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Suyeong Folklore Conservation Association
Suyeong Yaryu
Jwasuyeong Eobang Nori
Suyeong Nongcheong Nori
 
Suyeong Yaryu Home > Suyeong Yaryu > Introduction  
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The name "yaryu" originates from the Chinese character notation of the word "field play."

It has been passed down orally that the field play was originated several hundred years ago when the Eastern Gyeongsang Maritime Defense Commander called five performers from Bamma-ri, Chogye-myeon, Hapcheon-gun(now Yulji-ri, Deokgok-myeon, Hapcheon-gun, Gyeongsangnamdo) to demonstrate their performance. It is also believed that the play started after the residents in Suyeong visited Bamma-ri to see their performance. Whichever is correct, performers of the Suyeong Field Play were natives of Suyeong and were the best singers and dancers among the common people in the social hierarchy.

In those days, only those who were wealthy enough were able to enjoy the arts, reflecting their high social status. Hence, the Suyeong Field Play can be a typical native masque play.

It is assumed that the Suyeong Field Play originated spontaneously from an agricultural ceremony of Suyeong, and later developed into a play and transformed by wanderers’ masque plays. In particular, since Suyeong is located by the sea, Korean traditional fishing songs and agricultural songs and the accompanying dance underlie the play.

In addition, the play conveyed the idea of interaction between life and amusement. This idea suggests that amusement lies inside your life and is also an extension of the daily life and culture, and also suggests an esthetic structure that dancing is your life, and life is related to dancing. Hence, the Suyeong Field Play reflected the life of those days, in which dancing itself formed the life of the public.

Therefore, the loose dancing(Original name: Deotboegichoom) in the play is not a professional dance by special person, but is an emotion which naturally formed inside the public. It is also a form of everyday dance which has been sublimated by the combination of unpretentious motion with the rhythm.

As these instinctive and humane dancing motions dissolved into the already specialized Suyeong Field Play, this combination formed an esthetic structure of songs, dances and comedy, and the play positioned itself as a folksy dance.

Thus, the Suyeong Field Play shall be focused on as a unique main artery of Korean field masque plays, and its status shall be recognized in the history of Korean masque plays.

- Seong-yool Kim
President of the Conservation Association for the Suyeong Field Play



 
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