한영숙류 승무에 나타난 전통적 몸관에 관한 연구 = A Study on the Traditional View of the Body Manifested in Han Young-suk Style Seungmu

다국어 초록 (Multilingual Abstract)

The purpose of this study is to examine the unique Korean “view of the body” (Momgwan, 몸觀) and its embodied worldview through the bodily movements expressed in Han Young-suk Style Seungmu. The subject was explored in terms of three research questions: 1. What are the characteristics of the movements of Han Young-suk Style Seungmu? 2. What philosophical view of the body underlies the movements of Seungmu? 3. Is there a methodology to interpret the movements of Seungmu as manifested through the traditional view of the body? The method and procedure adopted for these research questions are as follows. 1. To identify the characteristics of traditional movements in Seungmu, the 1972 video recording of Han Young-suk’s Seungmu, which well preserves the characteristics of her performance style, was analyzed. This study also investigated how this movement mechanism is transmitted to second- and third-generation learners in educational settings. The materials used for this purpose were a video of the Seungmu Jeonpan [complete version] performed by Han Young-suk, with second-generation dancers, in 1985, and another video by Lee Ae-joo, a second-generation holder, and third-generation disciples, in 1994. These materials were interpreted from the perspective of the complete participant. 2. The traditional view of the body and characteristics of Seungmu were identified through prior research and literature review, which guided this study’s analysis of the movements of Seungmu and articulation of their features. 3. The I Ching (易經, Book of Changes) was employed as a methodological preliminary ground to interpret Seungmu’s movements. It holds legitimacy as a long-studied classical text of Eastern philosophy, and this study marks the first analysis of Seungmu’s movements through Palgwae (八卦, Eight Trigrams), an essential constituent of the I Ching.
The results of this study can be summarized as follows. Regarding the first research question, the characteristics of Seungmu’s movements, this inquiry identified torso movements and a lowered gaze, corresponding to the Gulsin [action of bending and stretching] of the knees, confirming this as a phenomenon also observed in most Korean traditional dances. The second research question, concerning the philosophical foundation of Seungmu, revealed a harmonious [圓融, perfect harmony in Buddhism] view of the body, embodied particularly through Gungguligi [circular, enveloping motion], a unique movement of the Han Young-suk style Seungmu. The third research question proposed Palgwae of the I Ching as an Eastern methodology for interpreting Seungmu and applied it practically to the exploration of this Korean traditional dance. However, this study acknowledged the limitation that the nature of a divinatory text prevents the I Ching from attaining perfect objectivity.