동해안 탈굿의 변화양상과 요인

김신효(Kim Shinhyo) 한국무속학회 2008 한국무속학 Vol.0 No.16

동해안 별신굿에서 연행되는 탈굿은 현재 전승되고 있는 탈놀이 가운데 가장 현장감이 넘치고 끊임없이 재창조되고 있는 역동적 탈놀이이다. 오늘날 대부분의 탈놀이는 본래의 자생력을 상실한 것이 현실이다. 이에 비해 탈굿은 여전히 주민들의 생활현장인 굿판에서 살아 움직이는 실체로 존재한다. 이와 같은 탈굿의 변화양상과 요인을 살펴보는 것은 전승현장에서 이탈한 많은 연행민속이 단순히 재현되는 한계를 극복하고자 함이다. 탈굿의 변화양상과 요인을 보다 면밀하게 파악하기 위해서는 연행현장과 전승현장을 동시에 살펴야하며 특히 탈굿의 경우, 별신굿의 연행에 포함되어 있는 관계로 별신굿을 둘러싸고 있는 마을의 사회, 문화, 환경, 경제적인 여건들을 두루 살펴 볼 필요가 있다. 하지만 이 연구는 거시적인 변화보다는 탈굿의 연행내용에서 소도구의 변화에 이르기까지 실제 연행현장을 중심으로 나타나는 탈굿의 변화양상과 요인을 밝히고자 하였다. 탈굿은 끊임없는 변화를 지속해 왔기에 현재에도 활발하게 연행되고 있다. 그 변화의 중심에는 전승집단의 현실적응과 연행자들의 의도된 행동들이 갈무리 되어있다. 별신굿이 무형문화재로 지정됨에 따라 무집단은 국가로부터 인정받은 예술가로 인식하게 되고 탈굿을 비롯한 별신굿의 제차를 연행하는 것에 대해 자긍심을 갖고 있다. 이러한 변화는 탈굿에도 그대로 반영되고 있다. 또한 탈굿의 변화는 연행자의 개별적 특성에 의해 변화한다. 연행자의 연행능력은 탈굿에서 가장 크게 요구되는 조건이기 때문이다. 연행현장의 변화와 그에 따른 연행자의 자율적인 연행 역시 탈굿의 변화에 큰 영향을 끼친다. 그 가운데 관중의 개입은 언제나 흥미로우며 연행자의 즉각적인 대응과 맞물려 다양한 형태로 전개된다. 탈굿의 등장인물에서 부터 연행내용 및 의상과 소도구에 이르기 까지 이러한 변화를 둘러싼 여러 상호작용이야말로 오늘날까지 탈굿을 지속시켜온 요인인 동시에, 탈굿이 생생한 역동성을 발휘하여 진정 탈놀이다운 탈놀이가 될 수 있는 밑바탕이 된다. Tal-Gut performed in the Donghaean Byeolsingut is the most dynamic mask performance full of realism and recreated continuously in currently handed-down mask dances. Today most of mask dances lost the original autogenous power. On the other hand, the Tal-Gut still exists as a substance moving vividly in the dance field which is residents’ living field. The purpose of the study is to examine the changing patterns and its factors of the above Tal-Gut to overcome a limit which a lot of performance folk customs seceded from the traditional field are reappeared simply. To grasp the changing patterns and its factors of the Tal-Gut more minutely, we should examine performances and traditional field at once. Specially, in the event of the Tal-Gut, we have the necessity to examine social, cultural, environmental and economical conditions of a village around Byeolsingut thoroughly since it is included in performance of Byeolsingut. According to Byeolsingut was appointed to be an intangible cultural treasure, the shaman’s genealogy has a great deal of pride that they perform all processes of Byeolsingut including the Tal-Gut under their own recognition that they were artists recognized from the Korean government. Such a change is the result that identification of the shaman’s genealogy performing the Tal-Gut is reflected. Also, the change of the Tal-Gut is caused by individual characteristics of performers. For, their performing ability is the most necessary condition in the Tal-Gut. The change of performance field also has a lot of effects on the change of the Tal-Gut. Out of the performances, spectators’ intervention is always interesting and is developed in various ways with performers’ immediate countermeasure. Various interactions around such changes from characters of the Tal-Gut to performing contents, performing clothes and properties become the foundation to make a true mask performance by displaying the Tal-Gut’s vivid dynamics as well as factors making the Tal-Gut continued to perform until now.

손곡 이달의 이별시에 대하여

장진엽 대동한문학회 (구.교남한문학회) 2022 大東漢文學 Vol.71 No.-

This research aims to probe the meanings of farewells and the characteristics of Son’gok Yi Tal’s farewell poetry, as well as the modes of expressions employed in verbalizing the subject matter. Good byes appear often in Yi Tal‘s poetry because his poetic self within the work is a ’wanderer’ and a ‘vagabond’. Being unable to settle down and having to leave produces repeated farewells. His poetic self wanders due to warfare and poverty – which compounds the sadness of the good byes. Although this poetic self reflects the actual personal history of Yi Tal, neither the Japanese Invasion of Korea in 1592, nor the historical and social contexts of the poet – for instance, of him being a sŏ-ŏl, which impoverished him - are made apparent in the poetry. Rather, farewell is depicted as a yoke of destiny in which no human can free themselves from. His farewell poetry focuses on illustrating the human ‘sorrow’ itself which is sealed inside fate. The decision to select farewell as the subject matter in his works, including yuefu poetry(樂府詩), also comes from the idea that farewell is the most apt subject for a genuine depiction of human sentiment. Next, modes of expressions in Yi Tal’s farewell poetry have been inspected in two aspects. The first aspect concerns the characteristics apparent in the use of imagery; in describing the scene – which gives rise to the sentiment of farewell - Yi Tal often employs images of descent and darkness, as well as images of aimless drifting. Another in this aspect is the effective use of acoustic imagery; the sounds that are largely associated with seasons – such as cry of a cuckoo, nightingale, fall cicada, cricket, or a frosty wind – ring through the poems, working to deepen the sentiments of farewell. Following this, characteristics pertaining to composition techniques are discussed. First, Yi Tal juxtaposes farewells with encounters to highlight its sorrowful nature. The joy of the meeting intensifies the sorrow of the parting – and a brief encounter during the war brings sadness rather than delight. The farewells of the past are reminded in a poem about an encounter, and short meetings are followed by long separations. This mode of expression effectively communicates the sorrow of a good bye as a yoke of destiny. Another is to articulate the farewell of tomorrow in the last two lines of the poem; this mode serves to show the restrained sorrow through visualization. Yi Tal is an important poet who epitomizes a certain turn that took place in mid Chosŏn era – the turn towards admiration of the Tang poetry style. His works call for a more thorough inspection, especially since the number of the remaining works is scarce. And in doing so, ‘farewell’ is a topic that requires much deliberation because of the weight it carries in his works. Further discussion is warranted on whether Yi Tal’s farewell poetry shows any difference when compared to the farewell poetry of his peers, or the poets of later generations.

Locality Condition on the cwu- ~ talAllomorphy of GIVE in Korean

Minjung Kim,Inkie Chung 한국생성문법학회 2017 생성문법연구 Vol.27 No.3

Kim, Minjung, Chung, Inkie. 2017. Locality Condition on the cwu- ~ talAllomorphy of GIVE in Korean. Studies in Generative Grammar, 27-3, 611-630. This study argues that the verb form tal- is one of the suppletive allomorphs of the verb GIVE in Korean and presents a Distributed Morphology account for the suppletion of cwu- ~ tal- for GIVE and the locality mechanism related to this morphosyntactic alternation. First, this study provides the precise morphosyntactic environment of tal-. Second, it presents the situations where this expected suppletion is blocked by an intervening element between the root and the conditioning element(s). Then, it presents a Distributed Morphology analysis of the cwu- ~ talsuppletion. Based on these observations and analysis, we argue that the apparent long-distance conditioning of this tal- suppletion is actually limited within the domain of word as suggested by Bobaljik (2012).

A Novel Translocation t(1;5)(p32;q31) that Was Not Associated with the TAL1 Rearrangement in a Case of T Lymphoblastic Leukemia/Lymphoma

조희순,김민경,배영경 대한진단검사의학회 2009 Annals of Laboratory Medicine Vol.29 No.3

Chromosome 1 band p32 (1p32) aberrations are common in T lymphoblastic leukemia/lymphoma (T-ALL/LBL). Two types of 1p32 aberrations include translocations with different partners and submicroscopic interstitial deletion. Both aberrations are known to result in TAL1 gene deregulation. The t(1;5)(p32;q31) is a rare translocation of 1p32 in T-ALL. We now present the second case of t(1;5)(p32; q31) in T-ALL, which was present as a primary cytogenetic abnormality, with a review of the relevant literature. Interestingly, neither the translocation of the TAL1 gene nor aberrant expression of TAL1 protein was detected by fluorescent in situ hybridization (FISH) and by immunohistochemical staining in this case. Chromosome 1 band p32 (1p32) aberrations are common in T lymphoblastic leukemia/lymphoma (T-ALL/LBL). Two types of 1p32 aberrations include translocations with different partners and submicroscopic interstitial deletion. Both aberrations are known to result in TAL1 gene deregulation. The t(1;5)(p32;q31) is a rare translocation of 1p32 in T-ALL. We now present the second case of t(1;5)(p32; q31) in T-ALL, which was present as a primary cytogenetic abnormality, with a review of the relevant literature. Interestingly, neither the translocation of the TAL1 gene nor aberrant expression of TAL1 protein was detected by fluorescent in situ hybridization (FISH) and by immunohistochemical staining in this case.

탈코르셋을 그만둔 여성들: 동일시의 정치와 물화된 얼굴을 넘어서

박현아,이나은 한국문화사회학회 2023 문화와 사회 Vol.31 No.1

This study analyzes in-depth interview data from young feminist women in order to explain the weakening process of the once successful popular movement, Escape the Corset(“Tal-Corset” in Korean, where the word “tal” means “escape”). The Tal-Corset movement was founded on the premise that all women experienced ‘the same oppression’, and that to achieve liberation, everyone needed to strive towards ‘the same face’ through the lens of identity politics. To become a "true feminist," young feminists were required to actively embody the narrative of oppression and implement the face of Tal-Corset. ‘The corset display’ was adopted as an effective strategy in an era dominated by ‘the ethics of harmlessness’ which believes persuasion is violence. The belief in the homogeneity of female as victims was amplified by expectations of the effect of visibility, and expectations of the effect of visibility maintained the illusion of homogeneity. However, the fantasy of a homogeneous feminist face that did not tolerate other faces, was difficult to achieve, as it was as reified. Differences between women that were obscured by the single narrative of victimhood and the reified face became more and more apparent as the movement progressed. The movement inevitably excluded other faces because it did not imagine other faces of heterosexual, cisgender, non-disabled, middle-class, young women who were forced to wear the corset, and those who could take off the corset through the movement. By examining the experiences of the Tal-Corset movement participants who eventually left the movement, this study revealed that the very same strategy that popularized the Tal-Corset movement and the emotions and solidarity of feminists led to the weakening of the movement. At the same time, it was confirmed that the weakening of the movement was not simply a failure, but was connected to the imagination of other Tal-Corset‘s’ and feminism‘s’. 본 연구는 성공적인 대중 운동이었던 탈코르셋 운동이 약화하는 과정을 설명하고자, 탈코르셋 운동을 중단한 청년 페미니스트 여성들에 대한 심층인터뷰 자료를 분석하였다. 탈코르셋 운동은 모든 여성이 같은 억압에 처해있다는 전제에서 출발하여, 이러한 억압에서 해방되기 위해서는 모두 ‘같은 얼굴’을 향해야 한다는 동일시의 정치에 기반하고 있었다. “진정한 페미니스트”가 되기 위해서는 피해의 서사를 적극적으로 체현하며 탈코르셋의 얼굴을 구현해야만 했다. 탈코르셋 전시는 설득이 가해가 되는 ‘무해의 윤리’가 지배하는 시대에 유효한 전략으로 채택되었다. 피해자-여성의 동질성에 대한 믿음은 가시성의 효과에 대한 기대를 증폭시켰고, 가시성에 대한 기대는 동질성의 환상을 유지시켰다. 그러나 다른 얼굴을 용인하지 않는 균질한 페미니스트 얼굴이라는 환상은 그 얼굴이 물화되어 있던 만큼 달성하기 어려운 것이었다. 단일한 피해 서사와 물화된 얼굴을 통해 은폐된 여성들 간의 차이는 운동이 전개되며 계속해서 터져 나왔다. 탈코르셋이라는 페미니스트의 물화된 얼굴은 ‘꾸밈이 강요되는’ 헤테로섹슈얼-시스젠더-비장애인-중산층-청년-여성 그리고 이를 벗은 탈코르셋- 여성 외 다른 얼굴을 상상하지 않았기 때문에, 필연적으로 그 외의 얼굴들은 밀려났다. 탈코르셋 운동을 지탱하던 환상과 관계가 깨져나가며 여성들은 점차 탈코르셋 ‘운동’을 그만두었다. 이 연구는 탈코르셋 운동 참여자들의 운동 이탈 경험을 살핌으로써, 탈코르셋 운동을 대중화시켰던 전략과 페미니스트들의 정동과 연대가, 운동의 약화로 이어졌다는 사실을 알 수 있었다. 동시에, 탈코르셋 운동의 약화가 단순히 운동의 ‘실패’가 아니라, 다른 ‘탈코르셋’과 페미니즘의 상상과 연결되어있음을 확인하였다.

Locality Condition on the cwu- ~ tal- Allomorphy of GIVE in Korean

김민정,정인기 한국생성문법학회 2017 생성문법연구 Vol.27 No.3

This study argues that the verb form tal- is one of the suppletive allomorphs of the verb GIVE in Korean and presents a Distributed Morphology account for the suppletion of cwu- ~ tal- for GIVE and the locality mechanism related to this morphosyntactic alternation. First, this study provides the precise morphosyntactic environment of tal-. Second, it presents the situations where this expected suppletion is blocked by an intervening element between the root and the conditioning element(s). Then, it presents a Distributed Morphology analysis of the cwu- ~ tal- suppletion. Based on these observations and analysis, we argue that the apparent long-distance conditioning of this tal- suppletion is actually limited within the domain of word as suggested by Bobaljik (2012).

가야어 ‘벼리달(碧珍) · 이리(一利)’에 대한 고찰

김상윤 국제언어인문학회 2013 인문언어 Vol.15 No.1

This paper aims to define the Kaya native words, Pyŏkdin~Sungsan, Pal, Ili and Maidinyi, appearing in Samkuksagi (A Chronicle of the Three Ancient Kingdoms) and in Samkukyusa (A Reminiscent History of the Three Ancient Kingdoms). The three words denote the geographical denominations concerning the surrounding seas during the Kaya Dynasty and consequently may be accepted as genuine Kaya words. Pyŏkdin is a geographical name which consists of two morphemes, i.e., pyŏk+din (+a morpheme boundary). If we take the morpheme pyŏk for a sound-loan, we can infer it to be pyŏr. On the other hand, if we take it for a meaning-loan, it will be pyŏr. Of the two pyŏr is thought to be more persuasive. Assuming that Pali is an inscription of a sound-loan word, it can be read as pyŏri. Since there was no aspirate quality in the ancient Korean consonant system, pal can be read as bal, a prototype of Pyŏri appearing in the native songs of Shilla in the later period. Accordingly, pyŏri and its one-syllabic form pyŏl resulted from the omission of the suffix-vowel i which had coexisted. The back morpheme din as a meaning-loan may also be read as tal. The Kaya word meaning mountain was tal and so it is different from the word moe, which may be quite enough as to draw the attention to the subject at hand. Finally, assuming that Ili is a sound-loan, it can be read as Iri. It was the Kaya word relative to ting sung(star). And if one was to take the word Maidin as a sound-loan, it may be subsequently defined as a compound word of mai and din. The word mai appeared and was frequently used as an name of the places in the middle part of the ancient Korean peninsula. It implies mul(water) while din meant tal as noted above. Among the vocabularies pyŏri:iri, moe:tal, and mul:mai which coexisted in the Kaya language, pyŏri, moe, and mul may have been the native words of Kaya, and iri, tal, and mai may have been loaned from the words of Baekje. This active interaction of words bears witnesses that there had been vigorous cultural exchanges between the two nations.

A Case of T-Lymphoblastic Leukemia with Submicroscopic 1p33 Deletion Resulting in STIL-TAL1 Fusion

장순희 대한진단검사의학회 2023 Laboratory Medicine Online Vol.13 No.2

T-lymphoblastic leukemia (T-ALL) is an aggressive hematologic malignancy associated with poor outcomes. The genetic background of T-ALL is widely heterogeneous and the TAL1 gene is overexpressed in approximately half of all cases. A submicroscopic interstitial deletion on chromosome 1p33 results in STIL-TAL1 fusion, causing inappropriate overexpression of TAL1, which promotes T cell leukemogenesis. T-ALL with STIL-TAL1 exhibits distinct characteristics, such as a mature cortical T cell immunophenotype, low incidence of NOTCH1 mutation, privileged association with PTEN inactivation, deletion of 6q14–q16, MYC translocation, high leukocyte count, poor response to treatment, and low event-free survival. However, the clinical relevance and prognostic value of this rearrangement remain unclear. Here, we report the first case of T-ALL with a 1p33 deletion resulting in STIL-TAL1 fusion in Korea, which was detected by reverse transcriptase-polymerase chain reaction and confirmed by chromosomal microarray analysis.

굿놀이와 탈놀이의 공통성과 독자성

김신효(Kim Shinhyo) 한국무속학회 2010 한국무속학 Vol.0 No.21

현전하는 굿놀이 가운데 탈놀이와 가장 유사한 굿놀이는 동해안별신굿의 탈굿이다. 이 글에서는 굿의 세계관이 탈놀이에도 고스란히 반영되어 있음을 전제하였다. 사회적 모순에 대한 주민들의 기대심리가 놀이판에서 어떻게 충족되고 있으며, 굿놀이와 탈놀이의 제의성과 연극성이 어떻게 실현되고 있는지를 살피고자 하였다. 굿놀이와 탈놀이의 공통성을 종합해보면 놀이의 배경이 마을굿의 일환으로 연행되며, 갈등구조가 놀이로 표현되고 있다. 주제는 가부강제의 모순을 통하여 남성의 횡포를 고발하고 여성의 고단한 삶에 대한 질곡을 그려내고 있다. 유사한 등장인물과 처첩갈등이 극의 중심을 이루고 있으며, 종이탈의 제작 기법이나 영감의 죽음 등 외형적인 양식에서 유사성을 찾을 수 있다. 굿놀이와 탈놀이가 사회적 문제를 해결하기 위하여 상황을 전개하는 방식에 있어서는 보편적 경향을 띄지만, 내용적인 측면에서는 마을의 상황이나 추구하는 목적에 따라 서로 다른 의미를 만들어내고 있다. 결국 굿놀이와 탈놀이가 추구하는 지향정은 가부장적인 사회에서 남성의 횡포를 고발하고 여성의 힘든 삶을 부각시킴으로써 사회적 모순을 해결하고자 하는 것이다. 그러나 문제의 해결방식에 있어 굿놀이는 주술적인 의미를 포함한 현실적인 사고가 놀이에 반영되어 화해의 방식을 띄고 있는 반면, 탈놀이는 공동체의 안녕을 위한 미래지향적이고 상징적인 변혁을 추구하고 있음을 알 수 있다. Of all existing Gut-nori(shamanism plays), the mask shamanism of Donghaean-byulsyngut (shamanism in the East Coast) is closest to Tal-nori(mask plays). The following are similarities between Gut-nori and Tal-non: The background of both plays is rooted in village shamanism, and the structure of the conflicts is presented in the form of a 'play'. The theme of the plays reveals oppression of men and the demanding life of women, demonstrating a contradiction of patriarchy. In addition, the characters (such as old man, old woman, son, concubine of old man, and lover of old woman) and the structure of conflicts between wife and concubine are similar in both plays. Further similarities are evident in the methods used for creating paper masks and characteristics of movements (like the hand-standing vow). While Gut-non and Tal-non are similar in their tendency to develop situations to deal with social problems, the two plays differ in contextual aspects according to distinct village circumstances or the play's purpose. The common aim of Gut-non and Tal-non is to reveal oppression of men and the burdensome life of women, and to resolve social conflicts. However, while Gut-nori reconciles social disputes through use of magic, Tal-ron resolves matters symbolically.

교과 통합을 통한 하회별신굿탈놀이 지도방안 연구 - 초등학교 4학년을 중심으로

배동희 한국국악교육연구학회 2008 국악교육연구 Vol.2 No.1

우리나라의 음악은 고대의 제천의식 음악에서부터 종묘제례악, 문묘제례악과 같은 의식음악과 풍물놀이와 같은 민속 음악에 이르기까지 가무악(歌舞樂)일체의 종합예술 형태의 특정을 지닌다. 그 중 탈놀이는 신체표현 활동과 음악적 요 소, 이야기를 구성해 나가는 극적 요소 및 탈의 조형미와 복식에 관한 미적 요소 등 여러 요소들이 종합적인 구성을 이 루고 있어 여러 교과 교육에서 도입하여 교육적으로 활용할 수 있다. 이에 본 연구는 교과 통합을 통한 하회 별신굿 탈놀이 지도방안을 모색하였다. 가무악 일체의 종합예술 형태인 하회 별신굿 탈놀이는 각 인물마다 독특한 디딤새가 있으며 소박한 춤사위와 기본 장 단에 충실한 장단 구조를 가지고 있어 초등학생들이 소리와 신체의 협응을 통해 장단을 익히기에 적합하다. 또한, 희 로애락(喜怒哀樂)이 담긴 한국인의 얼굴을 대표하는 하회탈과 탈에 관련된 전설, 하회 별신굿 탈놀이의 극적 요소 등 이 종합적으로 구성되어 있으므로 이를 분과의 개념으로 지도하기보다는 여러 교과를 통합하여 지도하는 것이 효과적 일 것이다. 따라서 현행 초등학교 교과서, 보조교과서, 지도서를 분석하여 그 중 탈놀이와 관련된 내용이 가장 많이 나오는 4학년 을 중심으로 교과 통합을 통한 하회 별신굿 탈놀이의 단계별 지도방안을 제시하였다. 지도 단계는 이해-표현 및 활동-내면화의 3단계로 나누었으며 먼저 이해단계는 안동 지역의 중요한 유ㆍ무형문화재 를 분류해 보는 활동을 통해 하회 별신굿 탈놀이를 이해할 수 있도록 하였다. 표현 및 활동 단계는 4가지 단계로 구분하였으며 다음과 같다. 첫째, 하회 별신굿 탈놀이를 감상하고 직접 탈을 만들어 보기 둘째, 자신이 직접 만든 하회탈을 쓰고 4박 장단에 맞추어 장단별 디딤새를 익히기 셋째, 인물의 디딤새를 나타내는 노랫말에 곡을 붙여 노래를 만들어 부르며 그 노래에 맞는 각 인물별 디딤새를 익히 기 넷째, 하회 별신굿 탈놀이를 마당별로 감상하고 극으로 꾸며 볼 마당과 장면을 선정하여 대본을 재구성한 후 직접 극 으로 꾸미기 내면화 단계에서는 우리의 문화를 대하는 우리들의 태도에 대해 반성해 보며, 하회 별신굿 탈놀이에 대해 관심을 갖 고 소중히 여기는 방법을 스스로 알아본다. 탈놀이는 그 자체가 이미 악가무 종합예술이묘로 이를 지도할 때에도 분과의 개념이 아닌 교과를 통합하여 지도하는 것이 효과적일 것이다. 하회탈을 그려보고 만들어보면서 탈의 아름다움을 느낄 수 있을 것이며, 봄의 움직임을 통하여 장단의 변화와 빠르기 동을 이해할 수 있을 것이다. 또한 한편의 극으로 꾸며봄으로써 하회 별신굿 탈놀이를 종합적으 로 이해하고 내면화 할 수 있을 것으로 기대한다. 이렇듯 교과 통합을 통해 지도함으로써 우리 음악을 더 깊이 이해하는데 도움이 될 것으로 기대한다. Korean music has synthetic characteristic. From the ancient rituals of worship, to ceremonial Jongmyojeryeak, and to folk music, Pungmulnori and mask dance, it is characterized as the overall combination of art with song, dance and other aspects of music. Among them, masque drama can be used for diverse educational purposes as its synthetically composed musical elements: expressions of body movements, dramatic elements which make up a story, and accessaries which includes masks and costumes equipped with aesthetic elements and so forth. In consideration of those merits, this study aims to present the integrated teaching plan of a traditional masque, Hahoe Pyolshin-Gut Tal-nori. In the masque drama, each character has unique foot movements as well as the simple group dance and all of them follows the plain structure of Jangdan. Due to its easiness, it is not hard for the elementary students to learn Jangdan in combination of sound and physical movements. In addition, as it contains the Hahoe-Tal which represents well known Korean mask, it is more effective in relation with history, tradition and cultural education. Through the analysis of current textbooks in elementary school, supplementing textbooks and guidebooks, teaching plans of the Hahoe Pyolshin-Gut Tal-nori were suggested for each step with special attention on the 4th grade which directly deals with the masque. The teaching procedure was classified into 3 steps: understanding, expression with action, and internalization. During the step of understanding, students were required to understand the cultural heritages of Andong through the classification of whether it is tangible or not. The expression with action process was divided again into 4 sub-categories. First, students made a mask in person, after appreciation process of the Hahoe Pyolshin-Gut Tal-nori. Second, students had time to get familiar with the general movements based on four beat rhythm. Mask made by themselves were worn at that time. Third, students learned proper melody, song and narratives which represents the certain characters. Fourth, after practicing the whole drama, students reorganized the given script and performed their own play. In the last internalization period, students took some time to think about the tradition and cultural heritage. At the end of the time, students generally sought another opportunity for the making a drama as well as increased interests in the Hahoe Pyolshin-Gut Tal-nori. The results of this study clearly point out that it is better to teach masque dance as an integrated whole-person lesson instead of group of separated particles. Since students paint and make their own mask, they feel its value and beauty by hand. While students act and move physically, they understand and remember the rhythm and beat of Jangdan. During the whole process of making a drama, students internalize the splendid cultural asset as the integrated subject and also the synthetic form of traditional art.