전국민속예술축제에 대해서는 그동안 상반된 평가가 공존해 왔다. 긍정적인 관점에서의 평가로, ①사라져 가는 민족 고유의 민속예술을 발굴 · 보존 · 전승함으로써 민족문화 발전에 기여했다는 점, ②전국의 대표적인 민속을 한 자리에서 볼 수 있다는 점, ③지역민의 공동체 의식을 강화하고 자긍심을 고양시켰다는 점 등을 꼽을 수 있다. 부정적인 관점의 평가로는, ①전승 민속의 본래 모습을 왜곡 · 변형하여 가짜민속(Fakelore)을 양산했다는 점, ②수상을 위한 지나친 경쟁의식으로 말미암아 진정한 의미의 축제가 되지 못했다는 점, ③일반 민중이 축제의 진정한 주체로 나서지 못하고 소외되는 경우가 없지 않았다는 점 등을 들 수 있다. 전국민속예술축제는 경연대회로 출발하였는바, 1958년 8월 13일~18일 서울 장충단공원과 육군체육관에서 열린 것이 시초이다. 농악, 민속극, 민속놀이, 민속무용, 민요 부문에서 경연이 이루어졌는데, 이러한 종목 분류는 오늘날까지 지속되고 있다. 초기에는 가면극의 비중이 컸으나, 점차 민속놀이와 민요 종목의 비중이 커지게 되었다. 그리고 매회 새로 발굴된 민속예술이 출전하였으며, 경연대회에서의 시상을 의식하여 규모가 대형화되고 창작의 요소가 가미되는 현상이 지속되었다. 경연대회의 폐단을 해소하기 위한 방안으로 축제로의 전환이 필요하다는 주장이 꾸준히 제기되었으며, 마침내 1999년 전국민속예술경연대회는 전국민속예술축제로 전환된다. 그러나 축제로 전환된 이후에도 경연대회 방식은 49회까지 계속되고 있다. 이제 문제는 해결하고 의의는 극대화 하는 방향에서 축제의 정체성을 정립할 필요가 있다. 경연대회에서 축제로 명칭이 변경된 만큼, 축제에 걸맞는 내용과 성격을 갖추는 것이 중요하다. 전국에 산재한 전승 민속을 발굴 · 복원하는 작업은 여전히 필요하고 가능하며 의미 있는 일이다. 그런데 민속놀이나 민요 부문에 비해 민속극이나 민속무용 부문은 새로운 민속의 발굴을 기대하기 어려운 형편이다. 민속예술의 원형을 강조하는 관점과 재창조를 강조하는 관점이 공존하고 있으나, 지나치게 원형에 집착하는 태도는 바람직하지 않다. 출연 종목의 일회성 전승 문제에 대해서도 고민할 필요가 있다. 전승성이 강한 민속에 토대를 두고 출연한 종목의 경우, ‘보존회’ 결성이나 ‘전수회관’ 건립을 통해 안정적인 전승 기반을 구축하는 사례가 많다. 그렇지만 창작 · 날조의 정도가 심할수록 일회성 행사에 머물고 마는 경우가 많다. 그렇기 때문에 수상 이후의 전승 상황을 파악하는 작업이 필요하다. 전국 지역을 순회하며 개최하는 방식, 축제 공간의 문제 등 축제 운용방식에 대해서도 반성적인 점검이 필요하다.

There are two different evaluations those have been conflicting as regards National Folk-Arts Festival. In terms of positive evaluation, ①National Folk-Arts Festival has contributed to the development of national culture by excavating, conserving and transmitting evanescent unique Folk-Arts. ②Representative of the country folk can be seen in one place. ③It builds the sense of community and enhances the pride for residents. In terms of positive evaluation, ①Fakelore has been spawned by distorting original Folklore. ②Because of excessive competition for the awards, National Folk-Arts Festival has lost its true meaning as a festival. ③Common folk has lost his or her position as a principal and has become alienated. National Folk-Arts Festival started as a competition and the first event is raised in Seoul Jangchungdan Park and Army Gymnasium on august 13 to 18, 1958. The competition classified Nongak, Folk Dramas, Folk Games, Folk Dances and Folk Songs and this Event category is being continued to today. Initially, the Masque had been performed frequently but the proportion of Folk Games and Nongak has been increasing significantly. Also, a Folk-art which is newly unearthed introduced each time, the performance became bigger and performers added their creation continually. To eliminate the evil of competition, the opinion that the event need to convert a competition into a festival proposed continually. After it became a festival, however, the competition has maintained until 49th event. Now, it is necessary to establish clearly for the festival’s identity to solve the problem and to maximize its significance. At first, the event must contain proper contents and character as a festival because the title changed a competition to a festival. Unearthing and restoring folk customs scattered across the country is possible, necessary and meaningful. Nevertheless, it is hard to expect to discover new folk customs in Folk Dramas and Folk Dances compare to Folk Games and Folk Songs. The views those emphasize the archetype of folk art or recreation are coexistent, but the attitude overly obsessed with the original form is undesirable.A problem that the performed-works transmit only one time is needed to worry about. In case of the performed-works those are based on popularity build stable transmission states through organizing a ‘Preservation Society’ and founding a ‘Transmission center’ in many cases. However, the more it is created or invented the more festival stays in a one-time events. Therefore, confirmation for a state of transmission should be necessary after the awarding. Also needs reflective inspection for Festival operating process such as the problem of space and touring for holding.

There are two different evaluations those have been conflicting as regards National Folk-Arts Festival. In terms of positive evaluation, ①National Folk-Arts Festival has contributed to the development of national culture by excavating, conserving and transmitting evanescent unique Folk-Arts. ②Representative of the country folk can be seen in one place. ③It builds the sense of community and enhances the pride for residents. In terms of positive evaluation, ①Fakelore has been spawned by distorting original Folklore. ②Because of excessive competition for the awards, National Folk-Arts Festival has lost its true meaning as a festival. ③Common folk has lost his or her position as a principal and has become alienated. National Folk-Arts Festival started as a competition and the first event is raised in Seoul Jangchungdan Park and Army Gymnasium on august 13 to 18, 1958. The competition classified Nongak, Folk Dramas, Folk Games, Folk Dances and Folk Songs and this Event category is being continued to today. Initially, the Masque had been performed frequently but the proportion of Folk Games and Nongak has been increasing significantly. Also, a Folk-art which is newly unearthed introduced each time, the performance became bigger and performers added their creation continually. To eliminate the evil of competition, the opinion that the event need to convert a competition into a festival proposed continually. After it became a festival, however, the competition has maintained until 49th event. Now, it is necessary to establish clearly for the festival’s identity to solve the problem and to maximize its significance. At first, the event must contain proper contents and character as a festival because the title changed a competition to a festival. Unearthing and restoring folk customs scattered across the country is possible, necessary and meaningful. Nevertheless, it is hard to expect to discover new folk customs in Folk Dramas and Folk Dances compare to Folk Games and Folk Songs. The views those emphasize the archetype of folk art or recreation are coexistent, but the attitude overly obsessed with the original form is undesirable.A problem that the performed-works transmit only one time is needed to worry about. In case of the performed-works those are based on popularity build stable transmission states through organizing a ‘Preservation Society’ and founding a ‘Transmission center’ in many cases. However, the more it is created or invented the more festival stays in a one-time events. Therefore, confirmation for a state of transmission should be necessary after the awarding. Also needs reflective inspection for Festival operating process such as the problem of space and touring for holding.

National Folk-Arts Festival, archetype, excavation, fakelore, Festival