyonggut, Gotgangut, Madanggut and Insagut.
Monaegigut is performed in the order of Dangsangut, Gilgut, Maejigut, Deulpungjang, Motbanggo, Jaeneomi Pungjang, Nalpungjang and Gilgut.
Duregut, typically performed at rice paddies at the height of the farming season, consists of Dangsangut, Gilgut, Maejigut, Deulpungjang, Durepungjang, Jaeneomi Pungjang, Nalpungjang, and Gilgut.
Geollipgut, traditionally performed when raising money for a communal fund, consists of Deuldangsangut, Mungut, Dangsangut, Dongnesaemgut, Mungut, Jowanggut, Jibansaemgut, Cheollyunggut, Gotgangut, Seongjugut, Madanggut, Insagut, Pangut, and Naldangsangut in that order.
Yeonyegut, which originated from women’s Nongak groups and developed into a theatrical form, is performed in the order of Naedeurigut, Insagut, Ochaejilgut, Obangjingut, Noraegut (or Nongbuga, “Farmer’s Song”), Hohogut, Ingwangnori, Dodukjaebi, and Gaeinnori (individual performances).
Among the many musical pieces (Gutgarak) performed by the Buan Nongak players are Eorumgut, Hwimori, Insagut, Ipjanggut, Ochaejilgut, Ujilgut, Jwajilgut, Neomeoganeun Garak, Yangsando, Samchaemeori Garak, Samchae, Ginmaedoji, Maedoji, Obangjin Garak, Ppareun Obangjin, Noraegut, Gutgeori, and Hohogut.
The formations (Jinbeop) presented during each Buan Nongak performance are Iljajin, Bakkumjin, Kongdongjigi, Yeoppumsari, Anjeunjinpuri, Wonjin, Dalpaengijin (Banguljin/Meongseongmarijin), Ssangbanguljin, Obangjin, and Jiwabapgijin.
Buan Nongak also presents two types of theatrical works (Yeonhuigut), namely Ilgwangnori and Dodukjaebi. The first piece consists of the episodes called Soebogwanhagi, Soejeomgeomhagi, Soechaengyeoogi, Mijigigut, Soebogwanhagi, Soedodukjil and Daeposu Jaedam, while the second comprises Yeonggi Dodukjil, Gakjingut, Jinjitamsaek, Nabalsamcho, Jeokgunmoui, Dodukjaebi, and Talmeorigut.
- Content
- The Buan Nongak has been led by the following master percussionists, among others:
① Band Leader (Sangsoe) Kim Ba-u is the oldest known member of the Buan Nongak. Known by several different names, including Kim Panbau and Kim Pan-am, he was born in 1896 in Wonudong, Udong-ri, Boan-myeon, Buan. He had been acclaimed as a master player of Soetgarak and Winnoreum.
② Park Nam-seok was born in 1918 in Gamyeok, Upo-ri, Julpyo-myeon, Buan. The child of an independent farmer, he became a pupil of Kim Ba-u when he was 14 years old, eventually learning to play the kkwaenggwari and become a band leader (Sangsoe). He joined the Nongak band run by his tutor the following year, and played as a member of the third kkwaenggwari part (Kkeutsoe). It was not until he was 40 years old that he began to perform the role of Sangsoe. He also served as a kkwaenggwari instructor for a women’s Nongak band and the Nonggak team of Jeonju Agricultural High School.
③ Kim Gyeong-cheon was born in Ogok-ri, Baeksan-myeon, Buan. He learned to play the kkwaenggwari under Hyeon Pan-soe, then head of the Udong Nongak band, and performed as his assistant player (Busoe).
④ Kim Seong-gwon was born in Mugye and lived the rest of his life in Julpo-myeon, Buan. He served as the deputy master (Busoe) of the Jeongeup Nongak band, and was widely acclaimed for his performance of Buponori.
⑤ Na Geum-chu (a.k.a. Na Mo-nyeo) learned to play the kkwaenggwari under Kim Do-sam and Kim Jae-ok, who were widely regarded as the best players of the kkwaenggwari in their time. She remained an active member of the Women’s Nongak Band for many years, receiving the President’s Prize at the National Folk Arts Contest in 1985. She was designated as the Band Leader (Sangsoe) of the Buan Nongak when it was registered as Jeollabuk-do Intangible Cultural Heritage No. 7-1 on December 31, 1987, and served as a professor at the Jeollabuk-do Gugak Center.
⑥ Master Janggu Player (Janggujaebi) Kim Jae-geun was born in Wonudong, Udong-ri, Boan-myeon, Buan to Kim Ba-u, a renowned player of the kkwaenggwari. He learned to play the janggu (hourglass drum) under Kim Hong-jip, nicknamed the ‘Janggu Ghost’, who was then living in Ibam-yeon, Jeongeup-si. He founded and ran the Kim Dae-geun Team of the Buan Nongak Band.
⑦ Yi Dong-won was born in 1922 in Seongnae-myeon, Gochang-gun but spent most of his life in Seooe-ri, Buan-eup. He was introduced to the art of playing the janggu by Sin Kwae-dong when he was in his early teens, and became a pupil of the Janggu Ghost, Kim Hong-jip, then based in Jeongeup, during his late teens. He played the janggu for several local Nongak teams led by Kim Ba-u, Kim Hong-jip, Kim Gyeong-cheon, Park Nam-sik, Kim Gwang-nae, Park Seong-geun, and Sin Du-ok. He founded the Buan Women’s Nongak Band when he was in his 30s, and taught the janggu to Park Pan-yeol of the Gimje Nongak Band and Kim Hyeong-sun of the Iri Nongak Band. In 1987, he gave Buan’s first performance of the Durepung Janggut in forty years and, the following year, was honored as a Master Seoljanggu Player when Seoljanggu was inscribed on Jeollabuk Province’s List of Intangible Heritages.
⑧ Kim Hyeong-sun was born in 1933 in Singi-ri, Jusan-myeon, Buan, and learned to play the janggu from Yi Dong-won. He was very active as a player of the janggu, and participated in the 1985 National Folk Arts Contest, receiving the President’s Prize. The latter honor led to his designation as Important Intangible Cultural Heritage No. 11-Da and a professorship at the Jeollabuk-do Gugak Center.
- Current Status
- The Buan-gun Administration established the Ordinance on the Establishment of the Buan Municipal Nongak Band at the end of 2015 as part of its efforts to preserve and promote the cultural heritage represented by Buan Nongak and the performances and activities of the Buan-gun Nongak Band. Since its establishment in March 2016, the Buan-gun Nongak Band has played an active role at diverse cultural events and seasonal festivities, operating educational programs at the Buan-gun Intangible Cultural Center located in Boan-myeon of Buan-gun, as well as giving annual performances.
- See Also