著者

植村 幸生

出版者

The Society for Research in Asiatic Music (Toyo Ongaku Gakkai, TOG)

雑誌

東洋音楽研究 (ISSN:00393851)

巻号頁・発行日

no.54, pp.47-90,L6, 1989

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1. Introduction<br>This paper examines the current situation of shamanistic ritual and musical practices and their socio-cultural characteristics at <i>Chosen-dera</i> (lit. 'Korean temples'), a temple complex located at the foot of Mt. Ikoma between Osaka and Nara Prefecture, where shamanistic as well as Buddhist rites of Korean tradition are performed.<br>2. Outline of <i>Chosen-dera</i><br>(1) The dense complex of temples called <i>Chosen-dera</i> at Ikoma is closely related to the Korean ethnic community at Ikaino, in the eastern part of Osaka City. This community resulted from a rush of immigration from Cheju Island during the 1920's and 1930's.<br>(2) Priests and shamans in <i>Chosen-dera</i> are generally called <i>sunim</i> ('Buddhist priest') or <i>posal</i> ('Bodhisattva'), terms which apply to both males and females. However, they are divided into three types according to the nature of their religious practices: shamans of traditional <i>mudang</i> style; Buddhist priests of Korean orthodox style; and those who practice a syncretic style of Buddhism and shamanism, this last being the most numerous.<br>(3) There are two major types of rites in <i>Chosen-dera</i>: regular observances called <i>matsuri</i> ('festival') and irregular shamanistic rites called <i>ogam</i>i ('worship'). In the former, worshippers assemble at the temple and worship Buddha and the gods, while in the latter, shamans invite and worship the gods and ancestors' spirits in order to solve various individual problems which worshippers face. The term <i>ogami</i> corresponds to the Korean term <i>kut</i>, but use of the word <i>kut</i> in <i>Chosen-dera</i> is strictly avoided.<br>(4) The temples are mainly supported by first-generation immigrants. Before the 1980's, their activities included not only religious ones, but also entertainment activities such as singing Korean folk songs, dancing and playing games, which were very popular after <i>matsuri</i>. All <i>matsuri</i> dates correspond with Korean holidays (<i>myongj'ol</i>), and such entertainment practices are related to the tradition of <i>nori</i> ('playing') on the occasions of these holidays.<br>3. Ritual processes in <i>Chosen-dara</i><br>(1) All musical instruments used in the rites are of Korean origin and are often called by their Cheju dialect names.<br>(2) The processes of the following three rites are described, with emphasis on their musical aspects. (I) <i>Ch'ilsongjae</i>, one of the syncretic Buddhist-shamanistic <i>matsuri</i> observances of Temple A. (II) The syncretic Buddhist-shamanistic <i>ogami</i> rite of Shrine R. (III) The shamanistic <i>ogami</i> rite at Temple G.<br>4. Discussion 1: musical and choreological aspects Some aspects of music and dance of the above rites are examined, with the following conclusions:<br>(1) Both myths and sutras in a rite have some common features in function and style; both are forms of communication from men to the gods and spirits, and both have rhythmically stable percussion accompaniment.<br>(2) However, because of the high value attached to the literate and literacy by Koreans, the use of written texts during sutra recitation creates a distinction between syncretic rites and purely shamanistic ones, and gives authority to the former.<br>(3) Dancing by worshippers during a rite is not as popular as in Korea. This is probably due to the fact that participation by the worshipper's family has become rare, and also because rites in <i>Chosen-dera</i> have become more secret than those in Korea.<br>(4) While myths and sutras are always recited in Korean, Japanese is sometimes used to address worshippers. However, the use of Japanese, which is only for the sake of making the rite progress smoothly, has little influence on musical style.<br>5. Discussion 2: <i>Chosen-dera</i> in the Korean society in Japan<br>In this chapter the culture of shamanism and its current tren