Abstract
This paper examines the play of Yakut summer festival Ysyakh and Korean summer festival Dano. The play of the two festivals have the four forms of play, 'Agon', 'Alea', 'Mimicry', and 'Ilinx' categorized by Caillois. Agon means competition and Ysyakh has wrestling, jumping, running, and archery as type agon. In the case of Dano, there are ssireum and tug-of-war. Two festivals also have ritual elements because fortune-telling is performed according to the match results of the two festivals. In addition, sine fortune-telling is similar to type 'alea' in that the participants are passive and await the judgment of fate, the plays of the two festivals also have the form of alea. ‘Mimicry’, which means imitation, includes the narration of the Yakut epic ‘Olongho’ and the performance of a Korean mask play. Both include entertainments well as ritual elements of abundance by reproducing creative mythical content. The 'Ilinx' form, which pursues dizziness, includes a round dance Ohuohai, Yeowon dance, and the swing jump. The Ilinx play of two festivals is a ritual performance to pray for abundance. Likewise, play is not just for fun in the seasonal festivals. People want to reconfigure the creation of God through the play of mimicry, fall into ecstasy through the play of Ilinx and get closer to gods’ world, and try to realize the will of gods through the play of Agon and Alea.
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