화성재인청류 살풀이춤의 미적 특성

Abstract

The purpose of this work is to investigate the historical genealogy of Hwaseong- Jaeincheong dances with a special focus on Hwaseong-Jaeincheong style Salpuri which is designated as the eighth intangible cultural asset of Gyeonggi Province, and to analyze its thoughts and values represented in the external structure and interiority by considering types and characters of its movements, together with its aesthetic characteristics. “Jaeincheong” was a government office that managed the shamanistic musics of the shaman’s accompanists and the artistic activities for a public pleasure of the entertainers, from the Joseon Dynasty to the year 1921 when it was compulsorily broken up by Japan. The Hwaseong-Jaeincheong style Salpuri was inherited from Dongan Yi who is the last master artist of Hwaseong-Jaeincheong, by the first master Gyeongpa Jeong and the second master Bokryeon Kim. Its costume and movement were handed down on the basis of the tales of Gyeonggi Province. It is performed with two silk clothes, which is a unique feature of the Hwaseong-Jaeincheong style Salpuri. It involves accordingly philosophical meanings containing a symbolism of two clothes and an Oriental mentality. Although the Hwaseong-Jaeincheong style Salpuri has a rigid musical formalities, as a work of art expressing the national emotion it also allows the dancer to express one's own mind on the grounds of the tales from the viewpoints of technical movement frameworks and iterative make-up. Moreover, it is strictly based on the tales unlike other Salpuri dances and the resulting external and internal movements represent the filial piety to save one's father by dissipating the resentment and misfortune. In sum, the Hwaseong-Jaeincheong style Salpuri is characterized by a self-discipline dance movement and connotes the ideal meaning of Kyeong-Chun-Nae-Hyo.