Traditional Korean Masks and Dances

 Share
 Flipboard
 Email
PRINT

History & Culture

 Asian History
o East Asia
o Basics
o Major Figures & Events
o Southeast Asia
o South Asia
o Middle East
o Central Asia
o Wars & Battles
 American History
 African American History
 African History
 Ancient History & Culture
 European History
 Genealogy
 Inventions
VIEW MORE
by Kallie Szczepanski
Updated October 26, 2017
It was the mid-Goryeo Dynasty era in Korea. The craftsman Huh Chongkak ("Bachelor
Huh") bent over his carving, chiseling the wood into a laughing mask. He had been
ordered by the gods to create 12 different masks without having any contact with other
people until he was finished. Just as he completed the upper half of the last character
Imae, "The Fool," a love-struck girl peeked into his workshop to see what he was doing.
The artist immediately suffered a massive hemorrhage and died, leaving the final mask
without its lower jaw.

This is the creation myth behind the Hahoe type of traditional Korean masks, called
"tal." Nine of the Hahoe masks have been designated as "Cultural Treasures" of Korea;
the other three designs have been lost over time. However, a time-worn mask recently
put on display at a museum in Japan appears to be Huh's long-lost 12th-century carving
of Byulchae, The Tax-Collector. The mask was taken to Japan as war booty by General
Konishi Yukinaga between 1592 and 1598, and then it disappeared for 400 years.

Other Varieties of Tal and Talchum

Different Hahoe masks, including the bride (center) and the fool (upper left). Chung
Sung-Jun / Getty Images

Hahoe talchum is just one of dozens of styles of Korean masks and associated dances.
Many different regions have their own unique forms of the art; in fact, some styles
belong to a single small village. The masks range from fairly realistic to outlandish and
monstrous. Some are large, exaggerated circles. Others are oval, or even triangular, with
long and pointed chins.

The Cyber Tal Museum website displays a large collection of different masks from
around the Korean peninsula. Many of the finest masks are carved from alder wood, but
others are made of gourds, paper mache or even rice-straw. The masks are attached to a
hood of black cloth, which serves to hold the mask in place, and also resembles hair.

These tal are used for shamanist or religious ceremonies, dances (called talnori) and
dramas (talchum) that are still performed as part of the nation's heritage festivals and
celebrations of its rich and lengthy history.

Talchum and Talnori — Korean Dramas and Dances

Three mask-dancers in full costume wait to perform at a Korean culture festival,
wearing brightly-painted wooden masks. Chung Sung-Jun / Getty Images

According to one theory, the word "tal" was borrowed from Chinese and is now used to
mean "mask" in Korean. However, the original sense was "to let something go" or "to be
free."

The masks offered freedom for performers to anonymously express their criticisms of
powerful local people, such as members of the aristocracy or the Buddhist monastic
hierarchy. Some of the "talchum," or plays performed through dance, also mock
stereotyped versions of annoying personalities within the lower classes: the drunkard,
the gossip, the flirt or the constantly-complaining grandmother.

Other scholars note that the root "tal" appears in the Korean language to denote illness
or misfortune. For example, "talnatda" means "to become ill" or "to have trouble." The
"talnori," or mask dance, originated as a shamanist practice meant to drive evil spirits of
illness or bad luck out of an individual or a village. The shaman — or "mudang" — and
her assistants would put on masks and dance in order to scare away the demons.

In any case, traditional Korean masks have been used for funerals, curing ceremonies,
satirical plays and pure entertainment for centuries.

EARLY HISTORY

The first talchum performances probably took place during the Three Kingdoms Period,
from 18 B.C.E. to 935 C.E. The Silla Kingdom — which existed from 57 B.C.E. to 935
C.E. — had a traditional sword dance called "kommu" wherein the dancers may have
also worn masks.
Silla-era kommu was very popular during the Koryo Dynasty — from 918 to 1392 C.E. —
and by that time the performances certainly included masked dancers. By the late Koryo
period of the 12th to 14th centuries, talchum as we know it had emerged.

The Bachelor Huh invented the Hahoe style of masks from the Andong area, according
to the story, but unknown artists all over the peninsula were hard at work creating vivid
masks for this unique form of satirical play.

Costumes and Music for the Dance

Korean traditional mask-dancer in Jeju-do. neochicle on Flickr.com

Masked talchum actors and performers often wore colorful silk "hanbok," or "Korean
clothes." The above type of hanbok is modeled on those from the late Joseon Dynasty —
which lasted from 1392 to 1910. Even today, ordinary Korean people wear this type of
clothing for special occasions such as weddings, first birthdays, the Lunar New Year
("Seolnal"), and the Harvest Festival ("Chuseok").

The dramatic, flowing white sleeves help to make the actor's movements more
expressive, which is quite useful when wearing a fixed-jaw mask. This style of sleeves is
seen in the costumes for several other types of formal or court dance in Korea as well.
Since talchum is considered an informal, folk performance style, the long sleeves
originally may have been a satirical detail.

TRADITIONAL INSTRUMENTS FOR TALCHUM

You can't have a dance without music. Unsurprisingly, each regional version of mask-
dancing also has a particular type of music to accompany the dancers. However, most
use some combination of the same instruments.
The haegum, a two-string bowed instrument is most commonly used to convey the
melody and a version was featured in the recent animation "Kubo and the Two Strings."
The chottae, a transverse bamboo flute, and the piri, a double-reed instrument simlar to
the oboe are also commonly used to provide sweeping melodies. In the percussion
section, many talchum orchestras feature the kkwaenggwari, a small gong, the changgu,
an hourglass-shaped drum; and the puk, a shallow bowl-shaped drum.

Although the melodies are region-specific, they typically harken back to Korea's long
history, sounding oftentimes almost tribal in nature while maintaining an elegance and
grace characteristic of most Korean culture.

Importance of the Masks to Talchums' Plots

Mokjung character from the Bonsang region. Vanuatu Monarch on Flickr.com

The original Hahoe masks were considered to be important religious relics. Huh's masks
were believed to have magical powers to expel demons and protect the village. The
people of Hahoe village believed that tragedy would befall their town if the masks were
moved improperly from their places in the Sonang-tang, the local shrine.

In most regions, talchum masks would be burned as a sort of offering after each
performance, and new ones made. This was a hold-over from the use of masks in
funerals as funerary masks were always burned at the end of the ceremony. However,
the aversion to harming Huh's masks prevented his masterpieces from being burned.
Given the importance of the Hahoe masks to the local people, it must have been a
terrible trauma for the entire village when three of them went missing. Controversy
remains to this day over where they may have gone.

THE TWELVE HAHOE MASK DESIGNS

There are twelve traditional characters in Hahoe talchum, three of which are missing
including Chongkak (the bachelor), Byulchae (the tax collector) and Toktari (the old
man).

The nine that still exist in the village are: Yangban (the aristocrat), Kaksi (the young
woman or bride), Chung (the Buddhist monk), Choraengi (Yangban's clownish
servant), Sonpi (the scholar), Imae (the foolish and jawless servant of Sonpi), Bune (the
concubine), Baekjung (the murderous butcher), and Halmi (the old woman).

Some old stories claim that the people of neighboring Pyongsan stole the masks. Indeed,
two suspiciously similar masks are found in Pyongsan today. Other people believe that
the Japanese took some or all of Hahoe's missing masks. The recent discovery
of Byulchae the Tax Collector in a Japanese collection supports this theory.

If both of these traditions regarding the thefts are true — that is if two are in Pyongsan
and one is in Japan — then all of the missing masks have actually been located!

THE UNIVERSALITY OF A GOOD PLOT

Korean masked dance and drama revolve around four dominant themes or plots. The
first is mockery of the avarice, stupidity and general unwholesomeness of the
aristocracy. The second is the love-triangle of a husband, a wife and a concubine. The
third is the depraved and corrupt monk, like Choegwari. The fourth is a general good
versus evil story, with virtue triumphing in the end.

In some cases, this fourth category describes plots from each of the first three
categories, as well. These plays (in translation) would probably have been quite popular
in Europe during the 14th or 15th century as well as these themes are universal to any
stratified society.

Hahoe Characters on Parade

Korean mask dancer as Kaksi, the Bride. Chung Sung-Jun / Getty Images

In the above image, the Hahoe characters Kaksi (the bride) and Halmi (the old woman)
dance down the lane at a Korean traditional arts festival. Yangban (the aristocrat) is
half-visible behind Kaksi's sleeve.

At least 13 different regional forms of talchum continue to be performed in Korea today.

These include the famed "Hahoe Pyolshin-gut" from Kyongsangbuk-do, the east coast
province that encompasses Andong City; "Yangju Pyol-sandae" and "Songpa sandae"
from Kyonggi-do, the province surrounding Seoul in the northwest corner; "Kwanno"
and "Namsadangpae Totpoegich'um" from the rugged northeastern province of
Kangwon-do.

On the border of South Korea, the North Korean province of Hwanghae-do offers
"Pongsan," "Kangnyong," and "Eunyul" styles of dance. On South Korea's southern
coastal province Kyongsangnam-do, "Suyong Yayu," "Tongnae Yayu," "Gasan
Ogwangdae," "Tongyong Ogwangdae," and "Kosong Ogwandae" are also performed.

Although talchum originally referred to only one of these forms of dramas, colloquially
the term has involved to include all varieties.

Choegwari, the Old Apostate Buddhist Monk

Choegwari, the dissolute old Buddhist monk character from Eunyul Talchul. He drinks
alcohol and lusts after young women. Jon Crel on Flickr.com

Individual tal represent different characters from the plays. This particular mask is
Choegwari, the old apostate Buddhist monk.

During the Koryeo period, many Buddhist clergies held considerable political power.
Corruption was rampant, and the high monks indulged not only in feasting and bribe-
collecting but also in the pleasures of wine, women and song. Thus, the corrupt and
lusty monk became an object of mockery for the common people in talchum.

In the different plays in which he stars, Choegwari is shown feasting, drinking and
reveling in his wealth. The fullness of his chin shows that he loves food. He also becomes
enamored of the aristocrat's flirty concubine, Bune, and carries her away. One scene
finds Choegwari appearing out from under the girl's skirt in a shocking violation of his
monastic vows.

Incidentally, to western eyes the red color of this mask makes Choegwari appear
somewhat demonic, which is not the Korean interpretation. In many regions, white
masks represented young women (or occasionally young men), red masks were for
middle-aged people and black masks signified the elderly.

Bune, the Flirty Young Concubine

Korean traditional mask of the character Bune, the Young Woman. Kallie Szczepanski

This mask is one of the Hahoe characters created by the unfortunate Bachelor Huh.
Bune, sometimes spelled "Punae," is a flirty young woman. In many plays, she appears
either as the concubine of Yangban, the aristocrat, or of Sonbi, the scholar and, as
mentioned before oftentimes winds up in the throws of passion with Choegwari.

With her tiny, fixed mouth, smiling eyes, and apple-cheeks, Bune represents beauty and
good humor. Her character is a bit shady and unrefined, however. At times, she tempts
the monks and other men into sin.

Nojang, Another Wayward Monk

Mask representing Nojang, the Drunk Monk. John Criel on Flick.com

Nojang is another wayward monk. He is usually depicted as a drunkard — note the

jaundiced yellow eyes on this particular version — who has a weakness for the ladies.
Nojang is older than Choegwari, so he is represented by a black mask rather than a red
one.

In one popular drama, the Lord Buddha sends a lion down from the heavens to punish
Nojang. The apostate monk begs for forgiveness and mends his ways, and the lion
refrains from eating him. Then, everyone dances together.

According to one theory, the white spots on Nojang's face represent fly-specks. The high
monk was so intense in his study of the Buddhist scripture that he did not even notice
the flies landing on his face and leaving their "calling-cards." It's a mark of the rampant
corruption of the monks (at least in the world of talchum) that even such a focused and
devout head monk would fall into depravity.

Yangban, the Aristocrat

Traditional Korean mask of Yangban, the aristocrat. Kallie Szczepanski

This mask represents Yangban, the aristocrat. The character looks rather jolly, but he
sometimes has people flogged to death if they insult him. A skilled actor could make the
mask look cheerful by holding his head high, or menacing by dropping his chin.

The common people took great joy in mocking the aristocracy through talchum. In
addition to this regular type of yangban, some regions included a character whose face
was painted half-white and half-red. This symbolized the fact that his biological father
was a different man than his acknowledged father — he was an illegitimate son.

Other Yangban were portrayed as disfigured by leprosy or small pox. Audiences found
such tribulations hilarious when they were inflicted on the aristocratic characters. In
one play, a monster called Yeongno comes down from heaven. He informs Yangban that
he has to eat 100 aristocrats in order to return to the exalted realm. Yangban tries to
pretend that he's a commoner to avoid being eaten, but Yeongno isn't fooled... Crunch!

In other dramas, commoners deride the aristocrats for their families' failings and insult
them with impunity. A comment to an aristocrat such as "You look like a dog's rear
end!" would probably end in a death sentence in real life, but could be included in a
masked play in perfect safety.

Modern Day Usage and Style

Korean traditional mask shop for tourists in Insadong, Seoul. Jason JT on Flickr.com

These days, Korean culture purists like to grumble about the abuses heaped on
the traditional masks. After all, these are national cultural treasures, right?

Unless you are lucky enough to encounter a festival or other special performance,
however, you are most likely to see tal on display as kitschy good-luck charms, or mass-
produced tourist souveniers. Bachelor Huh's Hahoe masterpieces, Yangban and Bune,
are the most exploited, but you can see knock-offs of many different regional characters.

Many Korean people like to buy smaller versions of the masks, as well. They may be
handy refrigerator magnets, or good luck charms to dangle from a cell phone.

A stroll down the streets of the Insadong district in Seoul reveals many shops selling
copies of traditional masterworks. The eye-catching tal are always prominently
displayed!
History of Korean Masks

Korean masks have a long history of various uses. Soldiers wore masks
in battles but there were also special masks for horses. Jade and bronze
masks were used as funerary masks. Shamans used masks in cleansing
rituals to drive away evils spirits from the ill. Masks in the likeness of
historical persons were used as a way of honoring them. Koreans also
used masks (“tal” in Korean) in ritual dances (talnori) and in theatrical
plays (talchum).
There is a theory that says that name “tal” for “mask” comes
fromChinese language where it meant “to be free”. Mask were used in
theatrical plays that were means of expressing criticism against
everything that was considered wrong, like powerful aristocracy,
Buddhist hierarchy, corruption, drunkards, gossips and flirts. In a way,
they freed people to talk about the things that were by law or socially
unacceptable.
Legend says that the craftsman Huh Chongkak has been ordered by
twelve gods to build twelve masks and not to have human contact until
he finishes them. While he was finishing the last one, a girl that was in
love with him peeked through the window to see why he wasn’t going out
for so long. At that moment, he fell dead and left the last mask
unfinished. That’s why one of the masks has no lower jaw. Of the twelve
masks that story mentions, nine styles are known. The other three are
lost for the history. They are traditionally made from alder wood, gourds,
papier-mâché and have black hood on the back. Hood keeps mask on
the head and looks like black hair at the same time.
Traditional Korean masks have their names and characters in the
masked theatre. “Choegwari” is an old Buddhist monk with a full chin
that tells that he enjoys food. He is corrupted and immoral, everything a
monk should not be. His face is red but not to make him demonic (like it
would look to a western audience) but to show his age. In Korean color
symbolic, white is for young characters, red for middle-aged and black
for masks that represent characters of old age. “Nojang” is also a fallen
monk but an older one. He is a drunkard, which can be seen by his
yellow eyes, and a womanizer. White spots on his face represent
flyspecks. It is said that he studied scriptures so hard that he did not
notice what flies did to him. Idea was to show that even very devout
monks can fall and succumb to corruption. “Bune” is a young woman,
often a concubine of some of the other character. She represents beauty
and is decorated with small mouth, rosy cheeks and arch-shaped eyes
that smile. “Yangban” is the aristocrat. He is cheerful but could have you
flogged to death if you insult him. Mask was made so it had two
expressions, depending of the angle in which head was held which
skilled actors could use to express change in the character. Some
variants of this mask were painted half white and half red to show that
Yangban’s father was not his biological father. Other Yangbands were
made as deformed by smallpox or leprosy. That was a way a theatre
was used as a sort of revenge against those who oppressed the people.