이매방류 살풀이춤에 나타난 동시성 및 순환성 요소와 그 함의에 관한 연구

Abstract

To create a basic methodology for the analysis of visible movements in traditional dance, this study evaluated the emergence of spiritual source elements and analyzed the implications, focusing on the case of the Lee Mae-Bang salpuri. For example, the emergence of simultaneity and circularity was confirmed in relation to the principle of samil in traditional ideas such as Han thought, cheonjiin, and taegeuk doseol. With this standard setting, the dance motion gestures were proposed by dividing them into gulshin, jwausese, buang, and samjeolbeob. During this study, three experts in salpuri were interviewed about the reconstruction of gestures and their application in dance movements, and then the presence or absence of simultaneity and circularity was measured for each movement and item by three other experts. As a result, all evaluators said that simultaneity and circularity appeared in gulshin in four motions, ing-a geoli, jwa-u geoli, ape-ppu-lyeo-chyeo, and yeonpoongdae, Also, jwause’s simultaneity and circularity were less pronounced only in the ing-a geoli dance part and appeared in all the other movements. But simultaneity and circularity appeared only in ape in the buang, and fewer or almost none of the others. The meaning of this simultaneity is thought to be one mass that includes homeostasis and wholeness. And the circulation in dance moves is basically visible in the movements of yin and yang. Their relationship is said to be one concept in one ideology, but the concept of wholeness includes positive and medium. In terms of one to three or three to one, it can be said to be one and three at the same time. These dance movements have dance principles, including simultaneity and circulation, and appear to be intertwined. In other words, the combination of simultaneity and circularity appears as a characteristic of the dance movements, and these movements are well displayed in the Lee Mae-Bang salpuri dance. Considering these results, this frame can be used as an expert evaluation method in the field of movement analysis of traditional dance where there is ambiguity. However, there is still room for interpretation and reconsideration as to whether some of the points that appear in Buang in simultaneity can be seen as wholeness and unity.