한국과 중국 조선족 장고춤 공연 형식에 나타난 민족 문화 표현 비교 연구

국문 초록 (Abstract)

본 연구는 한국과 중국 조선족 장고춤 공연 형식에 나타난 민족 문화
표현을 비교문화학적 관점에서 분석하였다. 동일한 문화적 기원을 가진 전통
예술이 서로 다른 사회문화적 맥락에서 어떻게 차별화된 발전을 이루었는지를
체계적으로 규명하는 것을 목적으로 하였다.
연구 방법은 질적 비교 분석(QCA), Laban 움직임 분석법, 다중 사례연구를
통합한 다층적 접근을 채택하였다. 한국과 중국 조선족 지역에서 20명의
전문가 심층 인터뷰, 6편의 대표 공연 사례 분석, 참여관찰을 실시하였다.
주요 연구 결과는 다음과 같다. 첫째, 공연 형식 비교에서 한국 장고춤은
전통성(89.7%), 민족성(86.3%), 순수성(82.1%)을 중시하는 "보존적 정체성
전략"을, 조선족 장고춤은 적응성(91.4%), 집단성(87.9%), 융합성(84.7%)을
추구하는 "적응적 융합 전략"을 채택하였다. 둘째, 문화 표현 양상에서 한국은
수직적 우주관과 정중동의 미학을 바탕으로 한 "혈연적 공동체" 상상을,
조선족은 수평적 확장성과 집단적 조화를 통한 "문화적 공동체" 상상을 구현
하였다. 셋째, 전승 방식에서 한국의 수직적 제도 중심 전승과 조선족의
수평적 네트워크 중심 전승이라는 구조적 차이를 확인하였다. 넷째, 관객
상호작용에서 한국의 수동적 감상 문화(참여 유도율 23.4%)와 조선족의
능동적 참여 문화(67.8%)라는 대조적 특성을 발견하였다.
이론적 기여로는 "문화적 경계성 이론"을 새롭게 제안하였으며, 경계적
위치성, 적응적 정체성, 융합적 혁신의 개념을 통해 디아스포라 문화의 창조적 잠재력을 설명하였다. 또한 전통문화의 현대적 계승에 대한 이분법적 사고를
넘어선 새로운 관점을 제시하였다. 실천적 시사점으로는 문화 정책에서
한국의 과도한 보존 주의와 조선족의 급진적 변화에 대한 균형적 접근필요성,
교육에서 창조적 참여를 통한 주체적 학습의 중요성, 국제 교류에서 상호
보완적 발전 모델의 가능성을 제시하였다.
연구의 한계점은 시간적으로 현행 공연 형식에 국한되어 역사적 변화
과정의 심층 추적이 부족했고, 공간적으로는 연변 지역 중심의 분석으로
지역별 다양성을 충분히 포괄하지 못했으며, 방법론적으로는 질적 연구 중심
접근으로 통계적 일반화에 제약이 있었다.
향후 연구 과제로는 조선시대부터 현재까지의 통시적 분석, 재일조선족·
고려인 등 다른 디아스포라 집단과의 비교연구, 농악·탈춤 등 다른 전통
예술로의 분석틀 확장, VR/AR 등 디지털 기술을 활용한 방법론 개발, 그리고
무용학을 넘어선 학제간 융합 연구가 필요하다.
본 연구는 전통문화가 고정불변의 유물이 아닌 살아있는 문화로서 각각의
사회적 맥락에서 최적화된 방식으로 전승될 때 그 가치와 생명력을 발휘할
수 있음을 실증하였다. 문화적 순수성과 적응적 융합이 각각 유효한 전승
전략임을 보여줌으로써 세계화 시대 무형문화유산의 지속 가능한 보존과
발전을 위한 새로운 패러다임을 제시하였다.

다국어 초록 (Multilingual Abstract)

This study analyzed the expressions of ethnic culture in the performance
forms of Korean-Chinese Janggo dance from a comparative cultural
perspective. Its purpose was to systematically examine how traditional
arts with shared cultural origins developed differently in different
sociocultural contexts.
The research employed a multi-layered approach integrating qualitative
comparative analysis (QCA), Laban movement analysis, and multiple case
studies. In-depth interviews with 20 experts were conducted in Korean
and Chinese Korean-Chinese regions, analysis of six representative
performance cases was conducted, and participant observations were
conducted.
The main findings are as follows. First, in the performance format
comparison, Korean Janggo dance adopted a "preservative identity
strategy" emphasizing tradition (89.7%), ethnicity (86.3%), and purity (82.1%).
Korean-Chinese Janggo dance adopted an "adaptive convergence strategy"
emphasizing adaptability (91.4%), collectivity (87.9%), and integration
(84.7%). Second, in terms of cultural expression, Korea envisioned a
"kinship community" based on a vertical cosmology and the aesthetics of
Jeongjungdong, while the Joseonjok envisioned a "cultural community"
through horizontal expansion and collective harmony. Third, structural
differences in transmission methods were identified: Korea's vertical,
institutional-centered transmission and the Joseonjok's horizontal,
network-centered transmission. Fourth, in terms of audience interaction,
contrasting characteristics were identified: Korea's passive appreciation
culture (23.4% participation rate) and the Joseonjok's active, participatory
culture (67.8%).
Theoretical contributions include a new "cultural boundary theory,"
which explains the creative potential of diaspora culture through the
concepts of boundary positionality, adaptive identity, and convergent
innovation. Furthermore, this study offers a new perspective that
transcends the dichotomous thinking on the modern inheritance of
traditional culture. Practical implications include the need for a balanced
approach to cultural policy regarding Korea's excessive preservationism
and the radical changes of the Joseonjok, the importance of autonomous
learning through creative participation in education, and the potential for
complementary development models in international exchange. Limitations
of this study include its temporal focus on current performance formats,
which limited in-depth tracing of historical changes. Spatially, the
analysis focused on the Yanbian region, failing to adequately encompass
regional diversity. Methodologically, the qualitative approach limited
statistical generalization.
Future research challenges include a diachronic analysis from the
Joseon Dynasty to the present, comparative studies with other diaspora
groups such as Koreans in Japan and Koryo-saram, expanding the
analytical framework to include other traditional arts such as Nongak
and Talchum, developing methodologies utilizing digital technologies such
as VR/AR, and engaging in interdisciplinary research beyond dance
studies This study demonstrated that traditional culture, not as a fixed,
immutable relic, can demonstrate its value and vitality when transmitted
optimally within each social context. By demonstrating that both cultural
purity and adaptive integration are effective transmission strategies, this
study presents a new paradigm for the sustainable preservation and
development of intangible cultural heritage in the era of globalization.

목차 (Table of Contents)

• I. 서 론 ··········································································································· 1
• 1. 연구의 배경 및 필요성·····················································································1
• 2. 연구의 목적 및 연구 문제···············································································3
• 3. 연구의 한계점·····································································································5
• II. 이론적 배경 ·····························································································7
• 1. 장고춤의 기원과 민족무용으로서의 특성·····················································7
• 2. 한국 장고춤의 역사와 문화적 배경·····························································13
• 3. 중국 조선족 장고춤의 형성과 전승 과정···················································32
• 4. 장고춤의 민족 예술로서의 상징성과 문화적 가치···································37
• III. 연구방법 ·······························································································40
• 1. 연구 설계···········································································································40
• 2. 연구대상 및 자료수집 방법···········································································45
• 3. 분석 방법···········································································································56
• 4. 연구의 윤리적 고려 및 신뢰성·····································································63
• IV. 연구결과·································································································68
• 1. 공연 형식의 공통점과 차이···········································································68
• 2. 민족문화 정체성의 표현 양상·······································································74
• 3. 관객과의 상호작용과 문화적 의미·······························································79
• 4. 현대화와 세계화 속의 계승과 변화·····························································84
• 5. 연구결과 종합···································································································91
• V. 논의··········································································································· 94
• 1. 공연 형식의 비교를 통한 논의·····································································94
• 2. 장고춤의 민족 정체성 표현 양상에 대한 논의·········································95
• 3. 관객과의 상호작용과 문화적 의미에 대한 논의·······································97
• 4. 현대화와 세계화 속의 계승과 변화에 대한 논의·····································98
• Ⅵ. 결론········································································································ 100
• 1. 연구문제별 핵심 결과 요약·········································································100
• 2. 학문적 기여와 실천적 의의·········································································102
• 참고문헌······································································································· 105
• Abstract ···································································································· 110