기록으로 본 북춤의 형상과 의미

Abstract

The purpose of this study lies in the precise interpretation of drum dance through records and reillumination of the meaning of drum dance as Korean traditional local culture. Drum dance includes ‘Mugo’ and ‘Gomu’. Mugo is found to have a double meaning in “Akji” of Goryeosa, the Book of Goryeo History, and barely kept itself in existence as a court dance in Euigyes by dynasties. The court Mugo came in through Yeonhaengrok and Eupji as a local Gyobang dance in the beginning and end of 16th century and settled as Gomu at local Gyobangs all across the country. In other words, it was named Mugo at Court and Gomu at Gyobang. Particularly, Gomu spread into nationwide Gyobangs and developed as a local culture and art, for example, ‘Jinju Gomu’ and ‘Dongrae Gomu’. Jinju Gomu kept the uniform text with court Mugo through Gyobanggayo, the collection of 19th-century songs and dances by the gisaeng by Jeong Hyeon Soek, and developed as Gomu at Gyobang. Whereas there rarely exists essential records of the dance itself, records of ‘Jinju Gomu’ in Gyobanggayo become a solid textbook that supports a series of arguments. In addition, records of Dongrae Gomu show that the Gyobang dance came in for diplomatic purpose with the fragmented cultural records of dancing techniques, Gyobang, and Yeonhyang, and shed light on the historicity and meaning of Dongrae Gomu in the transition to the modern times. Drum dance divided into Mugo and Gomu in the stream of times and Gomu settled as a regional culture and art by the cultural backgrounds and elements of each local culture. The changes of drum dance in this process are understood as a part of inevitable development and the drum dance deserves to be a symbol of Korean traditional art with advanced artistic, academic, and historical values. The understanding and values of such drum dance are only compatible with accurate insight and standards of the dance records. Hopefully this study will establish a desirable recording system of Korean traditional dances.