내림굿의 굿거리 형성 과정과 특징 －광주지역 강신무굿을 중심으로－ (Formation Process and Characteristics of Gutgeori in Naerim Gut(Shamanistic Rite) －Focusing on spiritualistic shamans in Gwangju area－)

서지정보

· 발행기관 : 남도민속학회
· 수록지 정보 : 남도민속연구 / 21호 / 111 ~ 142페이지
· 저자명 : 이영금

초록

이경화의 굿에서는 판소리뿐만 아니라 민요나 가요들이 많이 차용된다. 또한 그녀는 4박자의 곡조나 판소리 곡조에 자신이 직접 지은 가사를 창작하여 노래를 부르기도 한다. 이경화 굿패의 내림굿에서는 <안당> 과정이 중복되는 현상이 나타난다. 무의식 연행자들은 자신이 모시고 있는 몸주신들이 각각 다르기 때문에, 자신들이 맡은 굿거리 첫머리에서 각자의 몸주신을 청배하여 굿 내력을 아뢸 수밖에 없다고 한다. 무무는 대체로 여러 신들을 청배하거나 오신(娛神)할 때 연행되는데, 이경화의 무당굿에서는 세습무의 춤과 강신무의 춤이 혼재된 현상을 보이고 있다.
이경화와 이장단이 한 거리씩 맡아 서로 다른 방식으로 무의식을 진행하기 때문에, 전체 굿의 흐름이 조화롭지 못하다는 한계가 나타나기도 한다. 이러한 세습무굿과 강신무굿의 부조화를 그나마 해소시켜주는 것이 악사의 기능이라 할 수 있다. 악사들은 장구·꽹과리·피리·대금·아쟁 등의 숙련된 연주와 구음·추임새·바라지창∼살대답 등으로 강신무굿과 세습무굿을 통합시켜 나가고 있다.

영어초록

The Lee, Kyeong Hwa’s ritual group was organized in combination of hereditary shamans, spiritualistic shamans and Buddhist priests but since the shamanistic rite covered in this study was the rite supervised by a spiritualistic shaman, Lee Kyeong Hee, the key performer of the rite must be the shaman, Lee Kyeong Hee. The shaman, Lee Kyeong Hwa presides over the processes of gutgeori for the spiritual God in her body and shamanistic rite in which the client of rite receives a spirit possession of the whole gutgeori. Since Lee, Kyeong Hwa believes that the spiritual rite is done well when she invites and worships the spiritual God in her body, she perceives that the rite for the spiritual God in her body is the most important gutgeori of the whole gutgeori.
Sometimes, Lee Kyong Hwa puts a part of pansori in the shaman’s rite to sing pansori when she performs her rites. In <Hanryang Gut>, she appears in male attire of a hanryang(man about town) and sings ‘Gogocheonbeon’ as a part in the Jeokbyokga Song with a folding fan in her hand. In the riot by Lee, Kyeong Hwa, not only pansori but also many folksongs or popular songs are borrowed. Also, she sings often songs in quadruple tunes or pansori tunes with her own created lyrics.
In the shamanistic rite in combination of hereditary shamans, spiritualistic shamans and Buddhist priests, it appears the phenomenon to show the overlapped process of <andang> repeatedly. Those performers of ritual ceremony have each different spiritual God in their body and it is said that they have no way but to inform the history of rite while inviting and worshipping their own spiritual God in the body in the beginning of gutgeori.
Shaman’s dance is performed normally when shaman worships or praises many Gods and it shows the state in which the dances of hereditary shaman and spiritualistic shamanare mixed in the shaman dance by Lee, Kyeong Hwa.
Since Lee, Kyeong Hwa and Lee, Jang Dan perform the shamanistic rite in different ways each other taking each one part, it shows the limit of which the whole flow of rite is disharmonious as well. It is considered that musicians play the role as the function to settle a little bit such disharmony between the rites by hereditary shaman and spiritualistic shaman.
Musicians are integrating the hereditary’s rite and the spiritualistic shaman’s rite by their skilled performances of janggu, ggwenggari, piri, daegeum and ajaeng as well as gueum, chuimsae, batajichang and saldaedab.

참고자료

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