이고운_시나위를 위한 돗가비굿(2017)_Dotgabi-gut for Sinawi (Korean goblins) скачать в хорошем качестве

이고운_시나위를 위한 돗가비굿(2017)_Dotgabi-gut for Sinawi (Korean goblins)

2017.1.24 PM8 공존과 아우름을 위한 굿 “휘~휘~ 해동 조선 대한민국, 우리들이 치는 굿에 손님 마누라 오셨는디, 대접할 것이라고는 피속곳 밖에 없으니 요것이나 먹고 물러가라! 굿낸다!” 연주 : 프라임필하모닉 오케스트라 & 타악 (우민영), 타악 (고명진) 지휘 : 장윤성 협연 : 피리 (권도윤), 대금 (변상엽), 해금 (전상연), 아쟁 (김슬지), 가야금 (김주희), 장구 (김재동), 소리 (이진솔) 연출 : 김지훈 안무 : 박인수, 장진규 Dotgabi” means dokkaebi (Korean goblins) in old Korean. Dotgabi-gut draws inspiration from Dokkabi Gut Nori, a cyclical shamanic rite practiced in Seowoi-ri, Jindo located in Southern Korea observed by the female population of the village. On the night of the first full moon in the lunar calendar, village women gather together with metallic objects like pot lids, small brass gongs, or anything that produces loud noises. The ritual, which is believed to ward off ill events such as plagues and natural disasters and promote community cohesion, begins as the crowd marches together, making loud noises with the metallic objects and covering every inch of the village. The seven-member sinawi ensemble (Dageum, Piri, Haegeum, So-Ajaeng, Gayageum, Janggu, Sorrikkun (singer)) produces seven distinctive sounds including the voice, coming together as a powerful concerto that portrays dotgabi with the language of Namdo sinawi. This work aspires to bring forth the humor and satire found in the dokkaebi lore, while drawing upon the improvisational elements in traditional Korean performance arts by featuring a sinawi ensemble in the orchestration. These creative choices stroke the primordial and shamanic qualities buried in the collective unconscious of the Korean people, and draw out the mirth running through their veins. The sinawi performance was introduced to the dotgabi gut because both media embody the concept of co-existence and inclusiveness. By bringing them together, this work conveys the underlying meaning of the dotgabi gut—overcoming challenges and achieving cohesion through unity—and highlights the power of inclusiveness expressed by sinawi. Furthermore, the score explores a musical answer to the coexistence of traditional Korean instruments and orchestras, as well as to the collaboration between the language of sinawi and Western music.