Culture Focus
Korean Traditional Recreation - 2
Seasonal customs and traditional recreation
Recreation related to seasonal customs can be categorized according to the time in which a given activity is carried out. Such categories include gipung (wishing for a good harvest), growth, and harvest rituals. Gipung recreation is performed in the first and second months of the lunar calendar. Summer recreation is related to growth rituals, while autumnal recreation is related to harvest rituals. These types of recreation can also be categorized according to their specific purpose, e.g. to pray for a good harvest or to predict a poor harvest.
Yut nori is played on a board with 29 spaces. Each team has four pieces which they move according to the outcomes of tossing four sticks used as dice called yut. The first team to advance their pieces and remove them all from the board wins. The players toss the yut sticks, and the number of moves they are allowed to make (called sawi) is determined by how many sticks land face up or face down. If three yut land face up and one lands face down, this is called "do" and means that the players can move one space. If two yut land face up and two land face down, it is called "gae" and means the players can move two spaces. And if one yut lands face up and three land face down, it is called "geol" and means the players can move three spaces. "Yut" is proclaimed when all four yut fall face down and means the players can move four spaces. If all four yut land face up, this is called "mo," and the players can move five spaces. A player who throws yut or mo is given an extra turn, referred to as "sari." Pieces can be moved separately or together. The team that is the first to advance all of their pieces to the end of the board and remove them wins.
Yut nori was not just a game, however, as it was also believed to be useful in telling the future. The two types of fortune telling using yut are pyeon yut, which is used to determine the agricultural fortune of a town based on the outcome of a game of yut nori, while yut jeom was used to read the future for individuals. Pyeon yut was usually played by dividing the village into teams for a game of yut nori whose outcome would supposedly determine the wellbeing and agricultural fortune of the village.
The exact origins and history of ssangnyuk are unknown, but we can tell from historical records that it was introduced to Korea a long time ago. It came to China during the reign of Emperor Wu of the Han dynasty from countries to its west. It was then passed on to Baekje, where it became very popular, and then to Japan, where it was known as "sugoroku." Sugoroku is similar to yut nori in that the players roll dice and move their pieces along the game board.
Most of the records about ssangnyuk in Korea are from after the Goryeo period. Although we don't know what ssangnyuk looked like during the Goryeo period, we do know that it was played thanks to records like Dongguk-isanggukjip (Collected Works of Minister Yi of Korea) by Yi Gyu-bo. A verse in one poem from the book states: "They looked at the ssangnyuk board leisurely and played ssangnyuk." It also appears in records from the Joseon period, and people are also depicted playing ssangnyuk in paintings from the later Joseon period. Certain images show a woman in ordinary attire playing ssangnyuk with a scholar, which, interestingly, suggests that ssangnyuk had spread to people of different classes and even to the common people by the end of the Joseon period.
1. Yut nori
Yut nori is a traditional game played by tossing wooden sticks called yut. It was played between the first and fifteenth day of the lunar year. Yeolyangsesigi (Records of Seasonal Festivities around the Capital) records the saying: "The crops will fail if yut nori is played after the fifteenth day of the lunar year." The book states, "The yut are put away after the fifteenth day of the lunar year. If the game is played after this, the crops will surely suffer." From this, we can speculate that yut nori was traditionally played as a kind of folk game that was tied to New Year rituals.Yut nori is played on a board with 29 spaces. Each team has four pieces which they move according to the outcomes of tossing four sticks used as dice called yut. The first team to advance their pieces and remove them all from the board wins. The players toss the yut sticks, and the number of moves they are allowed to make (called sawi) is determined by how many sticks land face up or face down. If three yut land face up and one lands face down, this is called "do" and means that the players can move one space. If two yut land face up and two land face down, it is called "gae" and means the players can move two spaces. And if one yut lands face up and three land face down, it is called "geol" and means the players can move three spaces. "Yut" is proclaimed when all four yut fall face down and means the players can move four spaces. If all four yut land face up, this is called "mo," and the players can move five spaces. A player who throws yut or mo is given an extra turn, referred to as "sari." Pieces can be moved separately or together. The team that is the first to advance all of their pieces to the end of the board and remove them wins.
Yut nori was not just a game, however, as it was also believed to be useful in telling the future. The two types of fortune telling using yut are pyeon yut, which is used to determine the agricultural fortune of a town based on the outcome of a game of yut nori, while yut jeom was used to read the future for individuals. Pyeon yut was usually played by dividing the village into teams for a game of yut nori whose outcome would supposedly determine the wellbeing and agricultural fortune of the village.
2. Ssangnyuk (Double six game)
Ssangnyuk is an indoor game that was played by two players or teams using fifteen game pieces each. Each person or team rolls two dice to determine how many spaces they can move their pieces. The first team to remove all their pieces from the board wins. It was also called "aksak" after the long, carved wooden pieces. This game was played all year round, but it was particularly popular at the beginning of the lunar New Year, as well as during Chuseok or during free time in the winter months.The exact origins and history of ssangnyuk are unknown, but we can tell from historical records that it was introduced to Korea a long time ago. It came to China during the reign of Emperor Wu of the Han dynasty from countries to its west. It was then passed on to Baekje, where it became very popular, and then to Japan, where it was known as "sugoroku." Sugoroku is similar to yut nori in that the players roll dice and move their pieces along the game board.
Most of the records about ssangnyuk in Korea are from after the Goryeo period. Although we don't know what ssangnyuk looked like during the Goryeo period, we do know that it was played thanks to records like Dongguk-isanggukjip (Collected Works of Minister Yi of Korea) by Yi Gyu-bo. A verse in one poem from the book states: "They looked at the ssangnyuk board leisurely and played ssangnyuk." It also appears in records from the Joseon period, and people are also depicted playing ssangnyuk in paintings from the later Joseon period. Certain images show a woman in ordinary attire playing ssangnyuk with a scholar, which, interestingly, suggests that ssangnyuk had spread to people of different classes and even to the common people by the end of the Joseon period.
To play ssangnyuk, players need a game board, thirty game pieces (called "horses"), and two dice. The size of the game board is not standardized, but most boards were about 80 centimeters wide by 40 centimeters long. The board is divided into 24 spaces, called bat or "fields." The two large squares in the middle of the board are not used for gameplay, but as places to put the game pieces when they have been eliminated from the game. The spaces are divided into inlands (anyuk) and outlands (bakkatyuk).
Typical ssangnyuk dice, also called tuja, were made from ivory or the bones of other animals. The dice were cubes with each side measuring about one centimeter. The sides were marked with one to six with dots indicating the number. Dice made from tiger bones were particularly sought after because it was believed the player's desired numbers could be rolled with them. The game pieces were about seven centimeters tall with round bottoms and pointed tops, making them easier to pick up. The pieces also had a round support on the bottom and a long shape attached to the top. The top and bottom halves were painted different colors, with a line separating them. Different color schemes were used to distinguish the different players' pieces, usually white and black or blue and red. However, some players simply used go stones. While sixteen pieces were used in some regions, most variations had fifteen pieces per player.
The game usually proceeds as follows. The players place their black or white pieces on the board according to the predetermined rules. They roll the dice and move their pieces a number of spaces determined by the dice roll. First, the two players place the game board between them and choose their color. Each player places their fifteen pieces on the board. The white player places five pieces on their right (inland) "6" space; three pieces on their left (outland) "5" space; two pieces on their opponent's inland "1" space; and five pieces on their opponent's outland "1" space. The black player then places their pieces in the same manner.
To determine which player goes first, each player rolls a die and the player with the highest numbers goes first. The players move their game pieces according to the numbers they roll with the dice. If a player rolls a 6 and a 3, they can move one piece 6 and then 3 spaces, or they can move one piece 6 spaces and another piece 3 spaces. However, they cannot divide the total of the dice roll in any other way, such as by moving one piece 5 spaces and another piece 4 spaces. If a player's piece lands on a space that is occupied by one of their opponent's pieces (called a bari, a single piece), the player can capture it and put their own piece in its place. The captured piece must be removed from the board. A piece cannot enter a space occupied by two or more of the opponent's pieces.
The player who succeeds in gathering all fifteen of their pieces on their own inland spaces and then removing all fifteen from the board is the winner of the game.
Although ssangnyuk was introduced from other countries, it is a game that Koreans enjoyed for more than 1,000 years. In particular, we know that it was widely known by the people of the Joseon period thanks to the many records and paintings in which it appears.
In between the dances, different types of games were also performed, each representing a particular aspect of the way of life of the agricultural or fishing village in question. These included namsaengi nori (terrapin play), gosari ttagi (fern shoot picking), cheongeo yeokgi (tying herrings), giwa bapgi (treading the roof tiles), deokseok mori (mat wrapping), jwinjwisaekki nori (field mouse play), munjigi nori (gatekeeper play), gamadeung (palanquin play), and sugeondolligi (passing towels).
The original form of ganggangsullae appears in a section about the Mahan Confederacy in Volume 30 of the Book of Wei in the Records of the Three Kingdoms. "Many people gathered to sing songs, dance, and drink alcohol without rest all day and all night. The dance took the form of dozens of people standing and following each other. They stepped on the ground, low and high, and their movements were all the same. It is similar to the Bell Dance in China."
Ganggangsullae is a flexible style of traditional singing in which the main singer's narrative is followed by a response by the group, and may include temporary narratives outside the traditional narrative. These narrations could change according to the mood and excitement of the group and the personality of the main singer. In fact, anyone could become the lead singer during a round of ganggangsullae. Sometimes, the lead was passed around to several people, and sometimes the narration was continued by passing it back and forth between two people. The refrain is shorter than other folk songs, making it easy for anyone to learn. This also makes it easy for anyone to participate in the dance, and arouses feelings of unity among the singers. The short refrain helps the narration because it does not interfere with the lyrics. Because of this, ganggangsullae naturally contains many descriptive aspects. The refrain is sung after each line sung by the lead singer, and this helps the lead singer to stay in pitch.
As long as singing remains a method of expressing the feelings of a community, ganggangsullae will continue to reflect the most characteristic features of the life of the women who sing in it. Through song, these women tried to accept the despair and pain that they felt as an inescapable fact of life. At the same time, they endeavored to express their feelings honestly, frankly, and sometimes indirectly by sublimating the beauty of nature. This outlook is a mark of wisdom on the part of these women. They strove to take control of their life rather than succumb to the hardships and trials that they faced.
In this sense, ganggangsullae's narration can be divided into formal expressions and narrative expressions. The formal expressions include the women's feelings and the atmosphere of the dance, hopeful emotions, and desires. As for the narrative expression, songs about romantic feelings are most common. These typically include conversations between a man and a woman expressing their love for each other and expressions of joy, loneliness, longing, and despair depending on the presence or absence of the loved one. The most Korean sentiments in Korean folk music can be found in ganggangsullae. Certain narrations express the pain and hardships that women experience in their daily lives. These focus on the pain and suffering that comes from living a hard life, the weariness of married life, longing for one's mother, and such like. From narrations that express regret for the way one has lived one's life, we can see that there women were inclined to hold a fatalistic resignation towards life. There are also many narrations about flowers and the moon. The flowers in ganggangsullae express the close relationship they have with humans or life itself. In other songs, flowers are used as a comparison to the cyclical aspect of nature, and they objectify the longing the singer felt for her loved one or feelings of shame at her own shabbiness. The moon in ganggangsullae is used as a connection between the singer and her loved one and thus reflects emotions of longing. It is an embodiment of the poetic feelings brought about by the absence of the singer's lover.
Ganggangsullae is the most important communal recreation for women. Through folk song and dance, ganggangsullae brought beauty and rhythm to women's lives. Various accompanying types of recreation multiplied the fun and excitement, and the players could express their pent up emotions through song. Without dance, song, or recreation, the excitement of ganggangsullae does not survive. Ganggangsullae combines people dancing in a circle, the narrative call and response of the singers, and the exciting atmosphere created by the leader. As a combination of this trinity of dance, song, and play, ganggangsullae can be seen as a composite art form that has been passed down through the generations. Furthermore, in ancient times, it was a type of recreation and song meant to reach the spirits. This ritual called upon the spirits to bring good fortune to the village. However, the entertainment aspects of ganggangsullae were strengthened over time by the communities in which it was passed down; while nowadays it is a worldly form of recreation and song.
Typical ssangnyuk dice, also called tuja, were made from ivory or the bones of other animals. The dice were cubes with each side measuring about one centimeter. The sides were marked with one to six with dots indicating the number. Dice made from tiger bones were particularly sought after because it was believed the player's desired numbers could be rolled with them. The game pieces were about seven centimeters tall with round bottoms and pointed tops, making them easier to pick up. The pieces also had a round support on the bottom and a long shape attached to the top. The top and bottom halves were painted different colors, with a line separating them. Different color schemes were used to distinguish the different players' pieces, usually white and black or blue and red. However, some players simply used go stones. While sixteen pieces were used in some regions, most variations had fifteen pieces per player.
The game usually proceeds as follows. The players place their black or white pieces on the board according to the predetermined rules. They roll the dice and move their pieces a number of spaces determined by the dice roll. First, the two players place the game board between them and choose their color. Each player places their fifteen pieces on the board. The white player places five pieces on their right (inland) "6" space; three pieces on their left (outland) "5" space; two pieces on their opponent's inland "1" space; and five pieces on their opponent's outland "1" space. The black player then places their pieces in the same manner.
To determine which player goes first, each player rolls a die and the player with the highest numbers goes first. The players move their game pieces according to the numbers they roll with the dice. If a player rolls a 6 and a 3, they can move one piece 6 and then 3 spaces, or they can move one piece 6 spaces and another piece 3 spaces. However, they cannot divide the total of the dice roll in any other way, such as by moving one piece 5 spaces and another piece 4 spaces. If a player's piece lands on a space that is occupied by one of their opponent's pieces (called a bari, a single piece), the player can capture it and put their own piece in its place. The captured piece must be removed from the board. A piece cannot enter a space occupied by two or more of the opponent's pieces.
The player who succeeds in gathering all fifteen of their pieces on their own inland spaces and then removing all fifteen from the board is the winner of the game.
Although ssangnyuk was introduced from other countries, it is a game that Koreans enjoyed for more than 1,000 years. In particular, we know that it was widely known by the people of the Joseon period thanks to the many records and paintings in which it appears.
3. Ganggangsullae
Ganggangsullae is a type of recreation in which the women of a village hold hands, dance in a circle, and sing together. It is typically danced on Chuseok during the eighth lunar month to pray for a good and abundant harvest. During the bright full moon, dozens of village women would gather to hold hands and dance in a circle. One woman would sing the beginning part of Ganggangsullae, and the other women would then sing the response. The dance was continued throughout the whole night.In between the dances, different types of games were also performed, each representing a particular aspect of the way of life of the agricultural or fishing village in question. These included namsaengi nori (terrapin play), gosari ttagi (fern shoot picking), cheongeo yeokgi (tying herrings), giwa bapgi (treading the roof tiles), deokseok mori (mat wrapping), jwinjwisaekki nori (field mouse play), munjigi nori (gatekeeper play), gamadeung (palanquin play), and sugeondolligi (passing towels).
The original form of ganggangsullae appears in a section about the Mahan Confederacy in Volume 30 of the Book of Wei in the Records of the Three Kingdoms. "Many people gathered to sing songs, dance, and drink alcohol without rest all day and all night. The dance took the form of dozens of people standing and following each other. They stepped on the ground, low and high, and their movements were all the same. It is similar to the Bell Dance in China."
Ganggangsullae is a flexible style of traditional singing in which the main singer's narrative is followed by a response by the group, and may include temporary narratives outside the traditional narrative. These narrations could change according to the mood and excitement of the group and the personality of the main singer. In fact, anyone could become the lead singer during a round of ganggangsullae. Sometimes, the lead was passed around to several people, and sometimes the narration was continued by passing it back and forth between two people. The refrain is shorter than other folk songs, making it easy for anyone to learn. This also makes it easy for anyone to participate in the dance, and arouses feelings of unity among the singers. The short refrain helps the narration because it does not interfere with the lyrics. Because of this, ganggangsullae naturally contains many descriptive aspects. The refrain is sung after each line sung by the lead singer, and this helps the lead singer to stay in pitch.
As long as singing remains a method of expressing the feelings of a community, ganggangsullae will continue to reflect the most characteristic features of the life of the women who sing in it. Through song, these women tried to accept the despair and pain that they felt as an inescapable fact of life. At the same time, they endeavored to express their feelings honestly, frankly, and sometimes indirectly by sublimating the beauty of nature. This outlook is a mark of wisdom on the part of these women. They strove to take control of their life rather than succumb to the hardships and trials that they faced.
In this sense, ganggangsullae's narration can be divided into formal expressions and narrative expressions. The formal expressions include the women's feelings and the atmosphere of the dance, hopeful emotions, and desires. As for the narrative expression, songs about romantic feelings are most common. These typically include conversations between a man and a woman expressing their love for each other and expressions of joy, loneliness, longing, and despair depending on the presence or absence of the loved one. The most Korean sentiments in Korean folk music can be found in ganggangsullae. Certain narrations express the pain and hardships that women experience in their daily lives. These focus on the pain and suffering that comes from living a hard life, the weariness of married life, longing for one's mother, and such like. From narrations that express regret for the way one has lived one's life, we can see that there women were inclined to hold a fatalistic resignation towards life. There are also many narrations about flowers and the moon. The flowers in ganggangsullae express the close relationship they have with humans or life itself. In other songs, flowers are used as a comparison to the cyclical aspect of nature, and they objectify the longing the singer felt for her loved one or feelings of shame at her own shabbiness. The moon in ganggangsullae is used as a connection between the singer and her loved one and thus reflects emotions of longing. It is an embodiment of the poetic feelings brought about by the absence of the singer's lover.
Ganggangsullae is the most important communal recreation for women. Through folk song and dance, ganggangsullae brought beauty and rhythm to women's lives. Various accompanying types of recreation multiplied the fun and excitement, and the players could express their pent up emotions through song. Without dance, song, or recreation, the excitement of ganggangsullae does not survive. Ganggangsullae combines people dancing in a circle, the narrative call and response of the singers, and the exciting atmosphere created by the leader. As a combination of this trinity of dance, song, and play, ganggangsullae can be seen as a composite art form that has been passed down through the generations. Furthermore, in ancient times, it was a type of recreation and song meant to reach the spirits. This ritual called upon the spirits to bring good fortune to the village. However, the entertainment aspects of ganggangsullae were strengthened over time by the communities in which it was passed down; while nowadays it is a worldly form of recreation and song.
Infokorea 2020
Infokorea is a magazine that introduces Korea to readers overseas, including teachers, textbook developers and other educators. The magazine offers the latest statistics on the Republic of Korea and articles that focus on Korean culture, society and history, which can be used as a reference source for textbook writers and editors and as materials for teachers to prepare for class. The theme of the 2020 issue was overview of Korean Traditional Recreation.
Infokorea is a magazine that introduces Korea to readers overseas, including teachers, textbook developers and other educators. The magazine offers the latest statistics on the Republic of Korea and articles that focus on Korean culture, society and history, which can be used as a reference source for textbook writers and editors and as materials for teachers to prepare for class. The theme of the 2020 issue was overview of Korean Traditional Recreation.
