Research on Gut (Shamanic Rituals) in the Republic of Korea (Japan-Korea Intangible Cultural Heritage Research Exchange Project in 2026)

An interview at the Seohaean Baeyeonsingut and Daedonggu Preservation Association (Incheon)

 The Department of Intangible Cultural Heritage of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has been conducting research exchanges with the Korea Heritage Service of the Republic of Korea since 2008. As part of this project, we conduct human resource exchanges by mutually dispatching researchers for research. In 2026, Mr. ISHIMURA Tomo, Director of the Head of the Department of Intangible Cultural Heritage, conducted research in Korea on the theme of “Gut (Shamanic Ritual) of the Republic of Korea in a Contemporary Context.”

 Gut refers to traditional rituals performed by shamans known as mudang on the Korean Peninsula, though the specific forms of these rituals vary significantly by region. During the 1970s, the “Saemaul Undong” (New Village Movement)—a modernization policy promoted by President Park Chung-hee—led to the persecution of gut practices, which were dismissed as “superstitious” and “unscientific.” However, from the 1980s onward, gut began to be re-evaluated as a form of traditional culture and was designated for protection as an Intangible Cultural Property. In 2009, an annual ritual called the “Jeju Chilmeoridang Yeongdeunggut” was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.

 The study by Mr. ISHIMURA involved interviews with members of the preservation associations for the “Donghaean Byeolsingut” (Busan), “Namhaean Byeolsingut” (Tongyeong), and “Seohaean Baeyeonsingut and Daedonggut” (Incheon)—all of which are designated as National Intangible Cultural Properties. The primary focus of the interviews was to explore the challenges of preserving gut as a traditional cultural practice in contemporary society, as well as the new roles it might play in the modern world.

 As a result, members of all the preservation associations spoke of the challenges involved in passing on the related traditions. Although designation as a National Intangible Cultural Property has enabled the societies to receive public support, generating sufficient income through their activities alone remains difficult, forcing many members to work part-time jobs. Mastering the skills and knowledge associated with gut requires many years, and the activities demand a significant time commitment; consequently, members say it is difficult to continue without genuine passion. At the same time, everyone interviewed expressed pride in preserving the traditional culture of gut.

 On the other hand, in recent years, many preservation associations have been actively performing aspects of gut by highlighting them as a performing art. For instance, the Seohaean Baeyeonsingut and Daedonggu Preservation Association has staged performances in France and Japan, garnering high acclaim abroad.

 Through this research, Mr. ISHIMURA felt that while gut possesses both religious and performative dimensions, the latter often takes center stage in contemporary contexts. However, everyone interviewed in the process emphasized that the religious and spiritual aspects of gut should not be overlooked, asserting that these elements constitute the very essence of the tradition.

 In Japan, it is undeniable that folk performing arts—such as kagura—possess not only an aspect of performance but also a religious or spiritual dimension as part of a sacred ritual. It is also undeniable that when these arts are evaluated as cultural properties, the focus tends to be on the performance aspect, while the religious and spiritual dimensions are often “set aside” or “overlooked.” Yet, for those who carry on these traditions, Mr. ISHIMURA suspects that the religious and spiritual aspects are often the more significant ones.

 Mr. ISHIMURA felt that through this research exchange project, it was important not only to deepen our understanding of intangible cultural heritage in the Republic of Korea, but also to reflect on our understanding of Japan’s own intangible cultural heritage in light of the insights gained.

(202607 / ISHIMURA Tomo)