일제 강점기, 전통 정재 창사의 계승과 변용 -박순호 소장 『리계향 ᄎᆡᆨ 李桂香 홀긔』를 중심으로-

Abstract

The purpose of this paper is to introduce Lee Gyehyang Hol Gee(『리계향 ᄎᆡᆨ 李桂香 홀긔』); the characteristics of the Hol Gee can be identified through a comparison between traditional court song lyrics and Lee Gyehyang’s versions. A Giseng(female entertainer)Lee Gyehyang performed at a major Japanese expo(共進會) as a member of the union of Dadong Gisengs in 1915. Her lyrics recorded the authentic performances of the Japanese colonial era, which have not been officially documented. In the 27 court songs in her collection, there were similarities and differences between them and their respective traditional versions. These changes ranged from completely new songs (4 songs), heavily altered ones (6 songs) to minorly edited ones (15 songs), while some remailed the same(2 songs). Of the four new songs, one was “Celebration by the union of Dadong Gisengs(<본권반기념무창ᄉᆞ션무)”, which blesses the Japanese governor and the general audience instead of the Korean king and royal family. Traditional court songs were created with the purpose of praising the Korean royal bloodline. Next, the traditional songs that were written in Chinese and condensed were translated into Korean and lengthened. These changes were designed to reflect the public’s taste –remaking the songs to follow the format of twelve Gasa, the era’s musical trend. Furthermore, the third method involved editing the lyrics to shorten their length to fit the public’s likings. Last, of the two songs whose lyrics remained unchanged, both had a slight change in their respective dances. To conclude, as the audience, place, and purpose changed due to the Japanese colonial era, it also had an impact on the 27 songs in Lee Gyehyang’s collection.