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Mansin Kang Minjeong Presents ¡ºBari Gongju¡», at the Malmi Phase of Seoul¡¯s Saenam-gut

 

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CD1 

¡á ¼­¿ï»õ³²±Â ¸»¹Ì¡´¹Ù¸®°øÁÖ¡µ  

01. ¿ìÁÖ ¼Ó¿¡ ÇѾç±Ã 03:11  

02. °©Àڱ⠸ÁÀÚ µÇ¸é 1 01:19   

03. ¸ÁÀÚ°¡ ³õÀÌ´Â ³¯ 01:32 

04. ¹Ù¸®°øÁÖ´Â ¸ÁÀÚÀÇ Èñ¸Á 01:15  

05. °©Àڱ⠸ÁÀÚ µÇ¸é 2 01:00  

06. ±¹¸ð°£Åà ¹®º¹À» º¸´Ù 02:43 

07. ¹®º¹¹«½Ã, È¥·Ê¸¦ °¨ÇàÇÏ´Ù. 02:41 

08. °©Àڱ⠸ÁÀÚ µÇ¸é 3 02:17  

09. ù° °øÁÖ¸¦ À×ÅÂÇÏ´Ù 06:50 

10. °©Àڱ⠸ÁÀÚ µÇ¸é 4 02:15 

11. µÑ° °øÁÖ¸¦ À×ÅÂÇÏ´Ù 05:30  

12. °©Àڱ⠸ÁÀÚ µÇ¸é 5 00:59   

13. ¼¼Â° °øÁÖ¸¦ À×ÅÂÇÏ´Ù 05:37  

14. °©Àڱ⠸ÁÀÚ µÇ¸é 6 01:37  

15. ³×° °øÁÖ¸¦ À×ÅÂÇÏ´Ù 05:11  

16. °©Àڱ⠸ÁÀÚ µÇ¸é 7 02:24  

17. ´Ù¼¸Â° °øÁÖ¸¦ À×ÅÂÇÏ´Ù 05:11 

18. °©Àڱ⠸ÁÀÚ µÇ¸é 8 01:19  

19. ¿©¼¸Â° °øÁÖ¸¦ À×ÅÂÇÏ´Ù 04:58  

20. °©Àڱ⠸ÁÀÚ µÇ¸é 9 02:04 

21. Ưº°ÇÑ Å¸ù, ÀÏ°ö° °øÁÖ¸¦ À×ÅÂÇÏ´Ù 05:40     

22. ¹ö·ÁÁö´Â °øÁÖ 02:00  

23. °©Àڱ⠸ÁÀÚ µÇ¸é 10 01:20  

CD2 

24(01). °Åµì ¹ö·ÁÁö´Â ÀÏ°ö°°øÁÖ, À̸§À» Áþ´Ù 04:24  

25(02). »ý¸íÀ» ±¸¿ø¹Þ´Ù 07:19    

26(03). ¼ºÀåÇÑ ¹Ù¸®°øÁÖ°¡ ºÎ¸ð¸¦ ±×¸®´Ù 03:06 

27(04). ±¹¿Õ³»¿Ü Á×À»º´¿¡ °É¸®´Ù 05:05 

28(05). ¹ö¸°°øÁÖ, ¹Ù¸®°øÁÖ¸¦ ãÀ¸¶ó 05:28 

29(06). ºÎ¸ð¿Í Àçȸ 01:49 

30(07). ºÒ»ç¾àÀº ´©°¡ ±¸Çϸ®? 02:40 

31(08). ºÒ»ç¾àÀ» ±¸ÇÏ·¯ ¹«¼è·Î ¹«ÀåÇÏ°í ³²ÀåÇÏ¿©  

          ¼­¿ª±¹À» °¡´Ù 03:07 

32(09). ³«È­¿Í ±ÝÁÖ·ÉÀ» ¾ò´Ù 02:16 

33(10). ½Ê´ë¿Õ ¸»¾¸, ³«È­ÀÇ »ç¿ë 04:05 

34(11). ¹«Áö°³ ´Ù¸®°Ç³Ê ¹èÇÊÀ» ¸¸³ª´Ù 03:06 

35(12). »ý¸í¼ö »ý¸í²É ȹµæ, ±ÍÇâ 01:48  

36(13). À¯»ç°­À» °Ç³Ê´Â ¿µ°¡ 02:54  

37(14). Ȳõ°­À» °Ç³Ê´Â ¿µ°¡ 02:36 

38(15). ûõ°­À» °Ç³Ê´Â ¿µ°¡ 00:59  

39(16). ´ë¿ÕÀÇ Àå·Ê 02:38  

40(17). ´ë¿ÕÀÇ È¸»ý 01:21  

41(18). ½ÅÁ÷ºÎ¿© 03:53 

42(19). °©Àڱ⠸ÁÀÚ µÇ¸é 10 08:53 

CD3  

¡á Áßµð¹Ú»ê 

01. Áßµðû¹è 04:02  

02. Áßµð¹å»ê³ë·§°¡¶ô 03:43 

03. ½Ã¿Õ³ë·§°¡¶ô 05:09 

¡á ½Ê´ë¿ÕÇ®ÀÌ 

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05. ¿¹»ç½Ê´ë¿ÕÇ®ÀÌ 04:08

 

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Director : ¾çÁ¤È¯ TOP ARTS (À½Á¦1442È£) / P&C Yang Jeong-hwan www.gugakcd.com 

Jacket Design : MUSONG TOPCD-185-1 Manufactured by Seoul Media. 2020.2. Seoul, Korea   

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¸¸½ÅÀº ÀÌ °¢¹ÚÇÑ ¼¼»ó¿¡ ±×µéÀÇ À̸§À» ³²±â±â°¡ ³Ê¹«³ª Èû°ã°í ¾î·Æ´Ù. ±× ÀÌÀ¯´Â À̵éÀÌ ÀÌ ¼¼»ó¿¡¼­ ¼¶±â´Â Á¾±³°¡ ÇÏ´ë¹Þ°í õÇÏ°Ô ¿©°ÜÁö±â ¶§¹®ÀÌ´Ù. À̵éÀÌ °­·ÂÇÏ°í ¼ÒÁßÇÑ ÀÏÀ» Çϴµ¥µµ ºÒ±¸ÇÏ°í À̵éÀº ±Ý¼¼ ÀÚ½ÅÀÇ À̸§À» ÀØÇôÁüÀ» °­¿ä¹Þ´ÂÁöµµ ¸ð¸£°Ú´Ù. ÇÏÁö¸¸ ±×µéÀÇ Á¸Àç°¡ ¹Ì¹ÌÇϳª ¼ÒÁßÇϱ⠶§¹®¿¡ À̵éÀ» ±¹°¡¹®È­Àç·Î ÁöÁ¤ÇÏ°í °ü¸®Çϸ鼭 À̵鿡 ´ëÇÑ ÀÏÁ¤ÇÑ ¸í¿¹¸¦ ºÎ¿©ÇÏ°í ÃÖ¼ÒÇÑÀÇ µµ¸®·Î À̵éÀ» ´ëÁ¢ÇÏ°í ÀÖÀ½À» ÀØÁö ¸»¾Æ¾ß ÇÑ´Ù. À̵éÀ» °Åµì »ý°¢ÇÏ°í À̵éÀÌ ´©±¸¸¦ À§Çؼ­ °íÅëÀ» °¨³»ÇÏ°í »ì¸é¼­ ½ÅÀ» ¸ð½Ã´ÂÁö ÀÌÁ¦ ´Ù½Ã »ý°¢ÇÒ ÀÏÀÌ´Ù.   

2. °­¹ÎÁ¤ ¸¸½ÅÀº ´©±¸Àΰ¡?

°­¹ÎÁ¤Àº º»µð °­¿ÁÀÓÀ̶ó°í ÇÏ¿´´Âµ¥, 1962(ÀÓÀγâ)³â 4¿ù 5ÀÏ¿¡ ÀÌ ¼¼»ó¿¡ ž´Ù. °æ»ó³²µµ »çõ½ÃÀÇ ¼­±¤»ç Àý¿¡ ÁÖ¼®ÇÑ ÁÖÁö ½º´ÔÀÇ µÑ° µþ·Î ž¼­ Æò¹üÇÏ°Ô »ì´Ù°¡ ¸¶Ä§³» ½ÅÀÇ ¼Ò¸íÀ» ¹ÞÀº ¹Ù ÀÖ¾ú´Ù. ±× ¶§°¡ 14¼¼ ¹«·ÆÀÌ´Ù. ÇÏÁö¸¸ ½ÅÀ» ÁøÁ¤½ÃÄÑ ÁÂÁ¤ÇÏ¿©³õ°í, ±è¿ëÇ¥¿Í È¥ÀÎÀ» ÇÑ µÚ¿¡ »õ»ï½º·´°Ô ¹«ºÒÅë½ÅÀ» Çϸ鼭 ¿î¸í¿¡ ¼øÀÀÇÏÁö ¾ÊÀ» ¼ö ¾ø¾ú´Ù. ±×·¯´Ù°¡ 1985³â 5¿ù 30ÀÏ¿¡ ³»¸²±ÂÀ» ÇÏ¿© ½ÅÀÇ »ç¸íÀ» Àü´ÞÇÏ°í Àΰ£ÀÇ ¶æÀ» ½Å¿¡°Ô ÅëÀüÇÏ´Â ÀÓ¹«¸¦ °®°Ô µÇ¾ú´Ù. ½ÅÀÇ Á¦ÀÚ ±æ·Î µé¾î¼­¼­ »õ·Î¿î »îÀ» »ì°Ô µÇ¾ú´Ù. ´­·¶´ø ½ÅÀ» Ç®¾î³»¾î ¼¼»ó »ç¶÷À» ±¸Á¦ÇÏ°í À̵éÀÇ °íÅëÀ» Ç®¾î³»´Â ¼­·¯¿î ±æ·Î µé¾î¼± °ÍÀÌ´Ù.

1992³â 10¿ù ¹«·Æ¿¡ ±¹°¡¹«Çü¹®È­Àç Á¦104È£ÀÎ ¼­¿ï»õ³²±Â º¸À¯ÀÚÀÌ¸ç ½Å¾î¸Ó´ÏÀÎ ÀºÇϾö¸¶ ÀÌ»ó¼ø¿¡°Ô Àç´ÛÀÓ(ñìÞû)À» ÇÏ¿© ¼­¿ï »õ³²±ÂÀÇ ÇÑ º¹ÆÇ¿¡ ´Üµ¶Á÷ÀÔÇÏ¸ç µé¾î¼­°Ô µÇ¾ú´Ù. ¼­¿ï»õ³²±ÂÀ» ÇʵηΠÇÏ¿© õ½Å±Â, Áø¿À±â±Â, ¼ºÁÖ¹ÞÀÌ µîÀ» ¿ÂÀüÇÏ°Ô ¼÷ÁöÇÏ°í, ¾Æ¿ï·¯¼­ Áø¿À±â±Â, ¾È¾ÈÆƱ µîÀÇ ¿©·¯ °¡Áö ±ÂÀ» ¸ðµÎ ÀÍÇûÀ¸¸ç, µ¿½Ã¿¡ ¼­¿ï±ÂÀÇ ¸¶´Þ, Ãã»çÀ§, À屸¿Í Á¦±ÝÀÇ Àå´Ü µîµµ ÀÍÇô¼­ Å« ¸¸½ÅÀ¸·Î¼­ÀÇ ±âÇ°°ú ÀçÁÖ¾ÆÄ¡ÀÇ ¿ª·®À» ÀÍÈ÷°Ô µÇ¾ú´Ù. ±×·¸°Ô Çؼ­ Å«¸¸½ÅÀÇ ´ë¿­¿¡ µé¾î¼¹À¸¸ç, µ¿½Ã¿¡ ÇѾç±ÂÀÇ ÀçÁÖ¾ÆÄ¡ ³ë¸©À» Çϸ鼭 ½Å½Î°Ô ±ÂÀ» ÇÏ´Â ÀÏÀ» ¸ðµÎ ¼ºÃëÇÏ¿´´Ù.

2003³â 8¿ù 1ÀÏ ÀÌ·¡·Î ¼­¿ï»õ³²±Â À̼öÀڷμ­ »õ³²±ÂÀÇ ÁöÅ°¹Ì ³ë¸©À» Çϸ鼱 ½ÅÁ¦ÀÚµéÀ» ¾ç¼ºÇÏ¿´´Ù. µ¿½Ã¿¡ ¼­¿ï±ÂÀ» ±â·ÏÈ­ÇÏ´Â ÀÛ¾÷À» Çϸ鼭 ¡ºÈ²Á¦Ç®ÀÌ¡»ÀÇ À½¹ÝÀ» ³»±âµµ ÇÏ¿´´Ù. ÀÌ À½¹ÝÀº ¹«¸£³ìÀº °­¹ÎÁ¤ ¸¸½ÅÀÇ Àå¾öÇÑ ¿ª·®ÀÌ ¹è¾î ÀÖ´Ù. ¡ºÈ²Á¦Ç®ÀÌ¡»´Â ¼­¿ï ¼ºÁÖ¹ÞÀÌ¿¡¼­ ±¸¿¬ÇÏ´Â ÀåÆí±¸Àü½Ã°¡·Î ÀüÇüÀûÀÎ ¼­¿ï±ÂÀÇ À½¾Ç¼ºÀ» ¿³º¼ ¼ö ÀÖ´Â °ÍÀ¸·Î, ûÀÌ ÁÙ±âÂ÷¸é¼­µµ Æí¾ÈÇÏ°í ¹®¼­°¡ ÀåÂù °ÍÀÌ´Ù. ÀÌ·¸°Ô ¿À·ÔÇÑ ¹®¼­¸¦ °­¹ÎÁ¤ ¸¸½ÅÀÌ ¾Æ·ç¼ºÀÌ ³¤ ûÀ¸·Î À̸¦ ¿ÏÀüÇÏ°Ô ±â·ÏÈ­Çϴµ¥ ¼º°øÇÏ¿´´Ù.

°­¹ÎÁ¤ ¸¸½ÅÀº ±¹³»¿ÜÀÇ ¿©·¯ °¡Áö °ø¿¬¿¡ Âü¿©Çϸ鼭 ¼­¿ï»õ³²±ÂÀ» µå³ô¿© ±× À̸§À» ³¯¸®°í °Å·èÇÏ°Ô Çϴµ¥ ÀÏÁ¤ÇÏ°Ô ±¸½ÇÀ» ÇÏ°Ô µÇ¾ú´Ù. °ø¿¬ÀÇ ³»·ÂÀ̳ª Âü¿©ÇÑ ½ÇÀûÀº ÀÌ·ç ¿­°Å ÇÒ ¼ö ¾øÀ» °ÍÀÌ´Ù. ÇöÀç ¼­¿ïÀÇ Å«¸¸½Å ³»Áö Å«¹«´çÀ¸·Î ÀÚºÎÇÏ´Â À̵éÀÌ ³Ê¹«³ª ¸¹´Ù°í ÇÏ°ÚÀ¸³ª ±ÂÀ» ±Â´ä°Ô ÇÏ°í Á¶¹éÀÌ ÀÖ°Ô ÇÏ´Â ¸¸½ÅÀº ¸Å¿ì µå¹® ½ÇÁ¤ÀÌ´Ù. °­¹ÎÁ¤ ¸¸½ÅÀº ¼­¿ï±ÂÀÇ À§´ëÇÔÀ» ½ÇõÇÏ´Â À庻ÀÌ´Ù 

3. ¼­¿ï»õ³²±ÂÀº ¾î¶°ÇÑ ±ÂÀΰ¡?

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Mansin Kang Minjeong Presents ¡ºBari Gongju¡»,

at the Malmi Phase of Seoul¡¯s Saenam-gut

 

Kim Heon-Seon Writing &

Yu Min Hyeong translated by

 

1. Mansin, a lone path of starlight in the dark of the night

Mansin, a tradition of Korean shamans, has always been a beacon of light, like a lone star. Mansin consoles countless people with their gut rituals and helping them connect with the spirits of the ancestors. Not only do they console the living, but they also console the dead, wishing the best for their fate and resolving their grudges. They are exemplary beings of the society, who saves the whole world from pain. Stars shine brightest in the darkest of the nights, and hope springs from the most painful of despair. Mansin is agent of overcoming that despair, and also is the symbol of hope.

It is too difficult for a mansin to leave her name behind, because their religion is still considered as vulgar and lowly. The work she does is all too powerful and precious, yet she is forced to accept herself forgotten. It is our duty to honor the mansin, designate them as National Intangible Heritage, for their precious and rare work. We should respect them, and never forget that the mansin deserves all the respect they get. It is time for us to think about them, for whom the mansin accepts the struggles, and what their belief to gods entail.

 

2. Who is Mansin Kang Minjeong?

Kang Minjeong was born in 1962(Year Im-in in Korean Zodiac System) 5th of April with a given name of Kang Ok-nim. She was born as a second daughter of a Buddhist Abbot at Seogwangsa Temple at Kyeongsangnamdo Sacheon. She led a relatively normal life, before she was spoken by gods when she was fourteen years old. After she was married to Kim Yongpyo, she started to really catch on to her fate, accepting path of Buddhism and Shamanism at the same time. She then called her god into her body in 30th of May, 1985, accepting her duty of being a bridge between the divine and the secular. As she became an apprentice shaman, her new life unfolded before her. She unleashed the hidden gods to take a path of sorrow, to save the people, to alleviate their pain.

During October of 1992, Minjeong decided to take an apprenticeship under Lee Sangsoon, who is a Intangible Heritage for Seoul Saenamgut, and who would become her shaman-mother. She dove into the central stage of Seoul Saenamgut, not just mastering the Saenamgut but also mastering Cheonsingut, Jin¡¯ogigut, Seongjubaji, and An¡¯anpakgut. Not only that, she learned how to chat up the audience, how to dance, and how to perform musical instruments, gaining the trades and skills as well as grace of a great mansin. She not only could perform gut rituals, but also could act as an artistic performer on her own right.

From August 1th, 2003 on, as a master apprentice of Seoul Saenamgut, she began to also preserve and teach Seoulgut. She also recorded and archived Seoulgut, in ¡ºHwangjepuri¡» recordings. The recording shows her grand mastery of music and divinity. ¡ºHwangjepuri¡» is a traditional shamanic epic in Seoul region, having the characteristics of Seoulgut, with its rich text and clear musical flow. Mansin Kangminjeong perfectly preserved that text with her deep vocalization.

Mansin Kang Minjeong has since then participated in countless performances and rituals, earning the artistic and religious praise for Seoul Saenamgut. Her countless contribution to promote Seoul Saenamgut in her performances is beyond comparison. Now, there are many different shamans who call themselves as Seoul¡¯s grand mansin or great mudang, but mansin who treat gut as true rituals is too rare. Kang Minjeong is a mansin who embodies the greatness of Seoulgut.

 

3. What kind of gut is Seoul Saenamgut?

Seoul Saenamgut is a perfect example of how Hanyanggut¡¯s tradition has been handed down to modernity. There are many different hearty characteristics that are shown in Seoul Saenamgut that are traditionally of Hanyanggut. For example, there are Cheonshingut, Seongjubadi, Jin¡¯ogigut, An¡¯anpakgut and Talsanggut, which are embodiments of Hanyanggut in their own rights, but Seoul Saenamgut is a compilation of all of the characteristics that are shown in ritual performances above. Seoulgut, therefore, is a traiditional successor of Hanyanggut, which retains all of its characteristics.

Spiritual aspect is not the only legacy shown in Seoul Saenamgut. The customs of clothing, culinary culture, visual fine art are all present in the gut¡¯s ritual grounds. The mansin¡¯s holy costume shows the tradition of fashion, while the offerings to gods show how the populace of Hanyang served their gods and guests. The paper ornaments of shamanism such as Bulsajeon, Neokjeon and Suparyeon also show how paper art has been evolved and preserved over time.

In terms of culinary culture, it is important to note ¡®Gajinpyeon¡¯ rice cake. Among excellent rich food like Yakgwa, Okchun, Sanja, Palbo, Yakshik and Jilbang, Gajinpyeon is among the most exquisite. ¡®Mitsam,¡¯ which is also called ¡®Mulmongdaeng¡¯i,¡® (water bludgeon) is another unique representation of food culture. The ritual feast is notable, because it is a direct presentation of Seoul¡¯s traditional offering of Confucian ancestor venerations. In that regards, Hanyang¡¯s food culture is presented through the shamanist ritual.

Detailed components of gut, such as shamanic hymn, instrumental music, choreography, and theatrics are unique in their own ways. Hymns tend to be simple yet rich in subtle meanings, a major characteristics of Seoulgut. Instrumental music are consistent with the former dynasty¡¯s court music. Choreography are simple yet majestic, and the theatrics are rustic yet glamorous in its own way.

Seoul Saenamgut is conducted over two days, and it is in turn divided into two sections, Andangsagyeongchigi and Saenamgut, which are Angut and Bakgut. Angut, the ¡®inner gut,¡¯ is a ritual for the family ancestors, while Bakgut, the ¡®outer gut,¡¯ is a ritual sending the dead to the heavens. The primary gutgeori rituals in a sending gut is Jungdibaksan, Malmigeori, and Doryeonggeori. These are the most important and essential gutgeori for Saenamgut, and presents all the philosophy, symbolism, structure and expression of every gut that sends the dead to heavens. Therefore it is a pricelessly valuable data to understand the philosophy of the afterlife for Koreans.

Jungdibaksan is a gut that is performed sitting, and is composed with the three components of either Jungdicheongbae or Malmyeongcheongbae, Jungdibaksan, and Jungdinoraetgarak. The three components are unique in meanings and styles. They are repeatedly performed, but why they are repeated are not yet clear.

Malmyeongcheongbae or Jungdicheongbae are the typical of ¡®cheongbae¡¯ rhythms, played with drums, and it is a combined 4-beat system that composes 2 smaller beats and 3 smaller beats. Jungdibaksan is of the same format, but it is a 6-beat system, where mansin and the Jeon¡¯ak(accompanist) go back and forth. Mansin ¡®asks¡¯ by a phrase of ¡®3+3+2||3+3+2¡¯, and the accompanist returns a ¡®3+2+3||3+2+3¡¯ phrase. It is just like Seoulgut¡¯s Mansubadi, yet the composition of Jangdan rhythm itself is altered completely, and that is the essence of Jungdibaksan, or Garaejo in other words. However, Garaejo only relly utilizes one of the two rhythmic structures, that of ¡®3+2+3||3+2+3¡¯.

Jungdinoraetgarak retains the simple, fixed rhythmic structure, yet it is more delicate and gentle in its flow. It is closely related to Sijo recitation, and it is in fact called Munyeosijo, which literally means sijo recited by a female shaman. It has a unique structure of 3+2|3+2+3||3+2+3|3+2+3/3+2+3|3+2+3||3+2+3|3+2+3/3+2+3/3+2+3|3+2+3||3+2+3|3+2+3¡±, which should be understood in relation to other Seoul¡¯s musical traditions. Nonetheless, it is considered special that while the structure itself is not uncommon, the practice of mansin singing it by herself is unique.

Other such singing performances of Noraetgarak is shared by both Mansin and Janggu accompanist ¡®Gidae.¡¯ They, as a rule in other gut performances of Seoul region, start singing by the Mansin singing the first verse, Gidae singing the middle verse, and they both jointly singing the last verse. In Noraetgarak performances, there is a phenomenon observed where the smaller beats continuously lengthens by a beat, following the Fibonacci numbers.

Malmi, the ¡®last¡¯ part of the gut, is a ritual with a bonpuri aspect, where the shaman calls forth Barigongju, Bari the Forsaken Princess. Doryeonggeori is summoning Bari from the otherworlds, through the ¡®outer¡¯ field of ritual into the ¡®inner¡¯ place. Lastly, Bari is led to Yeonjidang, where Jijangbosal sits, and she helps leading the spirit of the dead to the heaven. It is a prime example of where shamanism is assimilated to Buddhism, and the metaphysicality of both religions are fused into one. The cleansing of the sins of the dead are called ¡®Dossam,¡¯ or the movement from the ¡®outer¡¯ to the ¡®inner,¡¯ and the process in shamanism are expressed in highly artistic dances of Sondoryeong, Nabidoryeong, Hansamdoryeong, Buchaedoryeong, and Kaldoryeong, each pealing away a layer of sin. The dead then is going through transformations before he is ready for reincarnation.

The process of Cheongbae in Seoul Saenamgut is characterized by its majesty and grandeur, where the grimness and the darkness of the death are transcended into the brightness and warmth. Such change is presented through music, and musical ¡®darkness¡¯ being transformed into musical ¡®brightness¡¯ is, musically, dramatic. Its composition of Jajinhannip, Yeombul, Bannyeombul, Gutgeori, Byeolsangjangdan, Dang¡¯ak, and Mansubadi are also unique in its structure and order.

 

4. What is Malmi and what does it talk about?

¡®Malmi¡¯ is not called ¡®Malmigeori.¡¯ Malmi is Malmi in its own. Malmi is a part of gutgeory, but it is not just one, and it holds a special meaning. Malmi is also called ¡®Sikkal Malmi,¡¯ (a Knife Malmi) as well. Malmi is commonly referred to an event where pantheon of gods and ghosts escape the Underworld to come to the light, to hear sermons of monks. It is through this interpretation, we can really conjecture the nature of Malmi. The spirits are summoned, talking and singing, the dead, the Mansin and the family of the dead communicating each other, talking about the pain of birth and death.

Malmi is a very unique ritual where the dead and the family of the dead are at the same position where they are listening to a sermon. It is where the spirit and the living truly become one. It is also where the dead are freed from the pain and given a momentary relief. However, the dead do hold a responsibility to go back to the land of the dead, and that is what Mansin tells the spirits.

Malmi rituals are also called ¡®Barigongju¡¯ ritual. The tale of Barigongju, Bari the Forsaken Princess, is one of the most famous tale. It is told countless times as bonpuri, and it also tells metaphysical philosophy of the shamans. Simply put, it is a story where a Mansin travels to the land of the dead to bring one of them back, but it is wrong to assume that the story is just that. Nonetheless, it has many different layers and in order for us to truly understand that, we need to see it in its entirety. Her story, in short, follows:

 

Jusanggeummama Lee (His Majesty the King) and Jungjeonbuin (Lady Queen) are to be wed, but when they seek the advice of Dajibaksa of Cheonhagung (Palace Under Heaven), he imposes a taboo that they should not rush the wedding. The couple, however, breaks the taboo and goes ahead with the wedding, which results in the birth of a string of daughters and no sons. When their seventh child once again turns out to be a daughter, they abandon her, and she thus acquires the name Barigongju, or Abandoned Princess, and is rescued by Birigondeok Grandpa and Birigondeok Granny, who bring her up. Princess Bari¡¯s parents, in the meantime, fall critically ill, and learn that the only cure is the potion Yangyusu and flowers, available only where Mujangseung lives. The king orders his six princesses to go to Seocheonseoyeokguk (Kingdom of Western Territories Under Western Heavens) to get the medicine, but the princesses all make excuses not to go. Left with no other choice, the king searches for the seventh princess who he abandoned, to ask her to find the cure, and finally the king and queen reunite with Princess Bari. Determined to get the cure for her parents, the princess disguises herself as a man and travels to the underworld, in the course of which she saves those suffering in hell, using spells and a rattle. When she finally arrives in the underworld, she encounters Mujangseung, and she serves him by practicing good deeds and having his children, in the course of which she learns which flowers and potions can save her parents. She takes the flowers and Yangyusu, along with her children and her husband, and heads back to the world of the living, during which she meets Gangnimdoryeong (Descended Young Man) and learns that the royal funeral is under way. Princess Bari hurries along and with Yangyusu and the flowers, brings back her parents from death. For this accomplishment, she is given a sacred title by the king. Her children are assigned to serve as Chilseong (Seven Stars), Mujangseung as Siwanggunung (Guardian of the King of the Underworld), and Princess Bari as the possessing deity (momju), worshipped by the shamans.

 

The story seem to have multiple origins: There is an underlying medieval ethics where filial piety emphasizes saving one¡¯s parents as the most important duty. There is a resurrection theme, which consists of the protagonists traveling somewhere to retrieve flower and water to bring someone back to life, a pregnanacy story, a tale of traditional figure Ganglimdoryeong, emphasis of having many daughters as a boon not a bane, a funeral origin story of how the funeral clothes have come to be, learning magic and receiving treasure from Buddha, and a woman crossdressing as a man to travel long distance. It is a story of many different themes and motifs, of many origins.

A tale of Barigongju is multi-layered. The narrative itself has many different plot threads, which are in turn consisting of even more layers. The entirity of Saenamgut, of Hanyang¡¯s Mansin who has Barigongju as their deity, are consisted in the story of Bari. It is the most important aspect of the ritual.

At the same time, though, such stories are not confined to Korean peninsula. Ancient Sumerian mythology has stories of Gilgamesh and Innana which share the major themes with her story. Ancient Germanic myth or folktale ¡®Das Wasser des Lebens(The water of life)¡¯, Uzbekistani myth ¡®Die kluge Prinzessin(The clever princess)¡¯, Nepalese ¡®Tanze, mein Hündlein, tanze!(Dance, my dog, dance!)¡¯, Indian ¡®Ramayana¡¯, Manchurian ¡®NišanŠanman i Bithe¡¯ and Japanese myths and legends ¡®Tenchuuhime(ô¸õ÷ýïªÆªóªÁªåª¦ªÒªá)¡¯, along with countless un-mentioned others, all share at least some aspect of the narrative of female heroes.

A female hero crossdressing as a man to go on to a journey in order to heal her father is quite common around the world and the time. Our goal is to find many different tales Princesses Bari of the world, and to compile them to find the common denominators of such tales. The desire to overcome death is one of the most common motivation of mythical and legendary heroes. Barigongju, as the most major deity of the Mansin tradition, retains the most wholesome version of tales of such desire.

 




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