자바여성 궁중 무용
Women’s Dances from the Javanese Court
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초록
자바왕궁에서 여성들이 추던 srimpi와 bedhaya은 16세기 말 궁중의식으로 발전했다. 이들 춤의 안무는 평화와 우주의 질서, 선악 또는 신과인간의 일치 등의 의미를 표현한다. 자바 궁중 무용은 1970년 PKJT라는 국가프로젝트를 통해 처음으로 일반 대중에 알려지게 되었다. 이 프로젝트는 단지 궁중 무용을 부활시켰을 뿐 아니라 전통 무용이 지루하고 단조롭다고 생각하는 현대 관객을 위해 개작과 단축 작업 또한 실시했다. 이 새로운 버전은 녹음·녹화본으로 널리 알려졌고 예술학교에서도 가르친다. 하지만 현재 원형의 무삭제판을 아는 무용수가 거의없다. 본 글에서는 이들 춤들이 간소화되면서 그 명상적 특성을 잃었음을 얘기한다. 현대 관객에게 제대로 이해 받고 그 가치를 인정받기 위해서는 이들 춤을 설명할 새로운 방식이 필요하다.
Abstract
Srimpi and bedhaya, danced by women at the Javanese court, developed into court rituals from the end of the 16th century. The choreography of these dances expresses ideas like the peace and order of the cosmos, the unity of good and evil or of God and man. These dances were first made available to the general public through a national project called the PKJT in 1970. This project did not just revive the dances, it also shortened and adapted them for a modern audience in the belief that the traditional dances were boring and monotonous. The new versions are widely known through recordings and are taught in art colleges. However, few dancers now know the original, full-length versions of the dances. I discuss how the meditative quality of these dances was lost when they were simplified. New ways of explaining the dances are now needed if they are to be understood and appreciated by modern audiences.
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