The aim of a festival is intended not only to control man's desire, but it also aims at his catharsis, and so it is a manner of communication, an artistic base that he would have an inclination toward man and nature, man and culture, man and god. In a...
The aim of a festival is intended not only to control man's desire, but it also aims at his catharsis, and so it is a manner of communication, an artistic base that he would have an inclination toward man and nature, man and culture, man and god. In addition, it is in a form of the most fundamental, collective action that mankind has practiced from ancient to modern times on the basis of expressing the culture concretely. Thus, this form of a festival as a prop, should to follows a pattern which has community spirit based on myth or the historical tradition, the subjective participation in the shared unique consciousness of history, their local characteristic and identity, a type of self-conceit and so on.
Since the mid-1990s any number of local festivals has been rapidly increased, and also municipalities really have a good effect of them. Yet, apart from that, the augmentation of the desire of ordinary people who are eager to have a higher life of leisure, according to which tourist demand and the factors of supply in a such a way that the travel contents are developed enthusiastically, and the reconsideration and advertisement of the regional images are held together, that we cannot pay attention to the rapid increment of the number of local festivals.
However, the festivals coming up to this factors without the verification of a cultural prototype of historical characters and events are only available for the materials of them, an appearance that has a lot of problems.
Included in the Chang Pogo Festival in Wando is a basic condition called a historical and ritual feature of how it takes place on the grounds of the real identity of his own and in various tales on Song Jing as Chang Pogo's alias and the lore of shamans' exorcism in the 'Song for Song Commander-in-Chief', and annual events involved in the previous Wando country. And yet, 2007 12th Chang Pogo Festival has not been recognized as a typical festival revealing a local identity, and it is because we cannot appropriately make a use of a variety of cultural materials.
This study discusses several common types of the developing schemes through Chang Pogo Festivals as a cultural prototype. The first chapter will provide an account of the cultural prototype in the essential position without identification of the local festival. The second chapter will offer a more detailed exposition of the typical context of Wando's Chang Pogo Festival. Moreover, by asking its visitors a series of questions and analyzing its program in order to examine the problems of its festival. I tried to see what's the visitors' needs for the festival.
From this it follows that the recent participants other than the old ones are supposed to experience an entertainment through its program as well as Wando's sea and islands associated with Chang Pogo. In addition, for the program itself not to be successful, we cannot find out its identity of the contents of Chang Pogo's cultural prototype.
I will then examine in the third chapter Chang Pogo's historical, ritual and literary account of perspective is a embodiment of his cultural prototype from the search for literatures, and then Chonghaejin and Chang Pogo as a historical prototype of culture, BupHwaSas(Temple) in Wando and Jujudo, and Chang Pogo in China's and Japan's literatures. From these, I have known Wandoeup' Dangje and PungeoJe, and Jangjori's Dangje as a from which ritual prototype I have examined the Song Jing's myth regarded as Chang Pogo's by-name and the shamans' exorcism tradition expressed in Im Eok-Ryeong's 'Song for Song Commander-in-Chief'.
In Chapter IV I tried to search for a available plan on Chan Pogo Festival through a cultural prototype, according to which the predictable effect is supposed to secure a variety and professional of local festivals if these materials are researched and used in a various way.
The recreation of the festival based on its prototype plays a role of bringing together participants and the local residents, and the structure of identity per se is involved in local residents, so a new tradition will be created.
We can, in turn, expect to go further on the significance of what we have observed, for example, the effect of a cultural education and cultural industry concerning his historical activity and a various use of an exhibition space.
Moreover, we can prepare the ground for the growth of Chang Pogo Festival that reflects Wando's cultural and historical features in exploring the emphasis placed on a cultural identity so as to develop the festival methods for tourism souvenirs from a given Chang Pogo Festival. Thus, this prototype available in the field has a role and position of the 21th new local festival, and also meet the construction of basic materials for the active festival policy in the nation dimension.
In conclusion, this study is not only to understand the essential problem of local festivals in a nation point of view, but also to contribute the development of the direction of desirable local festivals beyond an individual festival.