섬 문화로 본 제주 춤의 정체성 －<탐라순력도> 와 <입춘굿 탈놀이> 를 중심으로－

Abstract

This thesis has looked out for the sub-culture of Jeju dance, and has observed Yipchungut Talnori with a cultural history viewpoint shown in <Tamra Soonryeokdo(耽羅巡歷圖)> of Hyeong-sang Lee(28th year since the reign of King Sook-jong) and [Tamrarok(耽羅錄)] of Won-jo Lee(7th year since the reign of King Heon-jong) after on by focusing on those elements. As a result, the identity of the dance of Jeju that has unique cultural area is as follows. Jeju Island has worshiped numerous gods due to its natural and environmental elements in which they have to admire and pray the nature endlessly even within its beautiful nature, and by the historical factors of <Tamra Soonryeokdo(耽羅巡歷圖)>[Geonpo Bae-eun](1702) from Hyeong-sang Lee, the institutionalization of the exploitation of Jeju by Japan(the 1910s) and 4.3 Incident(1948), it could maintain the originality of Jeju dance culture. The forms of dancers in <Tamra Soonryeokdo(耽羅巡歷圖)> [Jeongeui Yangro(旌義養老)], [Jeongbang Tamseung(正方探勝)], [Jeju Yangro(濟州養老)] (1702) and the composition of garments and dancing helmets are the traces by Hyeong-sang Lee, the Neo-Confucianist of the Chosun era, who has made an effort to introduce and reproduce the central confucianism and do away with innumerable shrines in Jeju. In the [Tamrarok((耽羅錄)] (1764) of Jeju guru Gwang-soo Shin and [Tamrarok(耽羅錄)] of Jeju moksa(牧使) Won-jo Lee (1841), the political intention and trace of Hyeong-sang Lee disappeared, and it is on the record that only their indigenous religion has rooted deeply into their culture. Especially, the record of ‘masquerade of the exorcism on the onset of spring’ of [Tamrarok(耽羅錄)] by Won-jo Lee showed that it could never substitute the Jeju resident’s indigenous religion at any circumstances and that faith is culminated into dance. <Yipchungut Talnori> in Jeju is the collection of mindset and phase in Jeju culture. Collective dance of devotions to accommodate to the harsh natural environment turns out to be its main. Especially, Jeju island has an extraordinarily great female culture, and the women who have lived a painful life regarded their labor as play and their play as labor, and appealed their anxieties of life with the melodies and dances of Korea to god. The identity of the dance culture in Jeju is represented as the incantation towards the absolute god with a repetition of strong feminism and political fluctuation of self-effacement that has developed the labor of a cooperative farming team format into play.