지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This article intends to consolidate the pattern of existence of folkart by product ego and communicational scheme, and to remark on the revolutional content and releasable function of folkart. Through this discussion we recognize the rights of folk art-production and look for the way of cultural democratization by critical recognition about art-production scheme and communicative structure.
If high class art is art of artists, then folkart is expression of the folk. The most important specific property of folkart is that it exists in the culture of the ordinary. The folk liberally produce and enjoy folkart in ordinary life. High class art and popular art are both usually produced by the artist, the masses are usually in the position of accepting. Moreover the process of production and acceptance is separated from ordinary life. It is not only separated from producer and accepter, but also, the daily practice and activation of art. Therefore the works of art is abundant but there is no real art-culture.
Healthy art-culture is located in democratic system of an-production meaning not a monopoly system restricted to art and artist, but to whoever becomes a chief creator of art-production and acceptance. In healthy society art is produced by common people, and accepted and enjoyed by everybody democratically. The folkart that exists in this system of undifferentiation makes possible the human releasable function.
Folkart has the nature of revolution toward human liberty. 1his represents folk life in a local situation in which the folk become a chief creator. Therefore this includes critical recognition about the complications of class and the self-contradictory social organization. While the function of performance appears to be based on entertainment and celebrating of life, the substantial function included in the content of folkart looks forward to pursuit of life worthy of man.
Korean traditional mask dance, that symbolized folkart, represents the complication of class, religious conflict, and complication between male and female. These are connected with folk liberty, religious liberty and gender equality. In the view of the folk the most pressing thing is the complication of class and of gender. For folk who live within religious folk communities, Buddhism has tended to be an overwhelming influence. Accordingly folkart depicts and present this religious oppression in order to pursue revolution and human release.
As all political power is created by people, all cultural power is also caused by people. Just as people build system of exercising political power, people also need to have an appropriate system of art-production in order to maintain a healthy society. Those in the field of humanities(The artists, scholars, philosophers and so on among the people) need to work towards this cultural democratization. Without this kind of effort, the people cannot be released from the current state of cultural monopoly.
If high class art is art of artists, then folkart is expression of the folk. The most important specific property of folkart is that it exists in the culture of the ordinary. The folk liberally produce and enjoy folkart in ordinary life. High class art and popular art are both usually produced by the artist, the masses are usually in the position of accepting. Moreover the process of production and acceptance is separated from ordinary life. It is not only separated from producer and accepter, but also, the daily practice and activation of art. Therefore the works of art is abundant but there is no real art-culture.
Healthy art-culture is located in democratic system of an-production meaning not a monopoly system restricted to art and artist, but to whoever becomes a chief creator of art-production and acceptance. In healthy society art is produced by common people, and accepted and enjoyed by everybody democratically. The folkart that exists in this system of undifferentiation makes possible the human releasable function.
Folkart has the nature of revolution toward human liberty. 1his represents folk life in a local situation in which the folk become a chief creator. Therefore this includes critical recognition about the complications of class and the self-contradictory social organization. While the function of performance appears to be based on entertainment and celebrating of life, the substantial function included in the content of folkart looks forward to pursuit of life worthy of man.
Korean traditional mask dance, that symbolized folkart, represents the complication of class, religious conflict, and complication between male and female. These are connected with folk liberty, religious liberty and gender equality. In the view of the folk the most pressing thing is the complication of class and of gender. For folk who live within religious folk communities, Buddhism has tended to be an overwhelming influence. Accordingly folkart depicts and present this religious oppression in order to pursue revolution and human release.
As all political power is created by people, all cultural power is also caused by people. Just as people build system of exercising political power, people also need to have an appropriate system of art-production in order to maintain a healthy society. Those in the field of humanities(The artists, scholars, philosophers and so on among the people) need to work towards this cultural democratization. Without this kind of effort, the people cannot be released from the current state of cultural monopoly.
목차
Ⅰ. 민속의 자리매김과 민중의 일상문화
Ⅱ. 민속예술의 본질과 예술적 위상
Ⅲ. 민속예술 주체의 민중성과 생산의 주체성
Ⅳ. 민속예술 수용의 일상성과 전승의 집단성
Ⅴ. 민속예술 연행의 기능성과 내용의 변혁성
Ⅵ. 민속예술 소통체계의 민주성과 인간해방
〔참고문헌〕
임재해 선생의 「민속예술의 본질적 성격과 인간해방 기능」에 대하여
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
민속문학의 교육적 기능과 문예 창조력의 재인식
비교민속학
2003 .08
-
全國民俗競演大會와 江原道民俗競演大會
강원민속학
1986 .09
-
예술의 변화와 문화콘텐츠의 의의
인문콘텐츠
2003 .12
-
Annual Folk Art Contest
Korea Journal
1969 .11
-
Thoughts on the Arts in Korea Today
Korea Journal
1972 .08
-
이문열 소설에 나타난 "예술가 의식" 연구
현대소설연구
2001 .12
-
포스트 사회주의 중국을 읽는 방법 : 생산의 주체가 해체되는 지점과 예술
중국문화연구
2015 .05
-
A Study on the Present Status of Folklore and Folk Arts in North Korea
Korea Journal
1992 .06
-
민속학 교육으로서의 민속극 교육
비교민속학
2003 .08
-
Folk Painting and Folk Aesthetics
Korea Journal
1977 .02
-
서남해지역 민속문화의 특성과 활용 방향
한국민속학
2003 .06
-
[서양미술사] 국내 서양미술사학의 확장
역사학보
2011 .09
-
An Introduction to Korean Folk Bands and Folk Songs
Korea Journal
1987 .08
-
현대미술의 대중매체성과 예술철학적 의미
인문과학연구
2011 .09
-
Korea Folk Painting As Viewed by An Artist
Korea Journal
1979 .01
-
미디어 아트 창작에 대한 범위설정 문제 연구 : 현대 미디어 아트를 중심으로
한국문학과 예술
2016 .11
-
지역의 민요를 넘어 세계의 민요로-민요에 대한 문화론적 접근 - 권오경, 『한국민요현장과 경계넘기』(민속원, 2018)
어문론총
2019 .01
-
대중 예술의 가치 옹호
인문논총
2016 .01
-
종교시설의 사회문화적 역할에 대한 인식연구: 개신교 문화예술콘텐츠네트워크 사례경험을 중심으로
주관성 연구
2018 .01
-
The Art of Building
Korea Journal
1965 .05
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-380-017625561