남북한 민속무용의 차이점 연구 (Comparative study of South and North Korea Folk dance)

서지정보

· 발행기관 : 한국동양예술학회
· 수록지 정보 : 동양예술 / 16호 / 79 ~ 104페이지
· 저자명 : 이소정

초록

남한의 전통적인 춤의 전승은 궁중무용의 경우, 국립국악원에서 보존하고 있고 종교무용들은 지금도 종교의 현장에서 보존 및 계승되고 있다. 그리고 기방무용인 예인무용은 중요문화재나 지방문화재로 지정하여 특정인에 의해 원형이 보존되고 있다. 또한 민속무용의 경우 당초에는 노동의 현장에서도 추어 왔으나 지금은 풍속이 거의 없어졌지만 마을축제로 전승되거나 보존단체에 의해 전승되어 가고 있으며, 한편으로는 직업무용단에 의해 창작된 이른바 한국무용이 공연예술로 발전되고 있다.
반면 북한의 경우, 전통적인 궁중무용이나 각종의 종교무용, 그리고 교방무용과 같은 춤은 전승되지 않고 민속무용만 전승되고 있다. 그러나 이러한 춤도 옛날 그대로 순수하게 원형을 지키면서 이어가는 춤은 없고 현대화하여 재구성한 춤들이다. 그 예가 농악과 탈춤 그리고 소리춤 같은 것이고, 아니면 8․15해방 후 새로 복원한 춤들이 많다.
그러나 북한과는 과거 문화의 단절이 있었고 거기에다 민속예술에 대하여도 과소평가되어 왔지만 알고 보면 북한의 민속예술도 우리 민속의 최고 이상에서 창출된 것이고, 또한 나름대로의 예술적 형식도 가지고 있다고 볼 수 있는데, 북한의 대표적 민속무용을 보면 우리민족의 근면한 노동생활과 아름다운 풍습을 반영하고 있는 서민창작무용으로서 춤에 서민적 정서가 차고 넘치고 지방적 특색을 띠고 있을 뿐 아니라, 춤구도와 춤가락도 자연스럽고 누구나 쉽게 추고 즐길 수 있게 되어 있는 것이 특징이 있다.

영어초록

Since North Korea officially subscribes to materialism (more specifically atheism) and communism, religious dances are totally nonexistent, and the more aesthetic dance forms enjoyed by the gentry (yangban) class are excluded as well. And folk dances in North Korea have not preserved the old forms of feudal times, but have either been altered to express a more revolutionary spirit, or replaced by so-called “mass games” involving thousands of people.
Thus the folk dances in North Korea exhibit entirely different features from our own, in theory as well as in practice, and this raises the academic question of how we are to register and characterize these differences in our own history of Korean dance.
Just as the flow of South Korean dance history since 1945 can be divided into (i) the New Dance Period, (ii) the Adoption Period, and (iii) the Development Period, so the flow of North Korean dance history can be divided into (i) the Self-Reliance (juche) Ideology Period, (ii) Interregnum [literally, the “Reign according to the Last Instructions (of Kim Il Sung)”], and (iii) the Post-Kim Il Sung Period. These divisions will enable us to understand the history of Korean dance in relation to the sociopolitical changes that have taken place in the two Koreas.
If folk dance is understood in terms of its dictionary definition, then this does provide an understanding of it common to both North and South Korea. However, it is a salient feature of folk dance in both Koreas that its forms and characteristics can more or less remain traditional or undergo transformation.
Take, for example, the transmission of traditional dances in South Korea. The royal court dances are preserved by the National Institute of Traditional Performing Arts. Religious dance traditions are preserved and transmitted even nowadays by various religious centers. And gyobang dances are designated as important cultural properties and their original forms are preserved by specialists who widely disseminate them among students and laypeople. As for folk dances, they used at first to be performed even in the workplaces, and although that custom has almost disappeared nowadays, the dances are still being transmitted through village festivals and by preservation societies. Alternatively, these folk dances, under the rubric of “Korean dance”, may be created freely and developed as performance art by many professional dance troupes.
In North Korea, on the other hand, only the folk dances are being transmitted, and not the traditional court dances, the religious dances and the gyobang dances. But even these folk dances are not preserved in their pristine original states, but instead are modernized and reconstructed. Cases in point are farmers’ folk music, mask dance, balladic dance, and various dances newly restored since the independence from Japan.
Although North Korea had loosened its bond with the past, and North Korean folk arts have been underappreciated, nevertheless its folk arts originate from the highest ideals of our folkways, and it is possible to view them as having their own distinctive aesthetic. North Korea’s representative folk dances reflect the Korean people’s diligent work ethic and beautiful customs. Created by the common people, they flow with folksy sentiments, and impart the local flavor of their own region. Not only that, but their rhythm and composition are natural and easy for anyone to perform and to enjoy.

참고자료

· 없음