A theory for the conceptual composition of ‘Creative Yeonhui’: Focusing on the background and current status of formation

Abstract

The objective of this research is to highlight the necessity of conceptualizing and establishing the concept of ‘Creative Yeonhui(연희)’ as an initial step in the study of creative Yeonhui. Therefore, it can be seen as a study with an exploratory and experimental discussion character for the full-scale study of creative Yeonhui. Recognizing the problems and limitations that the ambiguity and breadth of the existing traditional Yeonhui concept are difficult to explain the creative Yeonhui, the creative Yeonhui can understand the formation background relatively clearly compared to the traditional Yeonhui, and reviewed the background and current status of the creative Yeonhui. Accordingly, the background and current status of creative Yeonhui have been examined. By considering the background of formation, it is used as the scope of the current situation, and as a representative review of the creative activities of groups from the Yeonhui Department of Korea National University of Arts and the percussion Yeonhui Department of Chung-Ang University, the traditional Yeonhui mainly used by these groups are as follows. Pungmul(풍물), Kukdoogaksi Noleum(꼭두각시놀음. puppet play), shaman music, Namsadang play(남사당놀이), and Talchum(탈춤. mask dance). Also, depending on the educational background, the creations appeared to be of a different nature. Through this, it has been observed that depending on how the factors influencing the formation of creative Yeonhui are interpreted, there can be variations in the conceptualization and categorization of creative Yeonhui in comparison to the existing framework of Yeonhui research. An example of a creative Yeonhui concept that can be presented through this study is to consider Samulnori(사물놀이), which has become an important opportunity for Yeonhui history, and the establishment of Yeonhui in the university. this is how to set up categories and identify components. Starting with this study, I hope that follow-up research from various perspectives for the composition of the concept of creative Yeonhui will continue, and I hope that the discourse will be formed and there will be a place for discussion and consensus for the establishment of the concept of creative Yeonhui