Reproducing Confucian Patriarchy in Korean Mask Dance (Gamyeon-Geuk): Critical Discourse and Gender Analysis of Hahoe and Bongsan Talchum

This article examines how Confucianism becomes religionized through ritual performance in Korean mask dance drama (gamyeon-geuk), focusing on Hahoe Byeolsingut Talnori and Bongsan Talchum. It argues that these performances should not be understood only as folk entertainment or carnivalesque satire, but as ritualized forms that mediate divine and ancestral witnessing, communal publicity, and gendered moral evaluation. Within this ritual horizon, laughter, music, embodied movement, masks, props, and stage choreography distribute authority, visibility, speaking positions, and standards of judgment. Methodologically, the study employs multimodal critical discourse analysis of contemporary full-length performance recordings, treating language, movement, staging, costume, props, and audience response as an integrated semiotic field. Across both repertoires, female figures are repeatedly configured as silent or constrained speaking subjects, as visible carriers of moral disorder, or as expendable intermediaries within marital and status hierarchies, while male characters more consistently occupy positions of interpretation, judgment, and ritual agency. By foregrounding ritualized spectatorship as a process of moral common-sense production, the article contributes to debates on Confucianism as lived religion and shows how performance can stage critique while reauthorizing Confucian patriarchal order.