별신굿 무무의 비교연구 별신굿 무무의 비교연구
A comparative study on Shaman dance of Byeolshingut
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초록
본연구는남해안별신굿과동해안별신굿의춤사위및춤에대한고찰및 비교․분석을하였고그결과별신굿무무(巫舞)의공통된점과각개별별신굿무무(巫舞)의차이점으로도출하였다. 이에 다음과같은결론을 얻었다. 1. 남해안과 동해안의 별신굿의 무무(巫舞)는 주요반주장단에 따라 그 명칭이 정해진다. 2. 남해안과 동해안의 별신굿의 무무(巫舞)는 주요무구(巫具)의 사용에 따라 그 명칭이 정해진다. 3. 별신굿무무(巫舞)의‘좌우치기’ 춤사위는남해안과동해안모두사용되며, 용어사용은각기다르지만동작의 형태는 유사한 춤사위가 있다. 4. 별신굿는불교적인요소가많이내재되어있는데남해안별신굿은큰굿의의례에서많이나타나는반면 동해안별신굿은 무무(巫舞)에서 불교적 색채가 나타난다. 5. 남해안별신굿의춤사위는‘춘앵무’의춤사위와유사하며 뛰는동작이없는 점, 발바닥을보이지않는점, 동선이크지않는점등은궁중무용의절제와동양의미학을보여주는것이다. 반면동해안별신굿은반주장단의 빠르기에 따라 도약하기도 하며, 다리를 높게 올릴 수 있다. 6. 남해안별신굿은주로혼자추는독무(獨舞)의경우가많으나, 동해안별신굿은남녀대무(男女對舞)와군무(群舞)를 춘다. 7. 동해안별신굿은위로뿌리는동작및돌리는사위가많으나남해안별신굿은‘윗사위’ 이외에는존재하지않는다. 이것은남해안별신굿무구(巫具) ‘큰머리’를착용해야함으로위로뿌리거나돌리는사위는제한되어 있다. 별신굿의무무(巫舞)는우리고유의문화예술임에도불구하고무무(巫舞)의특성으로인해통일된표기와분류의 어려움을겪고 있다. 이것은별신굿무무(巫舞) 종류의손실및 전승발전의저해요소임으로 각지역별별신굿의특성을최대한살려제의절차에따른무무(巫舞)의정확한기록작업이우선시되어야할것이다.
Abstract
This study attempted to make an investigation and comparative analysis of the movement and dance of south-coast Byulsingut and east-coast Byulsingut. Based on it, it sought to elicit the commonality and difference in shaman dance between them. As a result, the following conclusion was drawn: 1. Shaman dance of Byulsingut in the south coast and the east coast is designated according to major accompanied rhythm. 2. Shaman dance of Byulsingut in the south coast and the east coast is designated according to the use of major shamanic props. 3. The ‘jwauchiki’ movement of the shaman dance of Byulsingut is used in both the east coast and the south east of Korea, and there is the movement different in the terms used and similar in the form of motion. 4. Byulsigut contains many Buddhistic elements, which are much shown at the rite of the large exorcism in the south coast, whereas the Buddhistic color appears in the shaman dance of east-coast Byulsingut. 5. The dance movement of south-coast Byulsingut is similar to that of ‘Chunaengmu’. Seeing it has no jumping motion, making the sole of the foot invisible, no large traffic line, they demonstrate the self-restraint of court dance and the aesthetics of the East. On the other hand, east-coast Byulsingut may represent the jumping motion and leg-lifting motion according to the tempo of the accompanied rhythm. 6. In many cases, the solo dance is largely performed in south-east Byulsingut, but man-woman pas de deux and group dance are performed in east-coast Byulsingut. 7. East-coast Byulsingut contains many upward-spraying and turning motions but south-coast Byulsingut contains only the motion of ‘wutsawi’. The movements of spraying upward or turning are limited in south-coast Byulsingut because the shamanic prop of ‘large head’ has to be worn. The shaman dance of Byulsingut has difficulty with the unified designation and classification due to the characteristics of shaman dance in spite of Korean-specific culture and arts. Since this is the impedimental element to the success and development of shaman dance of kinds, the accurate work of recording shaman dance according to the procedures of the rite should be preceded by taking advantage of the characteristics of Byulsingut in each region.