20세기 호남풍물굿 개인놀이의 분화과정 연구 －서남해지역 버꾸놀이와 내륙의 설장구놀이를 주목하며－

Abstract

This study investigates the development and differentiation of solo performance (gaein-nori) in Honam pungmulgut, and the role of artists from hereditary shaman(seseummu) tradition on triggered such changes. First, the gaein-nori before its development into a specific form of pungmulgut was investigated. The microforms of gaein-nori were confirmed through the presence of gaein-nori in village-level pungmulgut. Generally, gaein-nori was limited to showing one’s talents within the form of group performance, rather than an individual building and leading the performance independently. In regard to the development of performance led by one entertainer, or gaein-nori, factors such as theories of its origin, rhythm composition, and cultural contexts were discussed, with a focus on seoljanggu. In the Honam region(southwestern region of the Korean peninsula), the entertainers from seseummu tradition had led the rise of gaein-nori and other forms of pungmulgut entertainments. Indeed, notable entertainers, instrumental performers, and pansori singers who developed pungmulgut were associates within the seseummu network. Entertainers from seseummu genre were also trained in playing instruments and vocalization. Based on the large network of seseummu, it is hypothesized that the birth of seoljanggu reflects the cultural contexts of pansori and sanjo of that era. The rise of seoljanggu, a type of gaein-nori in pungmulgut performance, coincides with the development of sanjo. In addition, as the artists and instrumental performers who established pungmulgut had direct and/or indirect relationship with seseummu, the name of rhythms used in gaein-nori were likely be heavily influenced by sanjo and sinawi(a traditional form of Korean instrumental music). Hence, the development and establishment of gaein-nori in pungmulgut are best understood within the larger context of ‘sanjo culture’. Moreover, gaein-nori in pungmulgut developed independently beyond borrowing the style from sanjo, achieving the status of differentiated, unique form of entertainment that is distinct from other formats. Gaein-nori, developed and differentiated by artists from seseummu, became the trigger for pungmulgut to evolve into a form of entertainment that is marked by its focus on percussion instruments. In general, pungmulgut combines multiple rhythms to complete a gutgeori(a form of rhythm), or a piece. Unlike detailed and careful composition in other music, the rhythm is formed within a rough framework; identical rhythms are repeated and layered upon and loosely bridged as if ‘running and chasing’. It rapidly advances to the next rhythm depending on the play. However, with the expansion of sanjo culture and the introduction of seseummu, pungmulgut evolved into an organized performance, gaein-nori. In conclusion, the Honam region artists from seseummu are considered to have paved the way to become professional pungmulgut artists for themselves and served the role of establishing a structured form of pungmulgut performances in the 20th century. During the process, they have combined the shaman culture and music traditions of the Honam region to achieve artistical advancement and reformation of the organization of pungmulgut.