경기도 남부 도당굿 화랭이·미지의 계보와 의미

Abstract

Shamanist custom of Korea is divided, centering around Han River. In the northern part of Han River, a spiritual shaman is major, while in the southern part of Han River, a hereditary shaman is major. In the case of Gyeonggi-do where Han River flows east and west, shamanist custom is same as the general type of the Korean shamanist custom so in the southern part of Gyeonggi-do, a hereditary shaman is major and in the northern part of Gyeonggi-do, a spiritual shaman is major. Dodanggut in the southern part of Gyeonggi-do is progressed in the independent, but complementary relationship between "Hwaraengi," a male shaman, and "Miji," a female shaman. A female shaman performs dances and songs that have the characteristics of sacrificial rites, and a male shaman performs dances and songs that have the characteristics of arts and plays. The existing researches sporadically examined Hwaraengi, a male shaman, and Miji, a female shaman, who take the charge of the rites, musics, dances, and plays of Dodanggut of Gyeonggi-do. This paper purports to generalize the genealogy of the performers of Gyeonggi Dodanggut based on the existing researches, and then, to summarize the characteristics of the genealogy. This paper generalized and summarized the lives and the artistic correlations of 12 Hwaraengis and Mijis (Lee, Yong-Woo; Lee, Choong-Seon; Ji, Gap-Seong; Im, Seon-Mun; Lee, Young-Su; Jeong, Il-Dong; Jo, Han-Choon; Jeon, Tae-Ryong; Oh, Su-Bok; Kim, Suk-Ja; Kim, Han-Kook; Kim, Soon-Deok). The characteristics of the genealogy of Hwaraengi and Miji in the southern part of Gyeonggi-do were as follows: First, Hwaraengi, a male shaman in the southern part of Gyeonggi-do succeeded to the artistic hereditary right through family succession from a father to a son. Secondly, Miji, a female shaman in the southern part of Gyeonggi-do succeeded to the religious master and disciple right through the mother-in-law and daughter-in-law succession in a sub-family from a mother-in-law to a daughter-in-law. It is assumed that the hereditary shaman family of Hwaraengi could secure the artistic hereditary right and the religious hereditary right through the family succession and the sub-family succession. Third, the union of hereditary shaman families through marriage played an important role in that a regular site was made and expanded, and the formalities and the arts of Dodanggut could be exchanged up, down, left, and right. Along with the decline of Gyeonggi Dodanggut, it is difficult to find a performer of Dodanggut, but the existence of the descendants of the hereditary shaman families, who still succeed to Dodanggut, encourages further studies to be carried out continuously.