Korean Nongle Dance
01 · Historical Records
The 'nongle dance', colloquially called 'nongle', is transmitted in the Korean-inhabited areas of Jilin, Heilongjiang, Liaoning and other provinces. Its history can be traced back to the 'stepping on the earth god' in the rite of sacrificing to heaven at the time of spring sowing and autumn harvest in the ancient Korean period. The 'nongle dance', the representative folk traditional activity of the Korean ethnic group, originated in agricultural labour and contains elements of ancient sacrifice; it generally takes two forms, one being a plot-based performance presented in the form of dance and pantomime, and the other being a mass performance activity centred on vigorous and rich traditional dances at the beginning of the new year and at times of celebrating the harvest. The Korean Qili Dance transmitted in Huanren County, Benxi City, Liaoning Province has a long history; it originated in folk customs that prayed for a good agricultural harvest and was originally one form of the nongle dance, and with the development of the times gradually formed into a dance that combines self-entertainment and performance. The Qili Dance has many participants and wide influence, and is a typical representative of group dance among the Korean peasantry. Its dance forms are complex, its movements refined and its techniques highly skilled; therefore it enjoys a distinctive position among Korean dances.
02 · Core Techniques & Process
The 'nongle dance' is a comprehensive ethnic folk art that integrates music, dance and singing. The performance of the 'nongle dance' comprises twelve parts in all. These include the 'small drum dance' performed by young men, the 'human pyramid' performed by young dancers, the traditional 'flat drum dance' performed by several people, the 'long drum dance' performed by men and women alike, the 'fan dance' performed by several people holding large floral fans and originating in the ancient 'shaman dance', the disguise dance 'crane dance', and finally the men's 'elephant hat dance' that brings up the rear. The elephant hat dance has always been the most eye-catching and stirring of the dances; the highly difficult technique of the young male dancers whirling ribbons up to 20 metres long from their heads dazzles the eye, and it has become one of the most prominent symbols of the 'nongle dance'. The Qili Dance has a relatively stable traditional set of procedures, yet it is not bound by them: performers may dance according to the mood of the occasion, and the dance as a whole is highly improvisational. When the performers' mood is high, everyone displays their own skill: the men shake the elephant hats so that the long tassel at the tip spins out beautiful arcs; the young women strike the long drum while spinning quickly, conveying their feelings through the movement and beauty of their bodies; the elderly performers attend not only to the flavour of the dance but also to posture, and with many changes of movement they can express the joy in their hearts fully through improvisation. The Qili Dance is performed mainly at major Korean festivals or large-scale events, such as the baby's first birthday, the sixtieth birthday, the sixtieth wedding anniversary, or weddings, the opening of shops, and the building or repair of temples; at such times the village elders take the lead in organizing song-and-dance performances. Compared with the 'stepping on the earth god' nongle dance used for praying to the gods and the nongle dance used for self-entertainment, the Qili nongle dance is most distinguished by its marked performative character; it is a form of nongle dance presented for others to watch.
Twelve parts ending with the hat dance
The nongak dance-suite of twelve parts runs from the small-drum dance and children's pyramid through fan and crane dances to the closing men's hat dance.
Improvisation in the geollip dance
Held to a stable yet elastic order, the dance lets performers follow the mood on the spot—men whirling hat ribbons, girls spinning with their drums.
First birthdays, sixtieths and diamond weddings
It marks first birthdays, sixtieth birthdays, diamond weddings, marriages, shop openings and temple building, organised by village elders.
Distinct from the earth-spirit nongak
Unlike the spirit-praying and self-amusement nongak, the geollip form is above all presentational, danced to be watched.
Jin Minghuan and his children
The third-batch national inheritor Jin Minghuan, born in 1948, documented and revived the dance, and his son and daughter became its fifth-generation inheritors.
03 · Regional Records & Related Items
The Qili Dance is mainly transmitted in the Korean villages of Huanren County, Liaoning Province.
Other submitting regions for the same item: Korean Nongle Dance · Korean Nongle Dance.
04 · Cultural Value & Contemporary Safeguarding
The Qili Dance is handed down mainly through families. However, this ancient art, because of the violent impact of modern civilization and the passing away of one old artist after another, faces the danger of being lost, and urgently needs rescue and protection. Kim Myung-hwan (associated inheritor, as recorded in the official file): Male, Korean ethnicity, born in August 1948, native of Huanren Manchu Autonomous County, Liaoning Province. After starting work he began collecting and sorting out materials on the Qili Dance, restored the dance, and led teams to take part in art festivals, yangge festivals, folk-custom festivals and other kinds of cultural activities inside and outside the province, winning outstanding performance awards many times. He often organizes the Korean people to dance the Qili Dance at festivals, weddings, birthday celebrations and other happy occasions, carrying out transmission activities. Representative inheritor of the Korean Nongle Dance (Qili Dance), a national-level intangible cultural heritage project in the third national batch. Under his cultivation and teaching, his son Jinshan and his daughter Jinhua gradually grew into fifth-generation inheritors of the Qili Dance.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Jin Mingchun 02-0382
- Jin Minghuan 03-0923
- Han Kuisheng 03-0924
- Li Yonghao 05-2235
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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