중국 나희춤의 제의성과 예술성 -귀주성 도진현 나희를 중심으로- = Ritual and Aesthetic Featuresof the Dance Performed during the Feast of Chinese Nuoxi

다국어 초록 (Multilingual Abstract)

Nuoxi, despite the fact that it greatly suffered from the Cultural Revolution, was still developing strongly and consistently in countryside. Being deeply religious in nature and faraway from any major modern influences, people`s faith in shamans and regional gods is strict and strong in countryside. Shamans are the most worshipped figures in these people`s mind. They sing songs, shout out spells, draw charms against evils, and pull people`s hands to heal diseases as well as to prevent vices of plagues. Nuoxi can be regarded as both a dance and a song, which suggests that a song and a dance are combined as one and the details and qualities of such harmonious combination are rich and excellent. The dance of Nuoxi can be differentiated to two parts, the dance performed during a ritual and the dance performed during a feast after the ritual. The former is the dance performed by the priest in the inner altar and appears extremely serious, orderly, and greatly religious. It is only performed inside the bamboo spot where the ritual is taking place. The latter is the dance performed outside the restrictions that should be obeyed during the ritual. It conveys no such formalities as the dance performed during the ritual and could well be rather exaggerated and free-hearted in its essences due to lots of movements and variations. Taking strong and powerful steps throughout the dance is the main characteristic of the Nuoyi dance performed during a ritual and such ritual movement anticipates unity in its nature. These steps are supposed to prevent plagues and the powerfulness portrayed during each step cleanses and destroys any demons inside people`s body. Dankangmu and SSangkangmu, due to strict restrictions on its performance, can only be seen as plain and sometimes uninteresting as any variations in movements are prohibited by strong and powerful steps. However, the unity immanent in formalities of the ritual indicates sanctity and mysteriousness within. After Nuoyi, Nuoxi makes its imminent start. The masks represent 24 gods or religious figures. During Nuoxi, it slowly begins to develop into a plot so that the dance would not have to be restricted by whereabouts of the performance. The dance of Nuoyi is only performed on a piece of mat in a very simple and united manner but this is not the case for Nuoxi. Therefore, Nuoxi is rather more capable of representing many differentgods and having more complex and various movements during the performance, which adds to aesthetic craftsmanship of the dance. In Nuoxi, under considerations of the title and the characters of the dance, movements and steps vary. As a result, such variations make the dance more differentiated, free-hearted and aesthetically pleasing to the dance performed during the ritual. The Nuoyi dance is very well adapted to a mysterious and religious ritual, which heightens sacredness of the performance. In the Nuoxi dance, the dance for various gods has numerous variations in its rather alien and changing movements. Well known regional tales are narrated by masked characters and every scene brings out interests from people. For these reasons, it is certain that the Nuoxi dance places great weight and importance to its various and aesthetic movements.