세습예인에 대한 사회적 시선과 그들의 대응 양상

Abstract

Hereditary artists are people who pass down performing arts such as gut, pansori, sanjo, tightrope walking, nongak, and dance from generation to generation. Hereditary artists were born into shamanic families for generations. Traditionally, they are unusual beings in both their status and function. For this reason, the focus was previously on focusing on the specialized activities of shamans or shaman artists. The issue of social discrimination was limited to objectification or otherization in a two-dimensional structure. A different approach than before is needed. The ways in which hereditary artists respond to discrimination are very diverse. Historically, they sought to gain public recognition by actively participating in organizational activities related to the public role of government offices, and in other respects, their descendants attempted to erase their traces. In addition, anger and avoidance of discrimination are generally prominent, but in some cases, attempts have been made to integrate into social systems. And some artists express positivity and pride in their role and make martial arts their identity. In this way, the responses and narratives of the discriminated parties appear in various ways. By looking at how hereditary artists respond to the problem of social discrimination and the narratives led by them, we will be able to examine the subjective aspects of responding to it. Also, on the other hand, the way hereditary artists respond can be said to be another aspect of the hospitality and exclusion that the public treats them with. For a long time, discriminatory views toward hereditary artists gave them a sense of humiliation. There is a need to reinterpret the duality of social perspectives surrounding that humiliation and its whereabouts.