명인 조갑녀의 민살풀이 춤에 관한 연구 = A study on Min Salpuri Chum by Master Jo Gap-nyeo

다국어 초록 (Multilingual Abstract)

A study on Min Salpuri Chum by Master Jo Gap-nyeo

Chung Kyung Hee.
Avisor:prof. Park Joon Hee Ph.D
Department of Physical Education.
Graduate School of Chosun University
This study is laying the significance on considering Min Salpuri Chum(Sinawi) by Jo Gap-nyeo who has tried to keep the archetype of our dance on the basis of the subjectivity of traditional art which preserves national originality in the 21century of culture. A word called the archetype in the dance acting as a body may be irony and abstract. It is difficult to maintain wholly the archetype of dance in the mental and physical change and the periodic and historic sides because the dance is the art to make deliver spirit to the body and is expressed differently according to the individual thoughts and emotions.
This study, as a counterplan for right maintenance and succession, is for the purpose of verifying a role of practical value in the modern performance fields for Min Salpuri Chum by Jo Gap-nyeo due to expecting to play a re-creative role of traditional dance to take national character as security. For its study course to achieve this aim, first of all, I made use of autobiographical interview method in depths as a frame to analyze the informations of Min Salpuri Chum by Jo Gap-nyeo.
I researched the documental study materials related with Salpuri Chum and referred to the interviews for a long time about the life history of Jo Gap-nyeo as a practical materials for a study case. Moreover, the revelation period of Min Salpuri to be put-out through experts' opinions(interview, column, advice, historical investigation, explanation, witness, talk, etc.) on the related site is verified.
Chunhyan festival which has a history over half a century, about 80 years as the traditional event to consider culture creativity as a core is the oldest all over the nation. The 1st Chunhyang festival made the national spirit hidden under Japanese imperialism be woke up and the artistic reappearance and value be upgraded. This festival, which supervised and opened in the Namwon Kisaeng(Korean Traditional Arts), was composed of creative thoughts of arts and the first stage where Jo preformed her dance.
Nowadays, our traditional dance is preserved through performances and handed down orally by artists. Through this study about the life history of master Jo Gap-nyeo as a history dance in the Namwon Kisaeng(Korean Classic Arts), I felt actual importance of the gestures and spirit soaked through national spirit of traditional artists in a times.
Moreover, as the skill possessor, master Jo emphasized the creative power as reminding me to say "Dancing learns clearly through a master and must have one's own dance". Our dance is recognized as the excellent art with improvisation which anyone can't dance samely and I woke up it as the theory to soak through our traditional transmission notion. This is the dance philosophy that master Jo, as the skill possessor, hands down to the junior scholars

목차 (Table of Contents)

• 목 차
• Ⅰ. 서 론 1
• 1. 연구의 배경 및 필요성 1
• 2. 연구 목적. 8
• 3. 연구의 제한점 9
• 5. 용어의 정의 10
• Ⅱ. 이론적 배경 20
• 1. 춘양제의 시대적 배경과 환경 20
• 2. 한국 전통의 시대적 고찰 22
• 3. 일제 강점기의 예인들의 춤 29
• 4. 근대 한국 춤의 성장과 발전 32
• 5. 한국 춤의 기능적 역할. 37
• Ⅲ. 연구방법 43
• 1. 연구 절차 43
• 2. 연구 범위 45
• 3. 자료 수집 45
• 4. 조사 기간 46
• 5. 조사 내용 및 자료 분석 방법 46
• 6. 문헌 고찰 및 사례 50
• Ⅳ. 결 과 75
• 1. 조갑녀의 생애사 75
• 2. 조갑녀의 민 살풀이춤 84
• 3. 조갑녀의 춤 현장 활용 범위 90
• Ⅴ. 요약 및 결론 100
• 1. 요약 100
• 2. 결론 102
• 3. 제언 103
• 참고문헌 105
• 부 록 109