이능화의 『조선해어화사』에 의한 기생사(史) 및 기생상(像)의 왜곡에 관한 연구 II -삼패(三牌)의 ‘사회적 속성’ 변천과정 및 갈보(蝎甫)로의 왜곡을 중심으로-

Abstract

This study seeks to trace the “Origin of Sampae” which remained as the virgin land until now focusing on modern newspapers during the Korean Empire period and early Japanese colonial period and examine the Sampae’s music activities, dance activities, social activities, and process of change in social attribute for total of 25 years from 1899 when Sampae first appeared to 1923 when Gisaengs who originated from Sampae dissolved by dividing in to four periods. First, Sampae is not Galbo. Sampae never had a social attribute as “A prostitute involved solely in prostitution” from its beginning in 1899 to dissolution in 1923. Also, “Galbo” is not the general term for Gisaeng (Gwangi), Ipae, Sampae, and prostitute bar’s prostitute. Instead, Galbo merely refers to “The lowest group among prostitutes involved solely in the prostitution.” Secondly, Sampae is a Gisaeng and is not a Gisaeng at the same time. In aspect of the originality as a state-owned Yeoak and historical and social perception, Sampae is not a Gisaeng. On the other hand, in extending the category of Gisaeng, Sampaes who were active after May 19, 1916 are also Gisaengs. However, Gisaengs who originated from Sampae are “Gisaengs newly made by Japanese General Government during the Japanese colonial period.” Third, Sampae was a group of popular music and dance performers who took over the most of the fields of Joseon Dynasty’s Yeoak from Gisaeng’s (Gwangi) main repertory, royal court dance, to folk dance, Jwachang (seated singing), Ipchang (standing singing), and new contemporary creative dance. Sampae was also a group of female artiste representing Joseon Dynasty and Sampae hugely contributed on inheritance, development, modernization, and popularization of royal court dance and female music and dance during Joseon Dynasty. Fourth, during the Korean Empire period and Japanese colonial period, Sampae was a group of modern new women who participated in practical activities in various aspects including patriotic activities such as National Debt Repayment Movement, charity concerts and donations for various social infrastructures such as orphanage, foundling house, and midwife training school, talent donation, public enlightenment activity, newspaper reading, and active acceptance of new culture to solve Joseon Dynasty’s varying crises and social problems.