편쌈 소멸의 문화사: 식민지의 근대주의와 놀이 대중의 저항 (Cultural history of Pyun-ssam, a seasonal stone play: Questing on Modernism and its blurring effects on-borderline between nationalism and colonialism)

서지정보

· 발행기관 : 한국사회사학회
· 수록지 정보 : 사회와역사(구 한국사회사학회논문집) / 86호 / 5 ~ 46페이지
· 저자명 : 유선영

초록

편쌈은 20세기 전후 조선을 대표하는, 대중이 가장 열광한 투석전 형식의 정월대보름 세시풍속 놀이이다. 그리고 상무(尙武)의 유풍(遺風)을 우려한 일제의 금압으로 소멸되었다는 것이 정설이다. 그러나 편쌈은 1890년대 말 근대계몽주의자들에 의해 가장 먼저 야만의 악습으로 규정되었고 대한제국기에 진압되었다. 1910년대 무단통치기에 거의 자취가 없어 소멸된 것으로 평가되다가 1920년대 초에 경성과 평양을 중심으로 산발적으로 재연되었으며 30년대 중반까지 드물게 지속되었다. 1920년대 편쌈은 원래 의미요소의 대체와 변형, 변칙이 진행되었으며 분명하게 놀이 주체들에 의해 저항적 실천으로 재구성되고 있었다. 이 연구는 당대 사회문화적 의미망 안에서 편쌈 소멸의 문화사를 재구성하고 이를 통해 식민지에서 근대가 어떻게 작동하고 있었는가를 탐구하고 있다. 편쌈의 소멸은 근대화를 명목상 차용한 식민주의와 근대를 문화, 도덕, 미학적 기준으로 받아들인 민족주의자들이 공조한 결과이다. 조선에서 민족주의와 식민주의는 서로 다른 방식으로 근대를 차용했지만 결국은 그 근대라는 접역(接域) 안에서 구분선과 대립각을 소실했다.

영어초록

Until the turn of the twenties century, Pyunssam, a stone play performed between two neighborhood villages as a town festival was a highly appraised seasonal folk game due to its high popularity, enthusiasm, and wildness that happens to cause a couple of deaths and casualties in consequence of using stones and stick as weapon. It starts on the year’s first full moon and usually lasts for a month at maximum. According to a common view on its extinction around 1910s, Japanese colonial governance, which concerned its main function of war-training has been mentioned as being responsible for its extinction. On contrary to this common views, I argue that the extirpation of the folk play was initiated at first by nationalists, who had power and resources to mobilize public opinions as well as government. They introduced and adopted modernization, Westernization as a prime goal of the state and were immersed in orientalism. They reproached and blamed their own tradition, folklore, popular religions, culture as a way of life and even Korean ethnicity itself as critical obstacles against modernization under the banner of enlightenment. In facts, the reformist government launched at 1897 began to oppress the game by coercive measures. Under the Japanese Occupation, especially during the 1910s, the play was felt among Koreans as totally vanished. But, in the early 1920s, the game was revived and lasted through the mid-1930s even under the harsh prohibition by Japanese polices. The form, dates, a certain rules and rituals of the game was reconstituted in ways that could avoid watch-over and violent suppression by the police. I argue that those strategic reconstitution of game codes and aggressive performances are resistant practices against the colonizer, Japan considering its guerillar type maneuvers. In summary, nationalism and colonialism had resonated and co-worked for extinction of the play in consequence. The two seeming hostile and incommensurable ideological formations could/would resonate and collaborate with each other in the process of being motivated and led by desire for modernization and enlightenment of nation. Especially, nationalist modernist would step in and collaborate with colonialism, because the borderlines between them became ambiguous and blurred in a process of getting obsessed with modernity.

참고자료

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