A Study on the Expression Aspect of Ginogui-gut in Korean Mask Dance

This paper compares and examines the expression of Ginogui-gut in traditional Korean mask dance between script records and expression behaviors and differences between regions. The results are as follows. First, there are many differences in Hwanghae-do talchum between the text record of script and the actual expression behavior of the performance. Sandaenori in Seoul and Gyonggi and Okwangdae in Gyeongnam, there is little difference in content and structure. Second, the shamanic tools are used in various ways, such as bells, fans, shinkals, five-color flag, and baekmokcheon in the Hwanghae-do talchum. Sandaenori in Seoul and Gyonggi area is simple because it uses only fans and bells. Okwangdae in Gyeongnam mainly uses bamboo branches and god-basket instead of fans and bells. Third, the shamanic dance in Hwanghae-do, Yeonpung and Dommu is strong and long. They performs a lot of symbolic acts. Sandaenori in Seoul and Gyonggi area has Yeonpung and Dommu is static and short. Okwangdae in Gyeongnam rarely performs Yeonpung and Dommu. Fourth, In Hwanghae-do talchum and Okwangdae in Gyeongnam area sing descriptive shamanic songs. Sandaenori in Seoul and Gyonggi area sings lyrical shamanic songs. Ginogui-gut allows the family members of the dead to remove the anxieties caused by the death and get back to their everyday lives. Although the Ginogui-gut in korean mask dances is unreal, but it provide many spectators with comforts and revenges by empathy. Therefore the study of Ginogui-gut have a great deal of meaning.