옹기장의 정체성 변화에 따른 가업 계승에 관한 연구 : - 울산시 옹기 마을의 사례를 중심으로 = The Change of Onggi Makers’ Identity and the Succession of Their Family Businesses

다국어 초록 (Multilingual Abstract)

This study aims to examine the social and cultural reasons why young people in an onggi (or pottery with a dark brown glaze) village in Ulsan where the production of onggi is very vigorous have chosen to become an onggi maker, a kind of traditional handicraftsman. Such a phenomenon found in the village is contrary to the general situation in Koran society which the use of onggi (a kind of traditional living instrument) and the number of onggi producers are rapidly decreasing due to industrialization and urbanization.
The present research discusses the change of onggi makers to find out which factors have made the young to choose the occupation. It also analyzes the change of onggi producers’identity. Furthermore, it considers how young store owners have succeeded their family businesses. For the purpose of this study, I interviewed the first and second generation onggi manufacturers in the village and performed participant observation on diverse activities related to onggi production. The first generation onggi makers were designated as the Ulsan Intangible Cultural Asset in 2009.
The major findings of this research are summarized as follows:
First, both the perception of onggi producers and their external environments have significantly changed. Onggi has been long used not only for the fermentation of foods such as kimchi, soybean paste and red pepper paste, but also for the carry or storage of crops. However, due to industrialization and urbanization, the use of onggi has reduced. Hence, it was expected in Korean society that onggi will disappear. Onggi, however, recently, started to be in the limelight with the increase of attention for well-being, eco-friendly products and traditional food. Moreover, the Culture and Tourism Resource Project has been carried out in Ulsan. This Project is a part of local development policy based upon its local traditionality and identity, and has been applied to the onggi village. Accordingly, the onggi manufacturers in the village have become subjects producing cultural values, not handicraftsmen making simple products. Such a change became to greatly affect their lives.
Second, the change in the social environments surrounding them brought about the enlargement of their roles and resulted in the change of their identity. In the past status society, the social position of onggi producers was humble. Recently, however, they began to take a role as teachers owing to the succession of the onggi production technique and the increase of experiential tourism. Also, the traditional onggi manufacturing process is attracting visitors who feel that they are in a live museum. Onggi manufacturers are now regarded as both performers and artists. This change of their roles made them becoming ‘master artisans’ who produce cultural values, not ‘jeomnoms’ (onnggi makers in a belittled meaning). Settling in the onggi village, their social position was restructured from wageworkers to business owners.
Finally, the change of their identity is also identified by both the change of their succession recognition on the job and the form of succession. The first generation onggi producers did not want to transmit their occupation to their children. This is because the occupation was long considered as a menial one. Their children also wanted to get a white-collar job after completing their higher education. However, both social influences and the restructuring of their identity led them to the succession of their family businesses. Among the eight onggi store owners in the village, seven are planning to turn over their businesses to their children. Compared with the first generation, the second generation is experiencing different conflicts and is establishing its own community.
The current study explored how the change of onggi makers’ identity and their changed identity have affected their lives. The previous studies related to onggi had focused only the change of the production method of onggi or the reinvention of local tradition. As a result, they have exposed limitations in understanding onggi manufacturers’ lives. This research provides an overall understanding of them by examining how the change in external environments has influenced on the restructuring of their identity and how their restructured identity has revealed. It is believed that the study partly contributes to the understanding of traditional culture and artisans in modern Korean society.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구 배경 및 목적 1
• 2. 선행연구 검토 및 연구 관점 4
• 3. 연구 과정 9
• Ⅱ. 조사지 개관 12
• 1. 외고산 옹기마을 개관 12
• 2. 연구 대상 16
• Ⅲ. 옹기장을 둘러싼 외적 환경의 변화 22
• 1. 옹기에 대한 사회적 인식의 변화 - 장독에서 예술품으로 22
• 2. 옹기 마을의 활성화 정책 - 옹기촌에서 관광지로 31
• 1) 지방자치단체의 문화관광자원화 사업 31
• 2) 옹기협회 무형문화재 지정 35
• Ⅳ. 옹기장의 역할과 정체성 40
• 1. 옹기장 역할의 확대 40
• 1) 상품생산자 및 판매자 40
• 2) 교육자로서의 역할 42
• 3) 공연예술가로서의 역할 44
• 2. 옹기장의 정체성 변화 46
• 1) 노동자에서 경영주로 46
• 2) 점놈에서 장인으로 48
• Ⅴ. 옹기장의 현대적 계승 54
• 1. 집단 내부의 갈등과 조화 55
• 1) 경쟁 관계 55
• 2) 공동 운명체 59
• 2. 전통 기술 단절과 가업 계승 61
• 1) 전통 기술 전승의 약화 62
• 2) 가족 내 계승 66
• Ⅵ. 결론 72