Goseong Ogwangdae Preservation Society (National Intangible Heritage)

The Goseong Ogwangdae is a masked performance tradition originating from the Goseong region of Gyeongsangnam-do province. Masked performances, commonly known as "talchum," are ancient Korean performing arts where performers wear masks, dance, and engage in witty banter. In the Gyeongsang-do region (the area east of the Nakdong River on a map), these masked performances are called "ogwangdae," and they are currently preserved in Goseong, Tongyeong, and Gasan. There are two main interpretations of the name "ogwangdae." One is that it refers to the performance being divided into five acts ("o gwajang"). The other is that it refers to the fact that five performers participate in the performance. While the former is characteristic of Goseong, other regions may have performances with seven or six acts. The latter interpretation, referring to the five performers, is particularly significant because the performances often feature five performers representing the cardinal directions (east, west, south, north, and center). This symbolism is central to the name "ogwangdae," which is widely used to describe this type of masked performance.

The Gosung Ogwangdae performance consists of five acts. In the first act, "Mundong Kwangdae," a character named Mundong dances while carrying a cowbell, creating a humorous scene. In the second act, "Ogwangdae," nobles dance, while a servant named Maltuk mocks and teases them. The third act, "Bibbi," features a monstrous female character who mocks and torments a noble by eating him. In the fourth act, "Seungmu," a Buddhist monk dances with a woman, satirizing their relationship. Finally, in the fifth act, "Jemilju," a woman argues with her husband's concubine, leading to her death and a satirical portrayal of their relationship as she is carried out in a funeral procession.

Goseong Ogwangdae performances involve dance, witty dialogue, and expressive movements, with dance playing a prominent role, particularly the "deotbaegi" dance. Masks were originally made of wood during the late Joseon period, but after liberation, they were often made of paperboard. Some masks have since been made of wood again, and Goseong Ogwangdae uses more vibrant colors compared to other regions. The masks currently used include those representing various characters such as "mundungi" (leper), "maltugi" (pillar man), "won-yangban" (scholar), "cheong-je-yangban" (official), "jeok-je-yangban" (official), "baek-je-yangban" (official), "heuk-je-yangban" (official), "jong-gado-lyeong" (young nobleman), "bibi" (concubine), "bibi-yangban" (concubine's husband), "jung" (monk), "gaksi" (female performer), "yeonggam" (old man), "halmi" (old woman), "jemilju" (beggar), and "madangsoe" (servant). Performers like "bongsa" (drummer), "sangju" (narrator), and "sangdukkun" (stagehand) do not wear masks. The music accompanying the dances primarily uses the "gutgeori" rhythm. Originally, instruments like the "piri" (bamboo flute), "jeotdae" (long flute), "haegeum" (fiddle), "gayageum" (zither), "geomungo" (zither), "janggu" (hourglass drum), "buk" (barrel drum), and "kkeotgwari" (small cymbals) were used, but recently, instruments commonly used in "nongak" (folk music) such as the "kkeotgwari," "jing" (gong), "janggu," and "buk" are more prevalent.

The Goseong Ogwangdae Preservation Society, a non-profit organization, was established after Ogwangdae was designated as a national intangible cultural heritage. In 1973, it won the Prime Minister's Award at the National Folk Art Competition, and in 1974, it received the Presidential Award. In 2019, it won the Presidential Award again at the 60th Korean Folk Art Festival, becoming the first group to receive the Presidential Award twice. The "Tal Nol-i Learning Center," operated annually by the Goseong Ogwangdae Preservation Society, has been teaching the art of Ogwangdae masks to over 50,000 students, office workers, and foreigners nationwide since 1970. This program boasts the longest history and the largest number of participants among all intangible cultural heritage programs in the country. Furthermore, through approximately 1,000 performances and events each year, including regular and special performances, as well as invitations to perform at domestic and international events, the society actively promotes Ogwangdae.