조선후기 춤 교섭과 그 문화적 이해 (The Negotiation of Dance and the cultural understandingin the late Joseon Dynasty)

서지정보

· 발행기관 : 무용역사기록학회
· 수록지 정보 : 무용역사기록학 / 36권 / 97 ~ 127페이지
· 저자명 : 김윤지, 김운미

초록

이 글은 조선후기 춤 장르간의 교섭양상을 포착하고, 그 교섭이 가능했던 문화적 원인과 경로에 대해 고찰한 것이다. 조선후기는 정치적 안정과 경제적 잉여로 인해 민중문화의 수요 및 예술본연의 창작 욕구가 제고되면서 장르 간의 춤 교섭이 더욱 가속화되었다. 단적(端的)인 예로 성종(成宗, 재위 1470-1494)대에 창작된 <학무>는 17세기부터 각 지역 교방에서 연희되었고, 선천교방의 <항장무>는 19세기 후반의 궁중기록인 『정재무도홀기』에서도 존립했다. 또한 향기(鄕妓)가 춘 <수건춤>은 민속놀이의 과장으로 수용되었으며, 굿중패의 줄거리가 있는 <승무>는 19세기 후반에 발간 된『교방가요』의 일부 종목으로도 명시된 바 있다. 즉 궁중춤-교방춤-민속춤의 3축이 삼각대를 형성하여 일반 통행이 아닌 양방 교섭을 통해 장르별 춤의 수는 양적 팽창을 하게 되었고, 창조적 갱신을 통해서 춤의 역사적 진보가 이루어진 것이다. 그리고 그것이 가능했던 문화적 주요원인으로는 선상기 제도의 활성화 및 중인계층의 역할 강화 등을 들 수 있다. 특히 중인 계층은 18세기부터 신분상승 운동을 전개하면서 춤 문화의 관리자․향유자․행위자로 거듭난다. 각 장르의 춤과 그 춤을 추는 사람들 간의 교섭의 장(場)을 만든 주체자인 것이다. 나아가 그 문화적 경로 위에서 춤 교섭의 핵심 매개체는 교방이었고, 춤의 전이를 통해 자신들만의 무작(舞作)을 발현 한 사람 또한 무기(舞技)인 것이다. 따라서 조선후기의 문화적 다원 현상들로 인해 18세기는 서로의 춤에 관심을 둔 교섭을 위한 준비시기이며, 19세기는 춤 교섭의 상(象)이 본격적으로 펼쳐진 춤 기양(技瘍)의 절정기라고 할 수 있다.

영어초록

Political stability and economic surplus in the late Joseon Dynasty accelerated the negotiation of traditional dances in the context of the demand of popular culture, increase in the desire to make art, and awareness of popular art. Such negotiation aspects became more distinct with the revitalization of the Seonsanggi system and stronger roles of the middle class. Particularly, the middle class was changed into the manager, enjoyer, and doer of dance culture with the movement of elevation of social status in the 18th century. They were the actant that laid foundation for dancers to meet their dances. The principal media of transformation in the dance culture formed between the court and the people, between surface and substratum, and between upper and lower classes were Gyoang and government-sponsored gisaengs. They created their own dances with such an axis as the center, which increased the number of each dance and gave birth to the advancement of dance history.
What offered the core channel to the cultural diversity of traditional dances in the late Joseon Dynasty are the Seonsanggi system and the middle class. Gobang contributed to the birth of various dances as well as gisaengs of great dances. 18th century was the time for preparation of negotiation for others' dances due to cultural diversity phenomena in the late Joseon Dynasty. 19th century was the zenith of desire for expression of dances in which the aspects of negotiation started in earnest.
















This study was intended to introduce the modulation of somatic experience in Korean academic societies, which was one of the core concept of Soma Theory of Thomas Hanna. Although Somatics was introduced in Korea by several scholars and practitioners during recent decades, the concept of experiential modulations has remained vague on account of its difficulty. This study aims to eliminate the vagueness, tracing Hanna’s academic and professional background of his Soma Theory. For this study I visited Novato Institute to see Eleanor Criswell and other colleagues twice and I had chances to discuss with the Somatic Educators the vague area of Hanna’s theory. The first texts for the cross-analysis used in this study included his books, training manuals, and articles mainly written by Hanna and his colleagues in the magazine-journal ‘Somatics,’collected in Novato Institute and Myong Ji University Library.
As a result, this study clarified three modes of somatic experience, in the first-person, second-person, and third-person experience, and the modulation of somatic experience. At the same time this study was able to find their relationships to the transformation of our material-based age and the significant position and role of Somatics raised by Hanna in the mobile revolution Era.
































































<Key Words> soma, Somatics, somatic education, somatic learning, first-person experience, second-person experience, third-person experience, modulation of somatic experience

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