<손님굿>무가의 지속과 변화: <손님네 말치레놀이>를 중심으로

Abstract

The studies on a shaman play have focused usually on an independent gut which is played as a whole. However, this paper studied the transmission and changes of the Sonnimne Malchire Nori (Guest Horse Play), which is one of main shamanic song of <Sonimgut (Gut for guests)>. Since this play is performed as a coda of Sonnimgut, it has a number of differences from other shamanic songs. As such there is no studies that deal with only the Sonnimne Malchire Nori. The reason of focusing on only this play is that this play reveals the changes in a gut –exorcism- by tracking changing processes of a separate gut. Among shamanic songs, this Sonnimne Malchire Nori has been sometimes performed without cessation but mostly it has never been continuously performed that is it has been omitted because of an improper space, an atmosphere of exorcism site, or time limitations. The Sonnimne Malchire Nori which is continuously performed has undergone through several stages of revision and modification to date. The first is a formation stage and it is performed as a ritual - a horse is shaped from straw and offering is carried little by little and ends with by sending a smallpox god. This stage emphasizes a magical power and ritual features of sending a smallpox god as the diseases was a big problem in old days. The second is a development stage. Although smallpox gradually disappeared but this culture has been tinted as playfulness. As such it remains as a gut. A horse driver appears and he goes into audience and he tries to become one entity. Therefore, in addition to its ritualistic function playfulness or entertainment is stressed. The third is a trace stage which holds the remains of the culture. The master of this “nori” sees off guests on behalf of all the village people. Namely the master plays a role of a horse. In this stage the ritualistic and playful wanes gradually and only a procedural formality of the ritual remains. Only the remains- formality- of the culture remains. This means that this play remains as perfunctory procedures. This is a good example of showing directly the status of a guest. The reason of these changes results from both the change of time and financial gains. In other words to collect more ‘belobi (extra payment)’ it has been modified. Whereas amboo branches are used to stress its magical power of ‘sonnimgut’, a Sonnimne Malchire Nori is performed to emphasize playfulness. Based on its ritualism and playfulness it has undergone changes as it has an economic goal of a shaman. ‘Sondae (bamboo or pine tree branches)’ have become a tool to which a god descends and this is a place where a shaman’s collects ‘beolbi’. This Sonnimne Malchire Nori is used to uplift the atmosphere of gut and at the same time to collect more payment. This shift can be a good predict of the transmission and changes of ‘sonimgut’.