Elements
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Manage No, Sortation, Country, Writer ,Date, Copyright Manage No EE00002508 Country Republic of Korea ICH Domain Oral traditions and representations Performing Arts Social practices, rituals, festive events Traditional craft skills
| Description | Talchum is a performing art that encompasses dance, music, and theatre. An ensemble of six to ten musicians accompanies masked performers who sing and dance and exchange verbal interactions through theatrical movements. The primary themes satirized by traditional mask dance dramas include the hypocrisy of Buddhist monks, the arrogance of the yangban nobility, and people's suffering under the male-dominated patriarchal system. Diverse social issues are humorously explored through dramatic combinations of songs, dances, movements, and words. Masks with exaggerated archetypical representations of everyday personages are an indispensable element in the presentation of talchum. A Korean mask dance drama does not require a formal stage: Any empty space can become a venue for talchum. The audience for a masked-dance drama are not passive spectators, but important participants. They complete the production with their cheers and jeers as the drama unfolds. Talchum is a dynamic theatrical flow of action and sound created through the combined efforts of both the players and spectators. This flexibility provided to talchum by the audience's active participation and its thematic orientation toward social criticism gave birth to the unique phenomenon of large-scale transmission of talchum among young people, particularly university students, during the 1970-80s. This generation continues to play a critical role in the transmission of talchum. In talchum, physical and emotional conflict among the characters always ends in a dance of reconciliation. While criticizing that which needs to be criticized, talchum always aims toward a greater unity. |
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| Social and cultural significance | The characters featured in talchum are based on personages found within the daily reality of traditional Korean society, albeit with a theatrical touch of exaggeration. They display personalities considered typical of a particular class or socially privileged group. Talchum performers criticized the problems arising from a strict hierarchical and patriarchal society by satirizing the hypocrisy of the elite classes through comedic dances, acts, and verbal interactions. Although times have changed, the primary themes of traditional mask dance dramas, such as an appeal to universal equality and criticism of rigid social hierarchy, remain relevant today. Talchum can serve as a defining symbol of the cultural identity of a particular local area, as demonstrated by the inclusion of the area name in the title of the mask dance drama practiced in that area. The element also includes idiosyncratic cultural features of its home region, such as the dialect and local folksongs. The cultural symbolic quality of talchum is exemplified by the return of the Hahoe masks from the National Museum of Korea to the Andong Folk Museum following the persistent requests of local citizens. Mask dance dramas serve as a theme for respective local festivals, contributing to the development of a distinctive local identity. The public performances of Gangnyeong Talchum, Eunyul Talchum, Bongsan Talchum, Bukcheong Saja Noreum, and Sokcho Saja Noreum, all of which originated in North Korea, are very popular among North Korean migrants in the South. For them, these performances provide an opportunity to grow closer to their hometowns. |
| Transmission method | The safeguarding associations assume leadership of the transmission of the relevant knowledge and skills related to the dances, songs, dialogue, and crafting skills. Each association develops educational materials to ensure the systematic transmission of the pertinent talchum. An example of these efforts is the preparation of guidelines for the fundamental dance moves of each drama. The safeguarding associations offer expert training and education on the dances, songs, and dialogue essential to the performance of their mask dance dramas, and also on mask-making skills and relevant history and culture. The safeguarding associations form partnerships with elementary, middle, and high schools to offer extracurricular programs for the transmission of talchum among young people. Some of them also operate training camps for more intensive education. The Goseong Ogwangdae Safeguarding Association has been organizing six-week training camps since 1969, annually receiving 300–400 trainees from all walks of life, including university students, professionals from the arts, interested individuals, and hobby groups. The safeguarding associations for Hahoe Byeolsingut Talnori and Eunyul Talchum dispatch talchum trainers to educational programs and club activities in cooperation with local governments. The Hahoe Byeolsingut association also puts on regular performances, contributing to raising public awareness of talchum. Given the nature of talchum as a performing art, extensive training is required to become a professional performer. However, members of the general public can also be practitioners if they receive basic mask dance education and training at various points in their lives. Sometimes they eventually evolve into an expert. |
| Community | The communities concerned are as follows: Yangju Byeolsandae Nori Safeguarding Association (Yangju-si, Gyeonggi-do) Tongyeong Ogwangdae Safeguarding Association (Tongyeong-si, Gyeongsangnam-do) Goseong Ogwangdae Safeguarding Association (Goseong-gun, Gyeongsangnam-do) Gangneung Danoje Festival Safeguarding Association (Gangneung-si, Gangwon-do) Bukcheong Saja Noreum Safeguarding Association (Gangnam-gu, Seoul) Bongsan Talchum Safeguarding Association (Gangnam-gu, Seoul) Dongnae Yaryu Safeguarding Association (Dongnae-gu, Busan) Gangnyeong Talchum Safeguarding Association (Gangnam-gu, Seoul) Suyeong Yaryu Safeguarding Association (Suyeong-gu, Busan) Songpa Sandae Nori Safeguarding Association (Songpa-gu, Seoul) Eunyul Talchum Safeguarding Association (Michuhol-gu, Incheon) Hahoe Byeolsingut Talnori Safeguarding Association (Andong-si, Gyeongsangbuk-do) Gasan Ogwangdae Safeguarding Association (Sacheon-si, Gyeongsangnam-do) Sokcho Saja Nori Safeguarding Association (Sokcho-si, Gangwon-do) Toegyewon Sandae Nori Safeguarding Association (Namyangju-si, Gyeonggi-do) Jinju Ogwangdae Safeguarding Association (Jinju-si, Gyeongsangnam-do) Gimhae Ogwangdae Safeguarding Association (Gimhae-si, Gyeongsangnam-do) Yecheon Cheongdan Noreum Safeguarding Association (Yecheon-gun, Gyeongsangbuk-do) International Mask Arts and Culture Organization (IMACO, a UNESCO-accredited NGO) General Federation of Korean Mask Dance Associations |
| Type of UNESCO List | Representative List of the Intangible Cultural Heritage of Humanity |
| Incribed year in UNESCO List | 2022 |
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DI00001445
The Inscription of “Talchum, Mask Dance Drama in the Republic of Korea” on the UNESCO Representative List: Implications and Follow-up Tasks
On 30 November 2022, “Talchum, Mask Dance Drama in the Republic of Korea” was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. This was a significant honor as it represented the global recognition of the value of sharing and jointly transmitting this traditional art. It also suggested that Korea’s efforts to transmit Talchum to date had not been in vain, while also affirming the relevance of Korea’s experience in terms of transmitting other ICH. The inscription of Talchum on the UNESCO Representative List came as a result of the recognition of Korea’s unique notion of freedom and its efforts to achieve universal equality, which all of humanity now shares and contributes to.
HEO Yongho (Professor, Gyeongju University) 2023 -
DI00001347
The Inscription of “Talchum, Mask Dance Drama in the Republic of Korea” on the UNESCO Representative List: Implications and Follow-up Tasks
The Honor of Inscription On 30 November 2022, “Talchum, Mask Dance Drama in the Republic of Korea” was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. This was a significant honor as it represented the global recognition of the value of sharing and jointly transmitting this traditional art. It also suggested that Korea’s efforts to transmit Talchum to date had not been in vain, while also affirming the relevance of Korea’s experience in terms of transmitting other ICH. The inscription of Talchum on the UNESCO Representative List came as a result of the recognition of Korea’s unique notion of freedom and its efforts to achieve universal equality, which all of humanity now shares and contributes to.
Heo Yongho (Professor, Gyeongju University, Republic of Korea) 2023