내림굿의 굿거리 형성 과정과 특징 -광주지역 강신무굿을 중심으로-

이영금 ( Young Geum Lee ) 남도민속학회 2010 남도민속연구 Vol.21 No.-

이경화의 굿에서는 판소리뿐만 아니라 민요나 가요들이 많이 차용된다. 또한 그녀는 4박자의 곡조나 판소리 곡조에 자신이 직접 지은 가사를 창작하여 노래를 부르기도 한다. 이경화 굿패의 내림굿에서는 <안당> 과정이 중복되는 현상이 나타난다. 무의식 연행자들은 자신이 모시고 있는 몸주신들이 각각 다르기 때문에, 자신들이 맡은 굿거리 첫머리에서 각자의 몸주신을 청배하여 굿 내력을 아뢸 수밖에 없다고 한다. 무무는 대체로 여러 신들을 청배하거나 오신(娛神)할 때 연행되는데, 이경화의 무당굿에서는 세습무의 춤과 강신무의 춤이 혼재된 현상을 보이고 있다. 이경화와 이장단이 한 거리씩 맡아 서로 다른 방식으로 무의식을 진행하기 때문에, 전체 굿의 흐름이 조화롭지 못하다는 한계가 나타나기도 한다. 이러한 세습무굿과 강신무굿의 부조화를 그나마 해소시켜주는 것이 악사의 기능이라 할 수 있다. 악사들은 장구·꽹과리·피리·대금·아쟁 등의 숙련된 연주와 구음·추임새·바라지창∼살대답 등으로 강신무굿과 세습무굿을 통합시켜 나가고 있다. The Lee, Kyeong Hwa’s ritual group was organized in combination of hereditary shamans, spiritualistic shamans and Buddhist priests but since the shamanistic rite covered in this study was the rite supervised by a spiritualistic shaman, Lee Kyeong Hee, the key performer of the rite must be the shaman, Lee Kyeong Hee. The shaman, Lee Kyeong Hwa presides over the processes of gutgeori for the spiritual God in her body and shamanistic rite in which the client of rite receives a spirit possession of the whole gutgeori. Since Lee, Kyeong Hwa believes that the spiritual rite is done well when she invites and worships the spiritual God in her body, she perceives that the rite for the spiritual God in her body is the most important gutgeori of the whole gutgeori. Sometimes, Lee Kyong Hwa puts a part of pansori in the shaman’s rite to sing pansori when she performs her rites. In <Hanryang Gut>, she appears in male attire of a hanryang(man about town) and sings ‘Gogocheonbeon’ as a part in the Jeokbyokga Song with a folding fan in her hand. In the riot by Lee, Kyeong Hwa, not only pansori but also many folksongs or popular songs are borrowed. Also, she sings often songs in quadruple tunes or pansori tunes with her own created lyrics. In the shamanistic rite in combination of hereditary shamans, spiritualistic shamans and Buddhist priests, it appears the phenomenon to show the overlapped process of <andang> repeatedly. Those performers of ritual ceremony have each different spiritual God in their body and it is said that they have no way but to inform the history of rite while inviting and worshipping their own spiritual God in the body in the beginning of gutgeori. Shaman’s dance is performed normally when shaman worships or praises many Gods and it shows the state in which the dances of hereditary shaman and spiritualistic shamanare mixed in the shaman dance by Lee, Kyeong Hwa. Since Lee, Kyeong Hwa and Lee, Jang Dan perform the shamanistic rite in different ways each other taking each one part, it shows the limit of which the whole flow of rite is disharmonious as well. It is considered that musicians play the role as the function to settle a little bit such disharmony between the rites by hereditary shaman and spiritualistic shaman. Musicians are integrating the hereditary’s rite and the spiritualistic shaman’s rite by their skilled performances of janggu, ggwenggari, piri, daegeum and ajaeng as well as gueum, chuimsae, batajichang and saldaedab.

전통문화의 원천으로서 무 문화의 갈래와 위상

이영금(Lee Young-Geum) 비교민속학회 2011 비교민속학 Vol.0 No.44

본 연구에서는 정읍 전금순ㆍ신안의 유점자ㆍ해남의 안애임ㆍ순천의 박경자ㆍ전주의 성화춘ㆍ익산의 유지연 등의 호남지역 세습무들을 중심으로 호남지역 세습무 집단의 권역과 문화적 갈래ㆍ무 문화 전승 기반과 특징ㆍ신청을 기반으로 한 전통 예술 창안 및 예능 활동ㆍ무문화의 위상과 전망 등에 대해 자세히 살펴보았다. 호남지역의 무 문화는 세습무 집단의 무업권을 기반으로 생성ㆍ전승해온 문화이지만, 세습무 집단은 무 문화만 생성하고 전승한 것이 아니었다. 무업과 연예를 겸할 수 있었던 재인들은 무 문화 속에 내포되어 있던 예술 장르를 더욱 새롭게 가공하여 다양한 전통 공연 문화를 창안해냈다. 신청은 지방 관아나 중앙 관아의 연희 행사에 동원될 예능인의 육성처이자 공급처였다고 할 수 있는데, 무부들은 신청을 기반으로 판소리 명창ㆍ기악 명인ㆍ농악 명인ㆍ줄타기 광대 등으로 성장할 수 있었다. 신청이 쇠락하던 일제강점기에는 일반인이나 기생 특히 세습무계 출신의 여자들이 신청에 가입하여 무부들의 기예를 전수받았다. 호남지역 세습무 집단이 생성ㆍ전승해온 무당굿, 삼현육각의 시나위 음악, 걸궁굿 등은 호남지역을 대표하는 무 문화의 갈래들이라 할 수 있다. 무당굿은 세습무와 재인들의 연합으로 연행되어 온 무 문화의 중심 갈래였고, 시나위는 재인들의 무속 반주 음악이었으며, 걸궁굿은 재인들로 구성된 걸궁패들이 풍물로 무의식을 행한 무 문화의 한 갈래였던 것이다. 이러한 무문화는 한국 전통 예술 문화를 태동시킨 중요한 원천이 되었다. 특히 문학ㆍ음악ㆍ기악ㆍ무용 등을 내포하고 있는 세습무의 무당굿은 판소리ㆍ기악 산조ㆍ한국 무용 등의 전통 예술을 창출하는 데 결정적인 역할을 하였다. This study has examined in detail regions where hereditary shaman troupes were active, their cultural branches, basis and characteristics of traditional shamanism culture transmission, origination of traditional arts centered on shaman temple and their art activities, status of traditional shamanism culture and its prospect, with focus on Honam’s hereditary shaman performed by Jeon Geum Sun from Jeongeup, Yu Jeom Ja from Shinan, Ahn Ae Im from Haenam, Bak Gyeong Ja from Suncheon, Seong Hwa Chun from Jeonju and Yu Ji Yeon from Iksan. Shamanism performed in Honam area are a culture which was originated and handed down based on shaman rites of hereditary shaman troupes. Shamanism culture was, however, by no means all that traditional shaman troupes created and handed down to next generation. Men and women of talents who were capable of holding shaman rites for a living and also performing art activities created a variety of traditional performing arts by newly processing art genre involved in shamanism culture. Shaman temples are considered to be places of bringing up and supplying professional entertainers called out for banquets hosted by local or central government offices. Shaman troupers could grow to become masters of Pansori, instrumental music, instrumental music of peasants or tightrope walker etc. while they were settled in shaman temples. During Japanese colonial rule when shaman temples were on the decline, ordinary citizens, gisaeng or Korean counterpart of Geisha and especially girls from hereditary shaman troupes joined shaman temples to learn exquisite arts of shaman troupers. Shaman rites, ensembles played by 6 instruments including 3 string instruments and beggar’s rites created and handed down by hereditary shaman troupes are considered to be branches of traditional shamanism culture representing Honam area. Shaman rite was the main branch of traditional shamanism culture performed jointly by hereditary shaman troupes and acrobatic tumblers. Shinawi was musical accompaniment to the shaman rite held by talented men and women. Geolgung Gut or beggar’s rite was a shaman rite performed by beggars consisting of acrobatic tumblers playing Korean folk instruments including percussion and represented a branch of Korean shamanism culture. As such, traditional shamanism culture was important driving force behind Korea’s traditional arts and culture. Especially, shaman rite held by hereditary shaman troupes, involving literature, music, instrumental music and dance played a decisive role in creating such Korean traditional arts as Pansori, Korean instrumental solo and Korean dance.

서사무가와 판소리의 상관성

이영금(Lee, Young-Geum) 한국언어문학회 2011 한국언어문학 Vol.78 No.-

Various Seosa Mugas including Chilseong Puri, Jaeseok Puri, Ogusewang Puri, Jangja Puri, Bongjangchun Puri have been handed down in Cholabuk-do area and their narratives are relatively well organized. On the other hand, sanctity contained in Seosa Muga played around this area has pretty much weakened while their stories are rather tinged with tropological lessons. Singers of Pansori were those from troupes of hereditary dances and most of them also played musical instruments for shaman rites. This lets us logically conclude that singers of Pansori had good understanding of the narratives performed at shaman rites and principles of the performance. Seosa Muga and Pansori prevalent in Cholabuk-do area have in common similar narrative structures in which characters suffering from tragic fate are eventually brought to a happy end through adversity. Narrative texts of Seosa Muga and Pansori have lots of inherent episodic components and ritual phrases. Judging from the similarity of the songs and ritual phrases contained in Pansori and Seosa Muga, we can say that Pansori is a narrative text utilizing wordings of Seosa Muga created by virtue of shaman rites. These narrative texts are structured, like performance of ‘Shinmyeong Puri’, such that they can let deep resentment harbored in your heart go and draw out healthy deific power. This is to say that Seosa Muga and Pansori portray figures suffering from resentment harbored deep in their hearts and heal it through sobbing, laughing and playing. With these methods repeated and accumulated over time, the resentment harbored by the characters melts away and eventually healthy deific power manifests itself. The vocalism and tunes used in performance of Seosa Muga and Pansori are what arouses sobbing, laughing and playing. Such musical characteristics arousing us to sob, laugh and play suggest that Seosa Muga and Pansori are works performed for the purpose of loosening up our inherent desire and allowing us to have real fun as much as we please.

국악기의 소리 시각화를 위한 인터랙티브 미디어 활용 연구

이영금(Lee Young Geum),오승환(Oh Seung Hwan) 한국멀티미디어학회 2008 한국멀티미디어학회 학술발표논문집 Vol.2008 No.2

국제화시대의 정보가 넘쳐나고 매체의 융합과 확장이 이루어지는 현재에 걸 맞는 한국의 모습 인가에 대한 의문을 가져 볼 필요가 있다. 90년대 이후 빠른 속도로 진화된 컴퓨터 기술을 이용하여 서로 다른 장르간의 결합은 시각과 청각의 특성을 통한 새로운 감성적 메시지를 전달할 수 있게 되었다. 이러한 변화 속에서 청각과 시각이 주는 공감각적 요소를 키보드와 마우스의 입력장치를 벗어나 한국 전통 찰 현악기 해금의 선율을 마이크 입력장치를 통해 실시간으로 소리의 음량을 측정하여 그 소리의 높이에 따라 실시간에 시각적으로 형상화하여 창조적인 조형 과정을 제시하는데 목적을 둔다.