영남춤의 생태민속학적 고찰 (Studies of the Folk Ecology of the Yeongnam Dance)

서지정보

· 발행기관 : 한국무용연구학회
· 수록지 정보 : 한국무용연구 / 29권 / 2호 / 81 ~ 103페이지
· 저자명 : 이병옥

초록

본 연구는 영남지방 춤사위의 생태민속학적 특성을 종합적으로 접근하여 보편적 특성만을 귀납적으로 도출하는 인류학적 방법으로 연구한 것이다. 연구내용과 절차는먼저 영남춤의 형성 배경을 조명하여 영남지방의 문화권적 특성과 결부된 춤의 특징을 고찰하고, 다음으로 영남춤의 특성을 고찰하였다. 연구결과로 나타난 영남지방의생태환경적 배경으로 나타난 춤 특징은, 1. 기후적으로 영남춤은 추운지방의 ‘수직춤’과 더운지방의 ‘수평춤’이 혼재되어 ‘수직·수평춤’의 특징으로 입체성이 강하다. 2. 산악지대의 ‘상향춤’과 평야지대의 ‘하향춤’이 혼합되어 ‘상향·하향’이 복합된 상하진폭이큰 날개사위로 학춤사위같이 춤폭이 넓고 비교적 활달한 특징이다. 3. 영남지방은 추석·단오복합문화권으로 춤·노래(들놀이, 별신굿)로 수직·수펑적이며 평면적·동적인춤, 한(限)과 신(神)의 복합된 멋(美)의 정서, 압지무, 배김새, 흥겹고 여흥적인 어르는춤이라 할 수 있다. 4. 역사적으로 신라 천년과 양반세도문화의 형성으로 남성중심의 한량춤과 양반춤, 교방춤과 같은 풍류춤이 발달하였고, 서민들은 반항적인 양반풍자탈춤과 활기찬 활개춤과 배김새춤이 발달하였다. 5. 메나리토리의 민요와 굿거리류의 덧배기장단춤으로 특유한 투박함과 남성미가 넘치는 신명과 흥이 절로 나오면서활기차고 진취적이면서 춤집이 큰 춤사위, 흥(興)겨운 춤, 태(態)가 좋은 춤이 발달하였다. 민속춤의 유형에 따른 영남춤의 특징은, 농악춤에서는 남성적이고 원박적인 리듬의 오북춤, 화려한 고깔소고춤, 지신밟기춤이 발달하였고, 오광대, 야류탈춤에서는양반풍자의 오양반춤과 말뚝이춤이 중심이 되어 덧배기춤과 배김새춤과 중년적이며어르는 허튼춤이 발달하였으며, 소리춤인 안동놋다리밟기, 영덕월월이청청은 소리보다는 춤과 놀이성이 발달하였고, 허튼춤은 절구대춤(도구대춤), 황새춤(학춤), 활개춤, 몽두리춤 등 흥겹고 활기찬 덧배기춤과 학춤, 두꺼비춤 등 흉내춤 발달하였고, 땅기운이 솟아오르는 천상지향춤과 땅에 배기는 배김새춤 등이 특히 발달하였다.

영어초록

This study has purpose in examining the unique regional characters of the Yeongnam Country Dance from an approaching method of the Fold Ecology. The study method was a reflection of the Yeongnam Dance’s forming background and its weather and regional environment, history and Sese Customs, the musical factors, and a consideration of the clear regional characteristics of Folk Dance in Nongak-Dance, Tal-Dance, Sound-Dance, Huteun-Dance, and etc..
The regional characteristics of the folk ecology of the Yeongnam Dance are the following,1. The dance in the southern province was the Supyeong-Dance due to the warm climate in the southern province and also included the coexistence of Sujik-Dance in areas among the mountains.
Geographically, this area was a blended culture influence by mountain ranges and plains which was represented by the Dimensional-Dance, a combination of the Doyak-Dance and Gulshin-Dance. And accordingly,the coexistence of the Sanghyang-Dance and Hahyang-Dance with the formulation of a Sangha-Jinpok with abroad Nalgae-Sawi developed the Crane-Dance-Sawi. 2. Individualized-Dances such as the Individual-Hutten-Dance and the Individual-Satire-Dance were developed due to the formulation of individual culture from the difficulty of traffic among the mountain sand the regional and family’s unsociable propensity. 3. Historically, from the 1000 years of Shinra’s main culture and the formation of the Yangban-Sedo-Culture,male-dominated dances such as the Hanryang-Dance and Yangban-Dance were developed, and the Gyobang-Dance and Peungryu-Dance were developed. On the other hand, defiant dances by the common people such as the Yangban-Satire-Dance, the Vibrant-Hwalgae-Dance, and the Baegimsae-Dance were developed.
4. Menaritori-Folks songs and specialty dance according to the Gutguri-rhythmical dancing, Joyful-Dancing, Dancing with good forms were developed.
The characteristics of Yeongnam Dance following the patterns of Folk-Dance are the following: 1. For the Nongak-Dance, the masculine and Wonbak-rhythm Ohbok-Dance and the fancy Gokkalso-Dance were developed. 2. For the Ohgwangde and Yaryu-MaskDance, the satire of Yangban became the main characteristic of the Oh-Yangban-Dance and the Malddugi-Dance, and the Dutbaegi-Dance, Baegimsae-Dance, and the freestyled Hutten Dance were developed. 3. Sound Dances such as the Andong-Notdari-Treading and the Youngduk- WolWolee- Chung Chung had more development in the are as of dance and play fulness rather than the sound itself. 4. The Hutten-Dance developed the Julgudae-Dance(Dogudae-Dance), Stork Dance (CraneDance),Hwalgae-Dance, Mongduri-Dance and etc., and merryand vigorous Imitation-Dances such as the Dutbaegi-Dance, Crane-Dance,Toad-Dance, and etc.. 5. Historically, masculine dances were more developed regarding the Cheyoung-Mu, Hwangchang-mu, MaskDance,and etc...
In conclusion, the characteristics of the Yeongnam Dance were the development of the Sangha-Sawi, Dimensional-dance, Doyak-Dance,Dutbaegi-Dance, Baegimsae-Dance, Nalgae-Sawi, Crane-Dance-Sawi,and etc...

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