한국 장고춤의 무용사적 변모 양상

Abstract

This study searched the historical flow of Janggo dance, one of the Korean folk dance, and examined the origin, evolution and development process. And, with the revaluation of Janggo dance from the view of dance history, the following conclusions were derived . First, as a one of percussion instrument from a drum in the ancient times, and Yogo called in 'Go (鼓)" in the Three Kingdoms period was found in the ancient tomb murals and relics. Bicheonsang in a tomb murals playing Yogo dance was considered as a multidisciplinary artist in charge of both playing music and performing dance. Janggo in the Juaksang of Goryeo dynasty and Janggo dance in the tomb murals both showed religious rite. So the both Yogo dance in Three Kingdom era and Janggo dance in Goryeo dynasty were assumed to be strong religious rite dance. Third, Janggo dance in the Joseon Dynasty included religious rite and folk playfulness under the political and cultural influences. As Choi, Seung-Hui, Korean modern dancer in the early 20th century, performed Janggo dance at the theater, this became a foothold of a creative Janggo dance in Korea. This Jang-go dance had many different characteristics including traditionality as a synthetic art combining drum and dance in primitive society, folk religious rituals of korea, Han, ShinMyeong and enjoyment as a korean attribute, and also Creativity - the highest reach of art - in modern era. Thus, for the re-establishment of status in the Korean dance history, we had to prepare methods for restoring and preserving of Jang-go dance's meaning and original form as well as keeping the current efforts to develop its artistic charactieristics.