한(韓),중(中) 단오 유래설과 관련 세시

김명자 ( Myung Ja Kim ) 남도민속학회 2007 남도민속연구 Vol.14 No.-

In 2005, the Gangneung Danoje Festival, Korea’s Important Intangible Culture Heritage Item No. 13 was proclaimed as a UNESCO Masterpiece of the Oral and Intangible Heritage of Humanity. Around the time of preparation for its registration as a UNESCO Masterpiece, the Chinese held the view that Dano (May 5th in the lunisolar calendar) has roots in China. However, the Korean Dano festival cannot be held to be of Chinese origin despite its many similarities to the Chinese Dano festival. There may be connections between the two in that the Chinese characters for Dano were borrowed and that the Korean cyclical rite of Dano is much the same as that of Chinese Dano, but it cannot be held that Korean Dano originated in China. It is true that Korea and China share historical cultural characteristics of older times, but before the Chinese letters for Dano were used, there existed a Korean ritual called Suritnal. Though there are a lot of similarities between the Korean Dano Festival and the Chinese Dano Festival, they are different from each other. The Korean Dano rite was originally agricultural in nature, emphasizing the worship of heaven and ancestry, while the Chinese Dano was a rite for the dead, focusing on comforting departed souls. It was rather a memorial service than the agricultural ritual. Of course, the Chinese also worshiped gods through the Dano rite. In fact, in all the 24 divisions of the year, the Chinese worshiped gods. Originally in China, the historical divisions of the year reinforced the principle that Nature, including heaven, should be obeyed. At every division of the year, various gods including heaven were worshiped. It is therefore thought that origin stories centering on specific historical figures were formed and added later on. Yet such origin stories were also valued, which reflected the Chinese public feeling of emphasizing nationalistic spirit, patriotism, and the spirit of national defense. More than anything else, the origin theory of Korean Dano differs from that of Chinese Dano. In addition, many Chinese annual cyclical rites have origin stories related to historical figures. Besides the division of Dano, the divisions of Hansik(Day for Beginning to Have Cold Food), Chilseok(July 7th on the lunisolar calendar), and Dongji(winter solstice) are respectively related with the following figures: Gaejachu, Gyeonu and Jiknyeo, and the son of Gonggongssi. Most of the 24 divisions of the year have origin stories. Korea has its own legend about the origin of Sondol, a male wind god, but still many Korean legends borrow from Chinese origin stories. Though the origin stories of Hansik, Chilseok, and Dongji stem from China, they are familiar to Koreans. The origin story of Chilseok results from a phenomenon of the stars, and that of Hansik comes from history. These origin stories have become part of Korea’s yearly division stories Korean records of annual cyclical rites include Chinese annual cyclical rites introduced to Korea along with other things from Chinese culture. The recorded explanations of Chinese annual cyclical rites were applied to Korean annual cyclical rites and were newly interpreted and recorded. Native Korean annual cyclical rites were described along with those records. Some records of such annual cyclical rites are so confusing that it is still a question whether Dano was native to Korea or was introduced from China. However, in general, the annual cyclical rites of the court were from China. Some of the court``s annual cyclical rites could have been transformed into those of the ordinary people, yet on the whole, both kinds of annual cyclical rites remained different from each other. Still others were mingled, so their origins cannot be identified. In conclusion, the Korean Dano annual cyclical rite borrowed just its name and ideology from China. Its concrete contents are composed of things Korean.

건국신화와 축제문화의 원류 - 신화주인공의 통과의례를 중심으로 -

김문태 한민족어문학회 2004 韓民族語文學 Vol.44 No.-

This treatise has been written to corroborate the interrelation between Korean national foundation myth, which is the core of Korean folk culture, and festival. I studied the rite of passage of a hero of the national foundation myth, which led to celebration for heaven(祭天儀禮) and village ceremony(洞祭), from which I considered the trait and the original flow of the Korean people's festival culture which has been experienced in every day. The heroes of the national foundation myth underwent in some important stages in life such as rite of birth, rite of being grown up, rite of marriage, rite of migration and rite of death. These are essential courses for myth's heroes to be newly born, that is, myth's heroes advanced next stage through the rite of passage and they had to overcome the ordeal accompanied by the rite of passage. These hero's rite of passage became whole nation's festival to after ages. This is source of Korean folk festival. Celebration for heaven imitated the mythic heroes' the rite of passage and this ceremony is held annually supervised or sponsored by government. Village ceremony, which is served in every town, is connected with advent of the hero of national foundation myth and this is a source of village festival.

이청준의 「축제」에 나타난 축제의 복합적 성격 연구

이경재 한국어문학회 2019 語文學 Vol.0 No.145

Festivals are so essential for humans to the extent that there is a saying called “Homo Festivalus”. However, few Korean novels have ever been written in front of the festival amid tough times. Lee Chung-joon's 「Festival」 is an exceptional work that deals with the universality of the festival. Until now, Lee Chung-joon's 「Festival」 was mainly discussed in relation to the film 「Festival」 due to his unique resume that he was created with Im Kwon-taek's film. Discussions that focus on the nature of the festival of interest in this writing are mostly based on Bakhtin's theory, focusing on the norm-destructive or causative aspects revealed in the work. By using various festival theories, I wanted to comprehensively reveal the complex nature of the festival presented in Lee Chung-joon's 「Festival」. In Chapter 2, we discussed the nature of the festival, focusing on Jun-seop's mother, or the elderly, who is rarely discussed. In this work, the mother does not stay at a simple opportunity to make the festival possible, but can be seen as one of the central nuclei that form the fundamental meaning of the festival. The festival maximizes the nature of ordinary people as a transition period by setting up an extremely unusual household experience. In addition to the transition period inherent in ordinary routine, Jun-sub's mother goes through the transition period (between the suspended animation experience and the real death) once again. It is a 'fest in a festival' that clearly shows the nature of the festival's rite of passage. Chapter 3 focuses on Jun-sub and Yong-soon, who are at odds with each other in the opposite direction inherent in the festival, the orientation of "positive orientation of existing order" and the direction of "universal destructive excess." If Jun-sub represents the ceremonial side of the festival, Yong-soon represents the Chaos side of the festival. No one has superior power in this work. The two directions show that the power changes with time and conflict. This proves that 『Festival』 ultimately deals with funeral rites as a "border phenomenon" that is full of entertainment, seriousness, freedom and order. The festival has the power to create new human beings. This aspect can be found in Yong-soon. Yong-soon was not even in a position to appear in the family before attending the funeral, but she appeared in the mourner's house, showing herself as free-spirited as ever. After the funeral, it changes once again. Yong-soon is now reborn as one who has the power to resolve the family feud. A family photo in the center of Yong-soon is a clear symbol of Yong-sun's stature. As the above discussion shows, Lee's work on the festival is a masterpiece that deeply reflects the diverse nature of the festival in the extremely rare historical of Korean literature. 호모 페스티부스(Homo Festivus)라는 말이 있을 정도로 인간에게 축제는 필수적이다. 그럼에도 힘겨운 시대 상황 속에서 창작된 한국 소설 중에 축제를 정면에서 다룬 작품은 극히 드물다. 이청준의 『축제』는 예외적인 작품으로서, 장례를 배경으로 하여 축제의 보편성과 축제의 한국적 특수성을 다룬 작품이라고 할 수 있다. 그동안 이청준의 『축제』는 임권택 감독의 영화 「축제」와 동반 창작되었다는 특이한 이력 때문에 영화와의 관련성 속에서 주로 논의가 이루어졌다. 이 글에서 관심을 갖는 축제의 성격에 초점을 맞춘 논의는 대부분 바흐친의 이론에 입각하여, 작품 속에 드러난 규범 파괴적이거나 카오스적인 측면에 초점을 맞추고 있다. 본고에서는 다양한 축제 이론을 활용하여 이청준의 『축제』에 나타난 축제의 복합적 성격을 종합적으로 밝히고자 하였다. 2장에서는 그동안 거의 논의되지 않았던 준섭의 어머니, 즉 노인을 중심으로 축제의 성격을 논의해 보았다. 이 작품에서 어머니는 축제를 가능하게 하는 단순한 계기에 머무는 것이 아니라, 축제의 근본적인 의미를 형성하는 하나의 중핵이라고 볼 수 있다. 『축제』에서는 지극히 비일상적인 노인의 가사(假死)체험을 설정함으로써, 본래 상례가 지닌 과도기로서의 성격을 극대화하고 있다. 준섭의 어머니는 보통의 상례에 내재된 과도기 외에도, 가사체험에 따른 과도기(가사체험과 진짜 죽음의 사이)를 다시 한번 겪는다. 이것은 ‘축제 안의 축제’로서, 축제가 지닌 통과의례의 성격을 선명하게 보여준다고 할 수 있다. 3장에서는 축제에 내재된 상반된 지향, 즉 ‘기존 질서의 긍정적인 고양’이라는 지향과 ‘규범 파괴적인 과잉’이라는 지향이 서로 갈등하는 양상을 준섭과 용순을 중심으로 하여 살펴보았다. 준섭이 축제의 의례적 측면을 대표한다면, 용순은 축제의 카오스적 측면을 대표한다. 이 작품에서는 어느 하나가 우월한 힘을 갖지는 않는다. 두 가지 지향은 서로 대립 갈등하며 시기에 따라 그 힘의 균형이 변모하는 양상을 보여준다. 이것은 『축제』가 궁극적으로 상례라는 축제를 유희성과 진지성, 자유와 질서가 넘나드는 ‘경계현상’으로 다루었다는 것을 증명한다. 경계현상으로서의 축제는 인간을 새롭게 탄생시키는 힘을 지니고 있다. 이러한 측면은 용순에게서 발견된다. 용순은 장례에 참석하기 전에는 이 집안에 나타나지도 못하는 처지였지만, 노인의 상가에 나타나 이전과는 달리 자유분방한 모습을 보여준다. 사실상의 장례가 끝난 이후에는 다시 한번 변모한다. 용순은 영정에 올려진 준섭의 동화책을 보며 맹렬한 분노를 표한 것과 달리, 그 동화책을 읽고 아이들에게 그 내용을 들려주기까지 하는 것이다. 이제 용순은 이 집안의 불화를 해소할 수 있는 힘을 지닌 존재로 새롭게 탄생했다고 볼 수 있다. 용순이 중앙에 자리 잡은 가족 사진이야말로 변모된 용순의 위상을 증명하는 분명한 상징인 것이다. 이상의 논의에서 알 수 있듯이, 이청준의 『축제』는 축제를 다룬 작품이 극히 드문 한국문학사에서 축제가 지닌 다양한 성격을 깊이 있게 성찰한 명작이라고 할 수 있다.

양양군 수동골 마을제사 연구

李學周(Lee Hak-Ju) 중앙어문학회 2009 語文論集 Vol.42 No.-

This thesis wrote about village rites in sudong-gol in yangyang-gun. Sudong-gol is consist of six ri include Yib-am-ri. This village is bounded with Yangyang-gun and Gangneung-si and so that it has both culture's characters. Even though is surrounded with mountain, field and sea, it didn't have any folk about sea. Sudong-gol has won many prises from folk art competitions. Beach opening rites and sun rising rites are the new folk that they had created. That is why it has very unique folk culture. we can devide the village rites into ‘tradition transmitted village rites’ and ‘modern commercial village rites’. The former has Seonangje(the festival of the local god), GiwuJe(a ritual for rain), Daewangje(rites for king) and Muhuje(rites for the childness ancester) from the ancient time. The other was started from the commercial reason and there are beach opening rites and sun rising rites. Most of tradition transmitted village rites don't exist any longer or changed. Sudong-gol is not an exception. In case of Seonangje(the festival of the local god), two places were burn down and due to the low participation one place don't perform it anymore. On the other hand, there are four places where they have kept it very well. Daewangje(rites for king) in Sangwolcheon-ri doesn't exit anymore. Giwuje(a ritual for rain) in Hawolcheon-ri can be held whenever there is a drought. Muhuje(rites for the childness ancester) has been handed down just as like tradition or transformed. Village people are keen to it and the change is quite slow. Mordern commercial rites are for producing profit related to the beach only in Wonpo-ri and Jigyeong-ri. The rites can be ceased anytime when the beach is closed permanently. However this commercial rites perform Daewangje(ritual for the sea king) which it has never done in Sudong-gol and also has very special rites such as Sansinje(ritual for the god of a mountain) and Hwasangamje(ritual for the Hwasang rock). These rites have been done on a basis of beach and has strong business wise purpose.

백제문화제 제례악무 재구성을 위한 기초연구 - 공주(웅진) 백제문화제를 중심으로 -

남성호 ( Nam Sung-ho ) 한국예술종합학교 세계민족무용연구소 2019 민족무용 Vol.23 No.-

Since ancient times, ritual ceremonies have been a national event and have been a means of securing the legitimacy and legitimacy of power and gaining recognition. So the ritual is at the forefront of national ideology. Although Baekje Cultural Festival, which has a history of more than 60 years, has established itself as a regional festival, it is questionable whether it functions in a way that does not suit the reputation of being one of Korea’s representative festivals. Festivals have traditionally had their own structures different from event events. It has the ritual structure of the spirit-Osin-Songshin, which makes the gods happy, conveys the will of man to God, and then returns the god. The festival as a modern cultural event does not necessarily have to be a medium for the gods, but it cannot be ignored in terms of expanding the function of the festival by having a condensed and complete structure. The Baekje Cultural Festival has made trials and errors as it has made strenuous efforts through numerous changes and various event events. As the Baekje Cultural Festival has recently risen in status as an international event, there is a movement for reconsideration of music and dance accompanied by ritual ceremonies. The purpose of the ceremony is to use Confucian music and dance from the Joseon Dynasty. This paper starts from the position that it should be reconsidered with a wake-up call for such a move. This paper is starting from the position that it should be reconsidered with a wake-up call for such a move. In the limited data, the nature of the rite was reviewed by examining the conceptual differences in ancestral rites, je(祭), sa(祀), sa(祠), gi(祈), and al(謁) which is a visit to one’s ancestral grave. Based on this, we hope that the festival will have its original characteristics as well as the integration of local residents while making the best use of cultural assets in Chungcheong Province by holding rituals for the god of heaven, rites for the god of the earth, and memorial services for the man-made ancestors. The period of Baekje and its locality of Chungcheong Province should be considered by inclusion in the structure of the festival, rather than listing various rituals.

일생의례의 축제성 : 장례의 경우

한양명(Han Yang-myeong) 비교민속학회 2009 비교민속학 Vol.0 No.39

이 연구는 일생의례 가운데 장례의 축제성을 해명하기 위해 이루어졌다. 기존의 논의에서는 주로 장례놀이에 초점을 맞춰 논의를 진행한 데 비해 이 연구에서는 비유교식 장례와 유교식 장례의 상호작용과 역사적 전개의 추이를 바탕으로, 장례놀이와 유교식 장례절차의 대국성에 초점을 맞춰 장례의 축제성을 해명하려고 했다. 연구결과 비유교식 장례에서는 일상과 장례의 대국성을 바탕으로 수행되는 장례의 과정이, 음식과 놀이의 양면에서 과잉을 실천하는 후장에 집착함으로써, 박장으로 인식된 유교식 장례와 그 배경이 되는 유교적 가치를 부정하는 양상을 살펴볼 수 있었다. 또한 유교식 장례가 일반화한 이후 거기에 수용된 비유교식 장례요소인 장례놀이의 경우, 이념 보다는 실제적 삶, 관념보다는 육체, 미래보다는 현재를 우선하는 언행을 중심에 둠으로써, 금욕주의를 바탕으로 하는 유교식 장례절차와 대국적 관계를 형성하고, 이와 같은 양자의 관계 속에서 양항대립적인 요소들의 대비를 통해 축제성을 구현하는 양상을 파악할 수 있었다. 결국 놀이가 함께 하는 장례의 축제성은 장례놀이와 유교식 의례절차의 변증법적 합일과정을 통해 실현되는 것으로서, 슬픔이지만은 않은 슬픔, 기쁨이지만은 않은 기쁨, 기쁨과 슬픔, 웃음과 눈물이 혼재하는 비일상적 전이성의 모호함에 바탕을 두고 있다는 점을 확인할 수 있었다. As a feast, a rites of life all have a regular festivity. however, It has two reason to pay attention on a rites of funeral as a courtesy of death. First, investigation into the festivity of a rites of funeral can help identify the character and process of alteration, which had been transmitting in a regular relationships between a rites of confucian funeral and the other. Second, a rites of funeral is a place of dynamic that happens a fight and compromise between confucian culture and non-confucian culture that handed down with the custom. because of the festivity of a rites of funeral is created and expressed in a dynamic process like this, explanation is needed from another dimension, dissimilar the others. The research is placed on leading research results. and unlike existing research, the study dealt with the literature consider the historical trend of folk funeral. On the discussions of existing, they discussed festivity mainly for funeral plays. But at least after the generalization of a rites of confucian funeral in private, a rites of confucian funeral and funeral plays embody the festivity of funeral in the fixed relationship. Therefore, after the grasp the structure of funeral in the relationship of the two, I see the mechanism of the festivity As a result of studying, the funeral of the Joseon Dynasty period is stick to the generous funeral that practice from both sides of food and play to excess. Futhermore, in case of funeral plays that is done with a rites of confucian funeral is focused on a generous food and words and actions that give priority to the real life than an ideology, material than idea, present than future. Through these, juxtaposition, redundancy, and affirmation for their existence is implemented. Moreover, it is possible that come in contact festivity by deny confucian value as the relativize all the usual value through laughing. Finally, the festivity of funeral that accompanying play is completed by the unity process of dialectic between ritual process and funeral plays. ‘grief, but grief is not’, ‘delight, but delight is not', 'delight and grief' and 'laugh and a tear' is mixed in the ambiguity of non-usual transition, and there is the festivity of funeral rites.

종교 페스티벌의 문화콘텐츠화 방안 연구- 수륙재를 중심으로

고상현 동국대학교 영상문화콘텐츠연구원 2009 영상문화콘텐츠연구 Vol.0 No.-

A Study of Religious Festival to make a Cultural Contents : Focusing on the Suryukjae Ko, Sang-hyun This study has been searched to make a Cultural Contents for the Suryukjae(水陸齋, the Buddhist Rite for Deliverance of Creatures) which is religious festival as well. The root of festival is based on the religious thought. Cultural Contents is all about research as well as industrial and popularize, knowledge of cultural. On the whole, making Cultural Contents of Suryukjae festival can be considered as approaching in that point of view. Suryukjae is festival of harmonization between God and man, man and nature, this life and eternity, man and man with equality without any wall or distintion. Suryukjae continues in day and night for 7days in the longest term. It reflects current social aspects of dance, music, buddhist painting as well as various tangible or intangible elements. Suryukjae is stand for contents of korean culture as well as buddhist culture, but it has not been studied deeply and has no firm foundation in a various use of Cultural Contents. Suryukjae seems to be on the decline, but recently it is starting to revive from the center of Jinkwan temple(津寬寺), Samhwa temple(三 和寺) etc. Meet the needs of the times, this study has been emphasized in terms of each period, classes and regional form of examples, at the same time it has been contemplated to make a method of Cultural Contents which are recently revitalized together with popularization and industrialization as a local festival. There are several ways of developing about Suryukjae and ritual series. 1. based on prototype of study 2. applying development of educational contents through historical education program 3. making use of video and audio contents: buddhist music of Beom-Pae, buddhist dance of Cymbals Dance, Dharma Drum Dance, Butterfly Dance 4. polytechnic contents making use of paper-flower, the making coins 5. contents of food which are set for Suryukjae 6. developing to make a festival contents of Suryukjae 7. fieldtrip of watching the Suryukjae in a temple. Making a culture and tourist industry contents 8. developing a product of culture and tourist industry contents 9. preparation of effective distribution. 수륙재라는 종교 페스티벌을 문화콘텐츠화하는 방안에 대해 살펴보았다. 페스티벌은 종교적인 사상에 뿌리를 두고 있다. 문화콘텐츠는 문화의 원형소스에 대한 연구와 더불어 산업화, 대중화를 아우르는 인문지식의 총합이다. 수륙재라는 페스티벌의 문화콘텐츠화도 이러한 관점에서 접근했을 때 총체적으로 바라볼 수 있다. 수륙재는 신과 인간, 인간과 자연, 이승과 저승이, 인간과 인간이 평등하고막힘이 없이 원융화합하는 페스티벌이다. 수륙재는 길게는 7주야로 행해져, 그 속에서는 당대의 사회상을 반영하는 무용과 음악, 지화장엄 등 다양한 유ㆍ무형적 요소를 담고 있다. 수륙재는 한국의 문화, 그 가운데 불교문화를 대표하는 문화콘텐츠임에도 불구하고 아직 그 원형에 대한 심도있는 연구가 이루어지지 못하고 있으며, 다양한 콘텐츠로 활용될 수 있는 기반이 빈약한 실정이다. 최근 들어 인천 수륙재보존회, 서울 진관사, 강원도 삼척 삼화사, 전남 영광 법성포 등을 중심으로 한동안 명맥이 끊기는 듯 했던 수륙재가 복원되고있다. 이러한 시기에 맞춰 수륙재가 각 시대별, 계층별, 지역별 설행 형태에연구의 필요성을 강조함과 동시에 최근에 활성화되고 있는 지역축제 콘텐츠로서의 대중화, 산업화를 아우러는 문화콘텐츠화 방안을 고찰해 보았다. 구체적으로 현행 수륙재와 의식집 등에 대한 ①원형연구를 바탕으로 ②역사교육프로그램 개발을 통한 교육적 활용을 위한 교육콘텐츠 개발 ③불교음악인 범패나 불교무용인 바라무, 법고무, 나비무 등의 영상 또는 음성콘텐츠 ④지화, 지전 등을 활용한 공예콘텐츠 ⑤수륙재에 차려지는 음식콘텐츠 ⑥수륙재의축제콘텐츠 개발 ⑦수륙재 설행 사찰순례 등 문화 관광산업 콘텐츠 ⑧문화 관광산업 상품 개발 ⑨효율적인 유통 방안 마련 등을 들 수 있다.

한국 전통의례 교육에 대한 유아교사의 인식 및 실태 - 설과 추석 명절차례 교육 중심으로 -

김소향 한국보육학회 2012 한국보육학회지 Vol.12 No.4

관혼상제로 대표되는 전통의례 중 제례교육과 관련하여 설·추석 명절은 매년 반복적으로 행해지는 전통의례로서 우리의 생활과 밀접한 관련이 있는 민족 대 명절이다. 유아기 명절차례 교육은 단지 전통사회 문화를 배우는 것에 그치는 것이 아니라 시대에 맞는 새로운 가치창조를 기대할 수 있는 교육적 효과가 있는 내용이다. 그러나 설·추석 명절을 세시풍속의 하나로 국한시켜, 유아교육기관에서는 단편적 민속놀이 형태로 다루고 있어 민족문화로서의 교육적 의미 전달이 미비한 실정이다. 이에 본 연구는 민족문화로서 전통의례 중 명절차례 교육의 가치를 고취시키고 유아교육현장에서 전통문화 교수법의 기초자료를 제공하기 위하여 유치원과 어린이집에 종사하는 교사 384명을 대상으로 전통의례와 명절차례 교육에 대한 유아 교사의 인식과 실태를 설문 조사하였다. 연구결과 첫째, 대부분의 유아교사의 전통의례 교육에 대한 관심은 보통의 수준이었고 연구 대상 교사들 중 63%가 전통의례교육을 실시하지 않고 있었다. 둘째, 명절차례 교육에 대한 인식은 높게 나타났으며, 5년 이상 경력 교사들이 명절차례에 대한 인식이 높았다. 셋째, 명절차례 교육의 실태는 낮았고, 대학원 이상의 학력교사들과 5년 이상 경력 교사들의 명절차례 교육 실태가 높게 나타났다. Lunar New Year's and Chuseok are annual holidays that involve important cultural traditions of Korean Society. Education of ancestral rites during early childhood does not only teach customs of traditional society but provide opportunity to learn novel values appropriate to our era. However, education of ancestral rites is limited to folk plays in current education institutions and can only have fragmented educational significance. This study conducted a surveyed 384 early childhood teachers from various kindergartens and nurseries to determine how they perceive and practice education of ancestral rites. The results were as follows. First, most early childhood teachers had moderate interest in education of ancestral rites but did not carry out this education in the field. Second, while awareness of ancestral rites education was high among teachers, early childhood teachers with 5 years longer work experience demonstrated higher interest in education of ancestral rites. Third, while practice of educating ancestral rites was low, teachers with more graduate education and 5 years work experience more likely practiced education of ancestral rites.

전북 장수,진안지역 팥죽제의 전승양상과 의미

강성복 ( Seong Bok Kang ),박종익 ( Jong Ik Park ) 남도민속학회 2016 남도민속연구 Vol.32 No.-

이 글은 전북 장수·진안지역에서 여성들이 주관하는 팥죽제에 대한 연구이다. 마을공동체에서 팥죽제는 동제의 한 유형으로 뚜렷한 정체성을 띠고 전승되어 왔지만 그동안 이렇다할 주목을 받지 못했다. 그리하여 팥죽제 하면 으레 동짓날 집안에 좌정한 가신(家神)이나 사당에 팥죽을 올리는 ‘동지 팥죽제(일명 동지고사)’를 의미하는 것으로만 잘못 인식되어 왔다. 본고에서는 연행모습을 토대로 팥죽제가 독립적인 의례로 전승되는 < 독립제의형 팥죽제 >와 당산제를 팥죽제 형식으로 치제하는 < 당산제형 팥죽제 >, 그리고 당산제와 팥죽제가 습합을 이루는 < 당산제복합형 팥죽제 >로 유형 분류를 시도했다. 이처럼 세 가지 유형으로 전승되는 팥죽제는 붉은색이 지닌 팥의 벽사력을 차용한 액막이 의식이다. 곧 마을의 성소인 당산과 조탑을 비롯, 외부의 출입이 빈번한 길목에 팥죽을 뿌리는 주술적인 행위를 통해 인간에게 해로움을 끼치는 잡귀나 부정을 물리치는 것이다. 그런 의미에서 팥죽제는 동짓날 가신에게 팥죽을 올린 뒤 잡귀를 구축(驅逐)하는 동지고사의 풍속이 마을신앙의 형태로 수용되었을 개연성을 배제하기 어렵다. 지난날 팥죽제는 여성들의 축제로 기능했다. 그리하여 제를 마친 뒤에는 부녀자들이 한자리에 모여 흥겹게 장구소리에 어우러져 음주가무(飮酒歌舞)로 밤을 지새웠다. 요컨대 팥죽제는 마을제의와 더불어 여성들이 공식적 축제였다. Red bean porridge festival is a faith ritual transmitted in some village of Jinan located around the Jangsu·Jinan area, Jeonbuk. The particular ritual supervised by women has an important characteristic whose medium is red bean porridge. Red bean porridge which is intensively distributed in Jangsu area, Jeonbuk has an identity as one independent festival. And, ritual averting evils, belonging to Dangsan festival, or ritual for eliminating diseases such as smallpox·typhoid, etc. has been conducted until now. This research was completed by field survey and observation investigation of about 10 villages of Jangsu area that red bean porridge festival has been transmitted. This researcher intends to analyze types of red bean porridge festival and the transmission aspects. In addition, this researcher will compare and examine rituals whose characteristics are similar to them of red bean porridge festival. Through this research, meaning of red bean porridge festival is investigated and functions of the festival transmitted by female festival are analyzed.

중국 마을굿의 두 축 풍요(豊饒) 제의와 구나축역(驅儺逐疫) 제의 - 귀지(貴池) 나희와 나뚠축제를 중심으로 -

오수경 한양대학교 우리춤연구소 2008 우리춤과 과학기술 Vol.4 No.1

본문은 2000년 2월과 8월 중국의 안휘성 귀지(貴池)와 청해성 민화(民 和) 삼천(三川) 에서 진행한 대규모 마을굿 조사를 바탕으로, 그들 마을굿의 본질을 살피는 데 목적이 있다. 귀지는 기본적으로 동성 마을을 단위로 하는 종족나의 성격이 강하나, 지역 공동체로서 그 지역의 지주(地主)인 소명태자에게 바치는 제사인 소명회(昭明會)는 넓은 지역에서 공동으로 거행하는 사화의 성격을 갖는다. 반면 나뚠 축제는 서북 토족 지역에 주둔한 군대의 군나(軍離)에서 유래한 대규모 지역 공동체적 사화(社火) 활동이다. 이 두 지역의 활동은 각기 한족 지역과 소수민족 지역에서 행해지는 것이지만, 종족이나 지역 공동체로의 마을 전체의 제사와 놀이로서 오랜 기간 지속되어 오며, 마을굿으로의 특성을 잘 보여준다. 시기적으로 서로 달라, 하나는 정월에 축역(逐疫) 의식과 춘기(春祈)의 전통이 결합하여 행해지는 것 이고, 하나는 칠월 추수 후에 축역(逢疫) 의식과 추보(秋報)의 전통이 결합 되어 행해지는 것이지만 그 저변에 깔린 농경사회를 기반으로 하는 춘기추보(春祝秋報)의 사제(社察)와 고래의 민간 신앙인 구나축역 활동으로의 맥락은 동일하다고 보여진다. 농경사회를 기반으로 하는 춘기추보의 사제에서 행해지는 풍요제의와 고래의 민간 신앙인 구나축역은 마을굿으로의 공동체적 활동의 두 축이다. 여기에 신에게 바치는 각종 탈놀이들이 다양하게 발전 하였다. 이 두 축제의 비교를 통해 중국 마을굿의 커다란 두 축으로 제시한 구나축역 제의와 풍요제의는 각기 인간이 생존을 위해 세상과 만나는 두 가지 방식이다. 이러한 양상은 기본적으로 중국 뿐 아니라 농경을 기반으로 하는 아시아 전역에서 공통적으로 발견되는 양상일 것이다. In traditional China, the village festival was very popular and essential. The field research was done in Guichi of Anhui province and Sanchuan, Minhe-xian of Qinghai province in February and August of 2000. Almost every village of Guichi region of Anhui province has their own festival in the period of Spring Festival. Sanchuan, Minhe-xian of Qinghai provincehas a united . village festival, called Nadun-jie in July of moon calendar as a Harvest Festival. They have very different environment, but there exists a big similarity between them. I generalized two of very typical characteristics through the comparison. One is the characteristics of agricultural rites such as "Rites of She (社祭) "Umbrella Dance (舞伞)", "Coin Dance (跳古老錢)", "Question to Shegong(問社公)" 혹은 "Question to the Tudigong (問土地)" in Guichi Nuoxi and "Family affair of a farm house (庄稼其)", "Five aristocrat (五官)" in Nadun-jie and the other is that of exorcism such as "The Divine King on the throne (聖帝登殿)" of Guanyu, "Ms. Bao the third fight with Hua-guan-suo (鮑三娘戰花關索)". "With a little Arabian(打小回子)", "The Judge of Hades catch the little ghost (判官捉小鬼)" in Guichi Nuoxi and "Three Generals (三將)" "Five Generals (五將)", "The Emperor Guan (關王)", "Kill the Tiger General (殺虎將)" in Nadun-jie. From the characteristics of these two festivals, we can generalize the Chinese village festival stands on the two main pole of agricultural rites and exorcism.