임소향의 전통예술 활동 연구 - 1930~40년대를 중심으로

Abstract

This paper examines the traditional performance arts activities, such as traditional changgeuk (Korean opera), pansori (solo narrative singing), traditional dance, and radio broadcast, from the 1930 to 1940s before Lim So-hyang, a female artist who contributed to modern art, defected to North Korea during the Korean War. It also analyzes the characteristics and significance of traditional performing arts. When Lim So-hyang’s birth and death date were examined, her birth date (October 22, 1918) was consistently recorded, but there are differences regarding her death date. Contrary to popular belief that Lim died in 1978, it has been determined that Lim was alive even after 1990. It is assumed that she was born in Daejang-ri Chojeon-myeon Seongju-gun, Gyeongsangbuk-do and that she studied at a Joseon Dynasty Gisaeng Entertainment Society after studying at the gisaeng entertainment society in Daegu. She was influenced by the so-called “Eight Famous Master Singers of Pansori,” including the “Five Master Singers of Pansori,” comprised of Park Ji-hong, Jeong Jeong-ryul, Cho Sang-seon, and Jeong Nam-hui. Furthermore, Han Seong-jun not only influenced Lim as a dance teacher, but she was also his foster daughter. Lim So-hyang’s traditional arts activities can be estimated by an examination of the dance and performance activities that she did when she was affiliated with the association that appeared on Gyeongseong broadcasts, record albums, and in the press. Lim’s Gyeongseong broadcasting activity started extraordinarily with the playing of a “pipe” (piri) instrument. Through radio broadcasts, we are also aware that she participated in changgeuk (Korean opera), danga (a short version of pansori), namdo japga (southern folk songs sung by professionals), minyo (folk songs), and sijo (classical three-verse sung poetry). While she studied under five masters, she mainly worked with Jung Won-seob. Most of her recordings were on gramophone records; she recorded both as an individual and in groups. There are a total 75 record companies, including Victor, BAM, and Polydor’s regular class and transition class. All of the records were mastered by Han Seong-jun. The performance activities that were shown in the newspaper were mostly changgeuk, in conjunction with the Choseon Changgeuk Research Association. Lim’s role in changgeuk is characterized as portraying witty middle-aged woman that she had a deep voice. She was identified as a good dancer through testimonies about her dance skills.