한;중;일 동물모방춤의 비교 분석

국문 초록 (Abstract)

본 연구는 한국·중국·일본 세 나라의 동물모방춤 중 사자무(獅子舞)와 학무(鶴舞)에 대한 역사적 변천과정, 춤의 기능과 의미, 춤의 무용미적 가치를 비교ㆍ분석하여 그 특징과 공통점·차이점을 밝힌다. 그리고 한국 전통무용이 처해 있는 현 문제점을 파악하여, 전통무용에 대한 국민의 의식개선, 전승교육, 학교교육에서의 전통무용의 필요성을 밝혀, 그 위상을 높이는 데 연구의 목적을 두었다.
춤의 기원은 신과 직결되어 있다. 제의(祭儀)의 함유로 인해 춤은 인간과 신이 하나로 연결되는 것이다. 어느 곳이나 그 지방이 가진 제의에 따른 독특한 춤이 있고, 제의의 변화에 따라 춤도 함께 변화·발전된다. 따라서 그 지방의 춤은 민족의 생활상이 반영된 중요한 문화재로서 그 사회와 역사, 문화적 생성물로 지속되어 왔다. 춤은 민족과 사회생활을 유지시키면서 결속력을 불러일으키고, 신(정령)과의 교류를 가능하게 해주었다. 신체를 통해서 춤은 전승되었고, 문화의 혈맥으로 고대에서 지금까지 흘러오게 된 것이다.
이러한 의미에서 삼국(三國 ; 한국·중국·일본)에서 전승되어 발전·유지되고 있는 동물모방춤에 관한 연구를 비교·분석하여, 한국 전통무용의 올바른 전승방향을 모색하고자 한다.
전통적으로 이어온 수많은 동물모방춤 중에서, 삼국이 공통적으로 가지고 있는 사자무(獅子舞)와 학무(鶴舞)를 본 연구의 대상으로 한정하였다. 연구방법으로는 각국의 문헌자료와 관련 연구물을 분석하여 사자무와 학무를 각각 ⑴ 역사적 배경과 변천과정, ⑵ 종교적 의미, ⑶ 춤동작의 특징으로 나누어 세 가지 방향으로 접근을 시도하였다. 이러한 접근연구를 통해 한국 전통무용의 올바른 전승방향과 전통무용에 대한 의식 개선, 전승교육 및 학교교육에서의 전통무용의 필요성과 위상을 높이는 데 연구의 목적을 두었다.
연구방법의 역사적 서술은 민속학, 연극사, 역사학 및 무용사와 음악사 분야에서 연구검토 된 제문헌과 중요무형문화재 자료와 무형문화재 조사보고서 등을 자료로 활용하였고, 예능보유자와의 인터뷰와 춤사위 및 영상자료 등을 이용하였다.
본 연구는 다음과 같은 과정으로 연구목적에 접근하려 한다.
먼저 2장에서는 삼국의 무용사를 문헌자료를 토대로 정리하였다. 이러한 선행연구는 본격적인 동물모방춤을 비교·분석하기에 앞서 삼국이 가지고 있는 춤의 역사를 재검토하는 데 의의가 있다. 이를 토대로 3장에서는 삼국의 동물모방춤이 가지고 있는 역사적 배경과 변천과정, 종교적 의미에 대해 비교·분석했다. 이러한 비교·분석된 결과물을 4장에서는 심화시켜 연구결과에 접근을 시도했다. 이를 기준으로 하여 삼국의 모방춤에 대한 춤사위와 무용미적 가치를 진단한다. 이러한 진단결과를 통해 한국의 동물모방춤이 가지고 있는 현상태와 자기 검증의 가능성을 제시하게 된다.
이러한 사자무와 학무의 삼국 비교연구를 통해, 한국의 전통무용의 발전과 전승을 위하여 전통의 줄거리에서 벗어나지 않는 범위 내에서의 변화, 발전을 위한 노력이 필요하다라는 전승방향을 모색할 수 있다. 특히 전통학무의 올바른 계승과 교육을 위한 국가차원의 행, 재정적 지원과 함께, 무용관계 인사들의 관심이 요구된다.
오늘날 삼국 중에서 일본 무용이 현격하게 현대적으로 발전을 하고 있으며, 각 계층의 무용 인구가 점차 증가하는 현상을 보이고 있다. 물론 이러한 변화로 인해 일본의 무용은 전통무용과 외래무용이 혼재된 새롭고 다양한 무용이 존재하게 되었다. 이러한 변화는 일본에서 1980년대 이후 개정된 체육교육과정 속에 다양한 무용학습내용을 남·여 공통으로 선택ㆍ이수토록 한 학교교육의 영향이 컸다는데 큰 원인으로 제시할 수 있다.

다국어 초록 (Multilingual Abstract)

1) Lion Dance
Literary studies and findings from Korea, China and Japan were analyzed concerning the crane dance and lion dance out of imitative dance of animal among Korea, China and Japan. Further, this study is to examine the historical background of the lion and crane dance, their development, significance in religion and aesthetical value of the dance, aiming at finding the way of right succession of our traditional dance.
First, the historical background and development of the lion dance of Korea, China, Japan were introduced into Korea through China and then it was changed and developed to the lion dance of buddhist till Goryeo dynasty after the period of three states Shilla, Goguryeo and Baekje.
Rolled in Yi Dynasty, it was incorporated into the sacrifice of civil traditional belief due to a policy of promoting Confucianism and oppressing Buddhism and then such different lion dances become faded away changing to a satirical drama. On the other hand, the art property of the lion dance was highlighted getting adopted as royal dance.
The kinds and type of lion dance being available today are so small and not much different compared to that of China and Japan because it is believed that the lion dance of buddhism had been converted into traditional lion.
The lion dance of China was come from the ancient western asia as the lion dance technique of western China was handed over till Han Dynasty but it was influenced by the color of Indian dance and western China till Dang Dynasty over the period of North and South Dynasties. Afterwards, the lion dance of China had been developed as a traditional China lion dance mixing with its technical and elegant sense.
Lion dance of Japan was originated from the instrumental music come from Baekje Dynasty in the 7th century. This instrumental lion dance had been spreaded out mainly with temples backed up by the contemporary government as it was developed along with the buddhism. Civil lion dance was flourished along with the royal dance and music followed by the instrumental music, while the instrumental lion dance had been faded away. The lion dance still existed in Japan is called Lion Play by Instrumental Family as a dance playing by two persons, called the instrumental lion dance and royal lion dance. On the other hand, the traditional lion dance in Japan is called Lion Play of entertainment society to play dance when a man comes into the lion mask and then plays a dance. The lion dance handed down throughout the Japan is enjoyed by temple and privates having 300 different types.
Second, the significance of lion dance in Korea, China and Japan in terms of the religion has an incarnated function commonly between three nations. They regarded it as a means to pray for their hopes and happiness by making the significance of Byeoksa-Jingyeong with the exorcism and lion to be deified through the lion dance. It has also common point from the standpoint of the buddhist.
Haeseo mask dance in Korea tell the most of the story and the buddhist color is remarkable when it comes to Bongsan mask dance. Lion dance guarding and worshipping buddha was performed at buddhist event in China when the buddhism was handed down in the Period of North and South Dynasties. Lion dance with instrument music in Japan is more significant in terms of the buddhism that it was performed mainly with lion guarded by the country.
Third, features of lion dancing motion in Korea is indeed represented by the animal characteristic of lion in basic motion and dance, so it has some extra beauty by representing such emotion as "joy and anger together with sorrow and pleasure" delicately.
Lion dance in China is diversified and outstanding in terms of its technique and tricks using it as a means of martial arts. Moreover, it represents the animal characteristic and style of lion indeed giving such emotion as "joy and anger together with sorrow and pleasure" delicately and especially its active and entertainment features are more remarkable.
Lion dance in Japan has made possible for the stage play to represent the characteristic of the lion's color and hair taking advantage of the lion's unique characteristic when they showed up lion dance at Kabuki and "No" by every scene as the play title. Lion dance in Japan uses the lion as a means of martial arts and also different masks of deer and wild boar are used for lion mask.
The common point of lion dance among Korea, China and Japan is the existence of Sajarang that the Obangsaja representing Yin-Yang Five Elements of the Chinese Cosmogony Theory in five colors guided the lion. Another common point is the Ipsaja‘s motion to show up the lion's dignity.
Fourth, the progress of lion dance to hand down:
Lion dance in Korea is now entertained for only its traditional play since its designation as an important cultural asset despite it has overall aspects of the popular art. To keep up and develop such lion dance, it is necessary to make efforts for the change and development within a certain scope that is not derailed from the main contents of the tradition. Further, it should be developed as a popular art understanding that it is the culture of public itself.
2) Crane dance
First, the crane dance in Korea should be a unique Korean dance handed down in view of the fact that the crane dance has no literary data to prove the clear evidence that it was come from China or ancient western asia.
Crane dance in Korea was originated from Takbalwi theory, Ohak-Seongjung theory, folk tale of Gyebyeon-Cheonshin Gakhak Gangnim (advent), etc. but no historical background was found. However, the findings support that it was originated in Goryo Dynasty (around 1367) handing down through Joseon Dynasty.
Crane dance in China was come from Gulji-guk in ancient western asia and it has been known as a dance relating to crane in the name of Gul-Ja-Ji, etc.
Further, it is evident that the crane dance had been handed down long time ago as found in the historical literature and Hoesang-jeon excavated that the crane danced and that there was a dancing crane. Nevertheless, it is now handed down by minor races with their dances and even the peacock dance is handed down by minor races.
There is a crane dance in Japan enjoyed by Ainu tribe in Hokkaido and some other snowy heron dance and bird dance are handed down in Japan.
Second, the religious significance of the crane dance in Korea has been related with the buddhism ever since the buddhism was transmitted.
The crane dance at temple handed down by Tongdosa temple is the representative dance of the buddhist temple crane dance. The crane dance in buddhism is symbolized as a Bodhisattva or Buddhist saint, an expedient to enlighten sattva, and solemnity in the Land of Happiness. In Taoism, the crane is symbolized as a riding object of the holy spirit or it is meant eternal youth. The crane in Confucianism is symbolized as a proud noble senior.
The religious significance of crane dance in China is symbolized as a Buddhist saint (Bodhisattva), an expedient to enlighten sattva. In Taoism, it is meant eternal youth or riding object of the holy spirit. In Confucianism, the crane is understood as elegancy and noble senior.
Third, the dancing feature of crane dance among Korea and China shows that it is a kind of senior dance to resemble the nobleness of the crane and the masculine characteristic to be played by masculine priest at temple.
Fourth, the tradition of crane dance should be focused on the traditional crane dance in parallel with theory and practice through the practice of theological and systematic study on crane dance. It is necessary that those who involved in the dance subject should pay the attention along with the administrative and financial supports by the government for the right succession and education of the traditional crane dance.

목차 (Table of Contents)

• Ⅰ. 서 론 = 1
• 1. 연구목적 및 필요성 = 1
• 2. 선행연구 검토 = 3
• 3. 연구방법 및 범위 = 5
• Ⅱ. 한·중·일 무용의 변천과정 = 8
• 1. 한국무용의 변천과정 = 8
• 2. 중국무용의 변천과정 = 22
• 3. 일본무용의 변천과정 = 40
• Ⅲ. 한·중·일 동물모방춤의 분석 = 59
• 1. 한국의 동물모방춤 = 60
• 2. 중국의 동물모방춤 = 85
• 3. 일본의 동물모방춤 = 103
• Ⅳ. 한·중·일 동물모방춤의 춤사위 분석 = 124
• 1. 종합비교 및 분석 = 124
• 2. 춤사위와 무용미적 가치 = 141
• 3. 전승 방향 모색 = 153
• Ⅴ. 결론 및 제언 = 158
• 1. 결론 = 158
• 2. 제언 = 162
• 참고문헌 = 163
• 부 록 = 171
• Abstract = 182