Hyangga(; ballads, Korean Folk Songs) is an unprecedented genre of Korean literature which have both identity and artistry in aspects of writing system and expression. Silla people showed identity using Hyangchal, a method of writing which borrows sou...
Hyangga(; ballads, Korean Folk Songs) is an unprecedented genre of Korean literature which have both identity and artistry in aspects of writing system and expression. Silla people showed identity using Hyangchal, a method of writing which borrows sounds and meanings from Chinese characters to write korean. In terms of expression, Hyangga is a genre that Silla people used to express their unique emotion. Furthermore, lyricism in Hyangga is shown by using elegant metaphors and symbols. Meanwhile, Sanoega is 10-lines poem with an introduction, development and a conclusion. With the three-step in composition, it develops the emotions. The concluding line of Sanoega includes an interjection to form regularity.
Above all, however, the unique characteristic of Hyannga is that it is the lyric literature which is included in the epic literature called the background tales. Although Hyangga is lyric literature, it is based on the background tales which has narrative. Unfortunately, only 14 background tales of Hyangga recorded in Samgukyusa are extant until now. However, Samgukyusa and Gyunyeojeon are only source of every Hyangga and 11 pieces of Bohyunsiwonga in Gyunyeojeon deal with same subject. Therefore, despite of the fact that 14 Hyangga recorded in Samgukyusa only have the background tales, they have large importance in whole Hyangga.
Changiparangga, written by Choongdamsa, is a Hyangga that recorded in Samgukyusa, and doesn’t has its own background tales. However, Anminga, which also written by him, has the background tales that mentioned about Changiparangga. According to this, two Hyangga can be read in same context. Although the ancient poetic songs which are composed before Hyangga have their own background tales, there remains only three ancient poetic songs; Gujiga, Gongmudohaga, Hwangjoga. Hence, the educational value of the background tales of Hyangga is noticeable.
The fact that Hyangga has lyricism and narrativity simultaneously makes Hyangga more enjoyable, because it helps the readers to understand Hyangga well through compressed sentiment, emotional empathy and catharsis. Therefore, today’s learners who appreciate Hyangga can recognize identity of Silla people and their artistic mind, and feel literary pride.
However, present situation of Hyangga education at school is insufficient. A learner who studies Hyangga in Korean class is likely to be frightened, because Hyangchal is made of Chinese characters and he or she soon faces with problems of exposition, annotation and research. Because of this, the learner tends to interpret rather than to understand meaning and a teacher also interpret the text first. As a result, both the learner and the teacher fall into an instructional dilemma. A small number of Hyangga were included in existing Korean textbooks. and even limited to those which are in Samgukyusa the chapter of Gie and Gamtong. What is unfortunate is that the Korean textbooks did not include Hyangga’s background tales.
There is a need for change in education of Hyannga at school Korean class. Therefore, this paper will present a new Hyangga teaching method which enable students to learn about Hyangga and teachers to teach through a play by paying attention to lyricism and narrativity of Hyangga and its background tales. An educational theatre is a heuristic education method that helps students to acquire and remember knowledge better. When a learner studies Hyangga, this method assists he or she not to be absorbed in interpreting due to Hyangchal but to concentrate on its content, which is a narrativity included in the background tales, by shifting one’s viewpoint.
In short, an educational theatre will appropriately harmonize lyricism which is a variety of human emotions with narrativity which means an epic structure and catharsis. Therefore, the play will be a meaningful education method which unites two characteristics of Hyangga harmoniously and make Hyangga worthwhile.
This paper will present a Hyangga teaching method oriented towards Docheonsudaebiga from Samgukyusa the chapter of Tapsang and Wonga from Samgukyusa the chapter of Pieun, which have never been included in the textbook from a version of the 6th Korean educational curriculum that started to discuss a detailed Hyangga teaching methods to the revised educational curriculum in 2015. It is expected that the educational value of Docheonsudaebiga and Wonga can be figured out, a positive perception about the educational correlation between Hyangga and its background tales can be enlarged, the topic of Hyangga in Korean textbook can be diversified and student’s experience of Hyangga application can be expanded. Therefore, I intend to draw up a teaching·learning model of Hyangga in four hour class using D.I.E.(Drama in Education) with Docheonsudaebiga and Wonga, and educational theatre models ‘I am…, the mask, human domino game, the mannequin and the hot seating.’
The research which encourages Hyangga education in Korean class is as follows: In the chapter Ⅰ, the purpose of this paper will be revealed and the prior research about the topic be examined. Specific subjects and methods of study will be suggested. In the chapter Ⅱ, educational correlation between Hyangga and its background tales will be discovered. After that, current situation and value of Hyangga education will be discussed, and the background tales of Docheonsudaebiga and Wonga which are subjects of this paper will be analyzed. In the chapter Ⅲ, correlation between Hyangga education and educational theatre will be figured out. For this purpose, the concept of educational theatre will be introduced first and types and techniques of the theatre applicable to Hyangga education will be examined. In the chapter Ⅳ, a specific teaching·learning model using the background tales and educational theatre will be suggested. The procedure of this model will be set up then a four-hour learning programme will be proposed. In the chapter Ⅴ, the content of whole paper will be summarized.
It is expected that this research will be a new alternative which help learners in Hyangga education to recognize it as Korean literature with own identity, artistic and originality, to appreciate it without any difficulty and to be moved by its content. Also, it is expected that learners will understand the experiences and the feeling of Silla people well by appreciating Hyangga and its background tales through the educational theatre. Above all, I hope that this research will be an educational method that help people to accept the fact that Hyangga is not a discarded literature, but a still enjoyed one.