Namsadang Wandering Folk Troupes Sim Woo-sung Folklorist/ Director, Kongju Folk Museum
he term kwangdae was an allinclusive word used to designate performers active during the Choson Dynasty 0392-1910). These performers, who were also known as chae-in, specialized in a variety of artistic forms from mask dance to puppeteering, tightrope walking, acrobatics and p'ansori. However, the tradition of performance in which these activities originated can be traced back much farther. For example, in records from the Three Kingdoms period (1st century B.C.-A.D. 7th century) there are references to u-in (actors), ch'ang-u (singers), chae-in (talented persons) and hi/ija (performers). Kwangdae performers could be classified into two distinct types. The first type were those who performed at the bequest of nobles or their patrons. They entertained with songs, dances, instrumental recitals and tightrope walking. These kwangdae were known as taery6ng kwangdae or kwangdae waiting to be commanded. The second type were wandering performers, known as ttLin (floating) kwangdae. Among these itinerant artisans were the troupe members of the Namsadang, an exclusively male organization that expanded its repertoire to include homosexual activities. Female performers had their own troupe, Sadang P'ae, and led a similar wandering life performing dances, songs, tightrope walking and other entertainment. Besides these two groups, there were many other kinds of wandering troupes. These included Sottae Chang-
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Until the 1920s, wandering folk troupes were still performing, although their numbers and activities had dwindled. Today, the Namsadang is the only active troupe.
ip'ae, Taegwangdaep'ae, Choranip'ae, Kollipp'ae, Chungmae-gu, Kwangdaep 'ae, Kaksor-ip'ae, and Yaegi Changsa. Until the 1920s, wandering folk troupes were still performing, although their numbers and activities had dwindled. Today the only remaining active troupe is the Namsadang, which now has both male and female members. Also, the members now have permanent homes, and their performing activities are mostly confined to the greater Seoul metropolitan area. There is scant reference material available to either ill11minate the origins of the Namsadang or to trace its historical development. Because the troupe's performances were created for and enjoyed by the common people, not the ruling classes, the few existing references are generally censorious and contemptuous. For example, records from a local government office read, "The performanc_es of these wanderers must be banned!' In short, -there was no interest in preserving information about the origins or background of the troupes, and descriptions of their activities were usually summarized as "the foul performances of a bunch of lowlifes." Yet, in fact, the performances of the Namsadang served a vital role in the lives of the agricultural communities. The Namsadang provided farmers with solace and respite from their hard lives, revitalizing both spirit and body. Some researchers, concentrating on the function of the Namsadang, have placed its origins much earlier than the Three Kingdoms period.