동래한량춤 춤사위 특성 연구

Abstract

The purpose of this study is to analyze the characteristics of dance moves in Dongraehanryang-chum which forms the basis of male dance in Yeongnam as Single dance Hanryang-chum. As analyzing the characteris tics of dance moves in Dongraehanryang-chum can produce crucial material for research on male dance in Yeongnam region, this author an alyzed Dongraehanryang-chum comparatively with the characteristics of dance moves in Dongraehak-chum as well as Wonyangban-chum of Dongraeyaryu. According to the findings, the characteristics of Deotbaegi chumsawi in Dongraehanryang-chum are found in Pyeongsawi, Doneuns awi, Sokurisawi, Hwalgaeheundeuneunsawi, or Baegimsawi. The types of Baegimsawi in Dongraehanryang-chum include Baegimsawi (front-baeg im), Gyeodeurangbaegimsawi, Gyeopbaegimsawi, and Single-baegimsawi, and compared to Wonyangban-chum or Dongraehak-chum, it tends to eith er reduce or omit Purisawi. Baegimsawi in Dongraehanryang-chum has no big moves. It is because those dance moves should have been arranged as Hanryang (rakes) did baegimsawi creating their own style freely within the small space of either Gibang or Sarang-bang mostly. The elements of Gibang-chum in Dongraehanryang-chum distinguished from Dongraey aryu or Dongraehak-chum include Naedeurimsawi and Gyeodeurangsawi, Somaegeoteumsawi, Hanpaleoggaemaeneunsawi, Buchaemegoeoruneunsawi, Buchaepyeogoeoruneunsawi, Dopojaraknolrineunsawi, and Anjeumsawi. As shown above, most dance moves in Dongraehanryang-chum are grounded on Deotbaegi-chum. But as Gibang art had influence on such Deotbae gi-chum by Hanryang, some of the dance moves became more sophisti cated and polished. We can conclude that in this way, it came to be male dance representing Yeongnam with the addition of artistic value and impro visation as male dance internalizing the beauty of fun with grace and style.