전통 민속 연희에서 장애인을 다루는 방식에 관한 비판적 분석 : 장애인 당사자 시각과 대리치유(cure by proxy) 관점

Abstract

There still remain characters imitating the disabled and the so‐called ‘Byeongshin (the deformed)‐dance’ in traditional folk performances. Chae Hee‐wan describes it as interprets it as ‘a dance for those who cannot dance’, ‘a dance that dreams of liberating the body free from the yoke of the body by taking up the body that cannot be danced and dancing’. The most important aspect of this critical discussion is the ownability of the disabled. In traditional folk performances, the disabled satirizes the class with vested rights, and the disabled are also set as others. Otherization reveals to be ‘cure by proxy’. Observing the ‘disabled body’ located on the ‘edge of being human’ in a Western context, Titchkosky says he sees disability as ‘a threshold at which no possibility exists.’ The disabled body is in a state of waiting for change, and it sees itself as providing opportunities for change to others. Instead of representing the disabled person's needs, the surrogate strengthens the system of coercive normality and assigns himself/herself the responsibility to strive for healing, and at the same time, he/she makes the disabled a passive object to be rewarded for these efforts. A cure by proxy logic can be found in traditional folk performances' eyes that treat the disabled. This study sees the existing view of traditional folk performances coping with the disabled as otherization, a cure by proxy logic without homogenization, and analyzes and criticizes from the perspective of the disabled himself/herself. The conclusion part contains the argument that traditional folk performances world that does not correct the negative view of the disabled by putting the name of tradition ahead of it, need to eliminate the disability narrative, and think about ways to be transformed artistically in a different way.