재인촌 재인들의 활동상과 배뱅이굿의 성립

Abstract

This study focuses on the relationship between Baebangi-gut and Jaein Villages―a socio-cultural space that has been largely overlooked in discussions of its origin. The Jaein (Low-Class Performers), descendants of northern ethnic groups during the Goryeo and Joseon Dynasties, resided in Jaein Villages (Villages of Low-Class Performers) in accordance with the regulations of the Gyeongguk Daejeon (the Joseon Code), and engaged in both public and private performances. These activities of Jaein Villages are closely related to Baebangi-gut. First, because the Jaein were responsible for various performances in both public and private contexts―including accompanying shamanic music in Hwanghae and Pyongan Provinces, performing Gosa-sori (shamanic songs) and Woo-hee (verbal comedy)― and because many of these performers overlapped with the first generation singers of Baebangi-gut, its origin can be traced to the Jaein. Second, the fact that Baebangi-gut encompasses diverse functions and embodies comical elements that parody shamans is closely related to the activities of the Jaein, who traditionally performed Woo-hee. Third, the fact that a Jaein documented in Yu In-man’s transcription resided in a temple is consistent with the fact that Kim Gwan-jun resided in a temple. Furthermore, the fact that Onjeong-ri―the hometown of Kim Gwan-jun, recognized as the first singer of Baebangi-gut—shares cultural characteristics with other Jaein Villages supports the possibility of a connection between Baebangi-gut and these villages. Therefore, it is highly probable that Baebangi-gut emerged from or was transmitted within the performance traditions of Jaein Villages, suggesting that its formation can be reinterpreted in light of the socio-cultural background of the Jaein.