한국 전통춤의 분류와 양식적 특징 -정병호의 분류법 검토를 중심으로-

이병옥 ( Byoung Ok Lee ) 한국공연문화학회(구 한국고전희곡학회) 2013 공연문화연구 Vol.0 No.27

이 연구는 전통춤의 유형을 분류하고 장르별로 양식적 특징을 비교하여 한국전통춤의 근원적 특징을 고찰하는데 있다. 전통춤의 분류는 정병호의 분류법을근간으로 문제를 보완하여 정병호?이병옥의 분류법으로 재정립하였다. 그 특징은 ①대분류로 일반화된 2대 분류(궁중춤, 민속춤)를 인정하고 상분류에서 정병호의 4분류법을 수용하여 상호문제를 해결하였다. 즉 궁중춤은 향연춤, 제례춤으로 분류하고, 민속춤은 의례춤, 민간춤, 예인춤으로 분류하였다. ②대?상?중?하분류까지 4단계로 하위분류하여 전통춤 모든 종목을 분류하는 유형분류법을마련하였다. 그중에서 특히 예인춤은 기방계춤, 재인계춤, 신당계춤의 분류를 주목할 수 있다. ③여러 가지 분류방식도 상황에 따라 필요하겠지만 기능적, 직능적, 사회적, 예술적 개념을 종합한 통합분류로 정립하였다. 이어서 전통춤의 분류법에 입각하여 유형별로 양식적인 특징을 고찰하고 상호 비교하였다. 특히 전통춤 2대 분류인 궁중춤과 민속춤의 양식적 특징을 비교하였고, 예인춤의 양식적 특징을 고찰하고 하위분류인 기방계춤, 재인계춤, 신당계춤의 특징을 비교하였다. 또한 민간춤의 특징과 의례춤의 특징을 각기 고찰하였으며, 민속춤의 하위분류인 민간춤, 예인춤, 의례춤의 양식적 특징을 비교표로 정립하였다. 끝으로정병호와 이병옥이 정리한 한국 전통춤의 원형적 요소가 되는 신체부위별 춤사위의 양식적 특징을 살펴본 결과, 손가락춤은 없고 주로 추는 부위는 손목춤, 손바닥춤, 팔춤, 어깨춤이다. 그리하여 손가락춤, 목춤, 고개춤 등 말초부위는 발달하지 않았다. 또한 발디딤새는 비정비팔이 중심이며, 걸음걸이는 굴신인 디딤새→돋음새→오금새, 디딤새→뜀새의 원리로 걷는다. 그밖에 특징은 수족상응춤, 3박자의 호흡춤과 엇박춤을 들 수 있다. The purpose of this study was to classify the types of traditional dance and compare the formal characteristics of each genre to examine the original characteristics of Korean traditional dance. The classification method of Byung Ho Jung was applied to classify the traditional dance, but its problems were improved to reestablish it as the classification method of Byung Ho Jung and Byung Ok Lee. Its characteristics are as follows: ① The generalized classification into two genres (royal dance and folk dance) was accepted and Byung Ho Jung`s four-tier classification in the upper tier was accepted to resolve the problems. Therefore, royal dance was classified into banquet dance and ritual dance, while folk dance was classified into ceremonial dance, commoner dance, and artistic dance. ② A classification method was established to classify all categories of traditional dance into four tiers to present it as a chart. In particular, artistic dance was classified into Gibang Dance, Jaein Dance (entertainer), and Shindang Dance (shaman). ③ Various methods of classification would be needed, but an integrated classification method was established in terms of functional, professional, social, and artistic concepts. Then, the formal characteristics of the dance were examined and compared based on the method of classification of traditional dance. In particular, the formal characteristics of royal dance and folk dance were compared and the formal characteristics of artistic dance were examined to compare the characteristics of Gibang Dance, Jaein Dance, and Shindang Dance. Also, the characteristics of folk dance and ritual dance were examined and the formal characteristics of commoner dance, artistic dance, and ceremonial dance were compared in a chart. Finally, the formal characteristics of the dance of each body part that becomes the archetypical elements of Korean traditional dance organized by Byung Ho Jung and Byung Ok Lee include wrist dance, palm dance, arm dance, and shoulder dance, while the peripheral parts of fingers, neck, and head were not developed. The foot position is Bijeongbipal and the steps follow the principle of Didimsae→Dodeumsae→Ogeumsae and Didimsae→ Dduimsae. Other characteristics include hand-foot coordination dance, 3-beat breathing dance, and off-beat dance.

송파산대놀이 깨끼춤사위의 구조분석

이병옥 용인대학교 전통문화연구소 2004 傳統文化硏究 Vol.- No.3

일본 노오(能)의 공연형식과 춤 특징 고찰

이병옥 용인대학교 1997 용인대학교 논문집 Vol.13 No.-

길 위의 선교적 영성

이병옥(Byung ohk Lee) 한국선교신학회 2017 선교신학 Vol.45 No.-

이 논문은 선교적 교회의 담론 안에서 발전된 선교적 영성과 타자의 관계를 살펴볼 것이다. 이 논문에서 ‘선교적 영성’은 선교사의 개인의 영성을 의미하는 것이 아니라 하나님의 선교에 참여하고자 하는 선교적 공동체가 추구하는 영성을 전제한다. 특별히 이 논문은 타자/이웃에 대한 관심에서 선교적 영성을 발전시킨 헬렌드(Roger Helland)와 얄머슨(Leonard Hjalmarson)의 공동저작인 『선교적 영성: 안에서부터 밖으로 하나님의 사랑 구현하기』에서 드러난 선교적 영성에 대한 이해에 집중해서 살펴보고자 한다. 하지만 그들은 선교적 영성을 형성하는데 있어서 타자의 역할에 주목하거나 크게 발전시키지는 못했다. 그러므로 이 논문의 후반부는 선교적 영성의 논의를 보다 풍성하게 발전시키기 위해서, 타자중심의 윤리철학을 발전시킨 레비나스(Emmanuel Levinas)의 타자의 이해를 선교적 영성과 관련하여 간략하게 살펴볼 것이다. 이 논문은 우리가 매일 타자를 마주하는 ‘아직’ 완성되지 않은 하나님의 나라의 실재 속에서 우리는 ‘이미’ 도래한 하나님 나라의 모습을 살아가기 때문에 선교적 영성은 길 위에 있다는 주장으로 결론을 지을 것이다. 그러므로 이 선교적 영성은 산이나 성전의 영성이 아니라 길의 영성이며, 사회적이고 윤리적인 영성이다. 왜냐하면, 이 영성은 우리가 하나님의 선교에 참여하고자 하는 한일상의 길 위에서 만나는 타자와의 관계 속에서 형성되고 발전되기 때문이다. This paper studies the development of missional spirituality and its relationship with people or the Other. “Missional spirituality” does not refer to a personal spirituality of a missionary but spirituality that the missional community pursues in their desire to participate in God’s mission. This paper pays special attention to Roger Helland and Leonard Hjalmarson’s coauthored book, Missional Spirituality: Embodying God’s Love from the Inside Out, which developed missional spirituality through their interests and concern for the Other. It should be noted that Helland and Hjalmarson did not further develop or emphasized the importance of the Other in developing missional spirituality. Thus, in order to fully discuss missional spirituality, we will take a closer look at Levinas’s understanding of the Other in the second half of this paper. This paper will conclude that the missional spirituality is on the road because we live out the ‘already’ aspect of God’s kingdom in the ‘not yet’ reality in which we face the Other every day. In conclusion, this paper will argue that a missional spirituality should be a spirituality not of the mountain or the temple, but of the road, and that it should be a social and ethical spirituality. The reason is that it is formed and developed when we encounter the Other on the road in our daily lives when participating in God’s mission.

佛敎儀式舞踊의 나비춤에 含有된 動作美 分析

李炳玉,林靑和 龍仁大學校 1995 용인대학교 논문집 Vol.11 No.-

This study analyzed the names of dances differently compared with the existing one, and there are Baerae style(배래 사위), Humjong style(험종 사위), Palgusoo style(팔거수 사위), Jungiee style(정지 사위), Goopimkaegie style(굽힘깨기 사위), Jungiog style(정족 사위), ongsoobae style(옹수배 사위), Yangsoohap style(양수합 사위), palsoochag style(팔수착 사위), Hoewonban style(회원반 사위), Punsoo style(평수 사위). Kopongori style(꽃봉오리 사위), Yonkot style(연꽃 사위), Hajchae style(학체 사위), Kulshinsoo style(굴신수 사위), Jwawoochigi style(좌우치기 사위), Ureuneun style(어르는 사위), Hanbaldeun style(한발든 사위), Balgoopim style(발굽힘 사위), Majeum style(맺음 사위) etc. in the style of dances. The harmonic line succession of them express the Nabichum. These names of dances are included in the Shixdangjakpub of Yungsanje the most magnificent and luxurious, and Dangjwa leads the whole ceremony, Dangkyung takes the role of playing the bell and Woonban and a couple of Tajoo perform the dances named Tahoo, Barachum and Nabichum. I expect that the study by an on-the spot investigaion concentrating on the action of dance instead of the history of dance will help following researchers. Nabichum has the feature of gracious, cautious and refined beauty. Also the Kumjogbaerae taking a serious view of the rhythm of Bumpae and Worshiping in the first beat makes the form of Nabichum. Nabichum has following basic elements Hapiangchak style(impressing the one mind with the joined hands fixed on the chest), Palsoojog style(impressing the respect with the arms crossed), Pyung style(wearing unfolded arms, bending the knees slowly), Yangsoohab style(dropping and raising the wrists wish the body pointed at this building that contains a statue of Buddha), Hak style(raising the Dopo dress like a crane unfolding the wings), Juawoota style(drawing a lotus blossom by the both hands with the eyes seeing right and left at 45 degrees) and Mooyo style (moving the arms like butterfly, bending the knees simultaneously). Nabichum is seldom spreading in public because it can't be approached with out the special performances by Buddhist priests. That's because conflicting thoughts between the succeeding situation and limited formation that the art of Dance includes. though the history of Buddhism is very long considering that it was introduced into Korea in the period of the three Kingdoms and it has mixed with folk belief and realistic desires of people. Buddhist dance has admitted the tradition of Korean public culture and contributed to the creative development of Korean dance. that is to say, the procedure of Buddhist ceremony performing Buddhist dance has rearranged accepting the traditional folk belief. But we can recognize that Bumpae and Jakpub have kept the feature of Buddhist music and dance through their melody and motion because Buddhism has accepted the folk belief with its own independence. On the other hand, the Jakpub as a Buddhist dane has affected the development of folk dane like Seungmoo(승무) But these Buddhist dances has almost destroyed today. The reason that first, since most Korean Buddhism orders head for Sunjong(선종), people don't have interest in Buddhism ceremony. Second, the interest in modernization of Biddhism ceremony has made people forget the traditional ceremony. These days, a part of Taegojong(태고종) has succeeded to the Jakub but these problem should be solved following days and aside from religious side, we should preserve it as a valuable properly.

초등학교 탈춤 교육모형 개발연구

이병옥 한국초등무용학회 1996 한국초등무용학회지 Vol.1 No.1

An Approach to a Substantial Instruction in Mask Dance Appropriate to Primary Schools as Ones of Dancing Curriculum Since the New Curriculum has been declared, primary schools have already beillg applied to this 1995. Throughout the educatlonal history of Korea, it is the first time that Mask Dancing has appeared in athletics as one of the folk dancing fields tetally nonexistence. In consideration of the above, the treatise puts its emphasis on the improvement of Mask Dancing direction appropriate to each level of schools and also on the basic situation of Mask Dances as an educational curriculum itself. 1st studied on the educational value on Mask Dance as a basic study on Mas Dancing curriculum, then the principles of selecting on what to instruct and Iastly the history of Mask Dancing and its dramatic features as a basic theory of Mask Dance. 2nd. considered what to teach and how to teach Mask Dance under the new curriculum and the status of Mask Dance in athletics, and also on the liable problems in teacning Mask Dances by using textbooks. 3rd, collected and considered all the possible types and steps of Mask Dance throughout the country and analysed the principle types and steps to select some modeis to teach and to establish the teaching plans of Mask Dance. 4th, formed a masterplan appropriate to each level of schools by integrating the above results. Some of the main points of the above master plan according to Primary schools are as follows. Teaching basic forms and steps of Mask Dances that is, teaching basic theory and practice. making them interested in Mask Dances and also making them to know precious cultural heritage

高句麗 古墳壁畵에 함유된 舞踊美 分析

이병옥,임청화 龍仁大學校 1999 용인대학교 논문집 Vol.17 No.-

I studied the dancing process of Koguryo, especially the protagonist (buried couple) portraits. They depicted not only the deceased people, his family and domestic life but the scenes of processions and sports. They also depicted architecture far example, royal courts, fortress and stable. The Wrestling tomb was one of the representative tombs in Jiban area dated the early 5th century. In this tomb, the buried couple painted in the mural were characterized by the direction of their face, their special dresses and ornaments. It is the character of this mural that the buried man appeared not in funeral but in daily. The mural of Dance Tomb was same style as that of Wrestling Tomb but much more developed. The protagonist portrait of Twin Pillar Tomb in late 5th century revealed that ultimately the murals in both areas had become in same trend. We find the dancing origin of protagonist portraits in the scene of worship on the Tumulus Mural of Koguryo. Dancing changes were related to Koguryo's the mode of living, accomparied with artistic value and individuality. In conclusion, the changes of dance connected with Koguryo's beauty consciousness and influence of adjoining nation.

원시한국무용의 유형과 특징 연구

이병옥 용인대학교 1994 용인대학교 논문집 Vol.10 No.-

고구려 고분벽화에 함유된 무용미 분석

이병옥,임청화 용인대학교 1999 용인대학교 논문집 Vol.17 No.-

高麗時代 祭禮儀式舞踊 考察

이병옥 龍仁大學校 1997 용인대학교 논문집 Vol.14 No.-

Korean people loved dance and music more than any other races. So it is not a surprising fact that they have developed dance and music as a systematic art. Koryo's music and dance laid aside surrounding countries' ones. That was why the king could rule over the country well and all of the people could live harmoniously. Therefore, the king and the feudal princes learned the dance and music of Koryo essentially. Dance has been generated in a social background with a history of mankind, and some part of it has disappeared on the one hand and some part of it has been generated on the other. For that reason this thesis attempted to clarify the social background concretely from the aspects of natural environment, village life, custom social institution, religion and belief culture and so on, and inquired into dance, classifying its function into an incantatory function, entertaining function, and artistic function. In particular, the ancient times is the living dance times, when people took advantage of dance as a means for bringing it into life, and dance has developed into several forms of dances gradually with the evolutions of the times.