전통놀이 교육에 대한 유아교사의 인식에 관한 연구

김순자(Kim, Soon Ja),김희태(Kim, Whee Tai) 한국유아교육·보육복지학회 2010 유아교육·보육복지연구 Vol.14 No.4

This study aimed to examine early childhood teachers' perception on korea traditional play for young children based on types of institutes and teachers’ careers. 262 early childhood teachers were examined using a questionnaire on teacher’s perception about traditional play for young children. The results of this study are as follows. First, early childhood teachers contacted with their friends to learn korea traditional play. Second, there was no statistically significant difference in class for traditional play between kindergartens and child care centers. For instructing traditional play, teachers provided pictures, picture books, and actual objects. Teaching materials were instructional materials for educational activities for traditional play, the Internet and so on. Teachers thought that in performing traditional play, they didn't know how to play it. Third, the more the early childhood teachers had long career, the more they had interest in traditional games in general. In addition, teachers with longer careers applied traditional play activities regarding educational activities, traditional festivals like Chuseok. Because teachers want education program and opportunity for learning korea traditional play, opportunity and educational program for learning korea traditional play for young children is needed to give them to learn it. It suggests that one should provide more opportunities for teachers to participate in training programs and lectures regarding traditional play and at the same time, develop and supply teaching materials and tools. 본 연구는 유아교육기관의 유형과 유아교사들의 교육 경력에 따라 전통 놀이의 인식과 교육 실제는 어떻게 다른지, 유아교사들의 근무기관에 따른 전통놀이의 인식과 교육 실제에 어떻게 다른지를 알아보고자 하였다. 이를 위해 본 연구는 서울 E구와 경기도의 E시의 유치원과 어린이집에 근무하고 있는 유아교사 262명을 대상으로 전통놀이 교육에 대한 인식과 실제에 대해 조사하였다. 본 연구의 결과는 다음과 같다. 첫째, 유아교사들이 전통놀이를 접하는 경로는 주변의 사람들을 통해서 획득한다는 것을 알 수 있었다. 특히 친구들과 놀이를 통해서 전통놀이를 접하는 경우가 일반적이었다. 둘째, 유아교사들은 유아전통놀이 프로그램의 필요성을 높게 인식하고 있었으며 그 이유로는 전통놀이는 협동놀이를 장려하여 유아의 전인적인 발달에 도움이 된다고 생각하고 있었다. 셋째, 유아교사들은 경력이 많을수록 전통놀이에 대한 관심을 많이 가지고 있었다. 경력이 많은 교사들은 교육 활동의 주제와 관련하여 전통놀이를 잘 활용하고 있었으나 경력이 적은 교사들은 주로 추석이나 명절 등 일정 시기에만 전통놀이를 활용하고 있었다. 넷째, 유아교사들은 전통놀이의 활용을 증진시키기 위한 방안으로 교사 연수 및 교육 기회의 강화에 많은 응답을 보였으며 전통놀이를 증진시키기 위한 교육 자료로 유아의 신체 크기와 수준에 맞는 악기 및 놀이 도구 개발 및 보급이 필요다고 하였다. 그리고 교사 연수에 필요한 전통놀이 내용은 유아의 발달 수준에 적합한 전통놀이의 종류라고 생각하고 있었다. 이러한 결과들은 전통놀이에 대한 연수 및 강연 등의 기회가 강화되어야 하고 유아의 발달 수준에 적합한 전통놀이와 관련된 교재 및 교구 개발 보급이 이루어져야 함을 시사한다.

보육교사가 인식한 어린이집 전래놀이 자원 활용실태 및 요구

박현정(Hyeon-Jeong Park),박선미(Sun-Mi Park) 구성주의유아교육학회 2021 구성주의유아교육연구 Vol.8 No.1

본 연구는 보육교사가 인식한 전래놀이를 위한 보육현장의 인적, 시간적, 물적자원 활용실태와 요구를 분석하고자 하는 데 목적이 있다. 이를 위해 경남 지역 보육교사 265명을 대상으로 설문조사를 실시하였으며 그 결과는 다음과 같다. 우선 인적자원 현황 및 요구를 분석한 결과, 보육교사의 전래놀이에 대한 관심도는 보통 수준으로 나타났으며 교사의 연령이 높을수록. 유년기 거주 지역이 읍면리 지역이었을 때 전래놀이에 대한 관심도가 더 높게 나타났다. 대다수의 교사들이 전래놀이가 영유아보육에 있어서 필요하다고 인식을 하고 있었으나 전래놀이에 대한 강연이나 연수 경험이 전혀 없다고 응답한 교사가 가장 많았다. 다음으로 어린이집 전래놀이의 시간·물적 환경 실태 및 요구를 분석한 결과, 전래놀이를 활용하는 횟수는 연 1-2회가 가장 많았고, 전래놀이를 주로 활용하는 시기는 명절 등 특별한 행사기간에 한다는 응답이 가장 많았다. 기관에 전래놀이를 위한 공간이 충분히 마련되어 있는 정도는 도시 지역에 소재한 기관보다 읍면리 지역에 소재한 기관이 전래놀이 공간이 충분히 마련되어 있다고 보고하였다. 전래놀이를 주로 실시하는 곳은 유희실과 교실이 가장 많은 비중을 차지하였고 기관 주변의 전래놀이를 위한 공간으로 적합하다고 생각하는 곳은 공터, 공원의 순이었으나 실제 활용하는 곳은 동네 놀이터가 가장 많은 비중을 차지하였다. 전래놀이를 위한 시간·공간적 환경 마련에 가장 적합한 방법은 ‘영유아를 전래놀이 행사에 참여할 수 있도록 유도’가 가장 많은 비중을 차지하였고 전래놀이와 관련된 활동 시 교사들이 참고하는 자료는 인터넷 검색이 가장 많았다. 이러한 결과를 토대로 전래놀이를 놀이중심 보육과정 운영에 효과적으로 활용하도록 지원하기 위한 교사교육 방향을 제안하였다. The purpose of this study was to analyze and understand childcare teachers’ actual conditions and needs on human, time, and physical resources of traditional play in childcare centers. The results were as follows. First, teachers interest was close to normal and when teachers lived in the country as a child, the teacher was very interested in traditional play. Generally, most teachers responded that traditional play was necessary for educare. However, most teachers said they had never received a lecture or education on traditional play. Second, when we looked at the current state of the use and operation of traditional play in childcare centers as a material resource for traditional play, the most common response was that traditional games were played once or twice a year, and that traditional games were played during special events such as holidays. The most of the respondents said that it was appropriate when we examined whether there was enough space for traditional play. However, there were more places for traditional play at childcare centers in rural areas than at city-based centers. Most of the places for traditional play were play rooms and classrooms. Teachers thought it was suitable as a place for traditional play around working childcare centers, in the order of empty lots, parks, school playgrounds, neighborhood playgrounds, and mountains. Inducing children to participate in traditional play events was the best way to create an environment for traditional play, and the next best way was to create a place for traditional play. When teachers were teaching traditional play, they used internet searching as the most frequently used data sheet.

전통놀이 교육에 대한 예비 초등교사들의 인식 조사

김현주 한국체육교육학회 2022 한국체육교육학회지 Vol.26 No.6

Purpose: The purpose of this study is to examine the level of understanding and interest in prospective elementary school teachers' perception of traditional play education, and to specifically investigate methods for applying traditional play to elementary school physical education. Methods: For this purpose, a survey was conducted on 328 students attending the University of Education in J city. Results: As a result, it was found that prospective elementary school teachers had a higher understanding of traditional play as they had more experience, and a lower understanding of traditional play as they had less experience. In addition, although prospective elementary school teachers highly recognize the necessity of traditional play, the perception that traditional play is difficult is also high. Lastly, it was found that prospective elementary school teachers preferred after school time and physical education time for physical development of students as a method of applying traditional play. Conclusion: Based on the above results, it was confirmed that prospective elementary school teachers had a positive perception of applying traditional games to elementary school physical education. Therefore, in order to reflect traditional play in physical education, it is important to secure the diversity of integrated education related to traditional play, and it is necessary to activate traditional play education through lectures on traditional games for elementary school teachers. 목적: 본 연구의 목적은 전통놀이 교육에 대한 예비 초등교사들의 인식을 살펴보기 위하여 이들의 이해도와관심도가 어떠한지 알아보고 전통놀이를 초등학교 체육교과에 적용시키기 위한 방안을 구체적으로 조사 및분석하는 것이다. 방법: 이를 위해 J시에 소재한 교육대학교에 재학 중인 학생 328명을 대상으로 설문조사를 진행하여 결과를도출하였다. 결과: 그 결과, 예비 초등교사들은 전통놀이에 대한 경험이 많을수록 이해도가 높고 경험도가 적을수록 전통놀이에 대한 이해도가 낮은 것으로 나타났다. 또한 예비 초등교사들은 전통놀이의 필요성을 높게 인식하고있는 반면, 전통놀이가 어렵다는 인식 또한 높게 가지고 있는 것으로 나타났다. 마지막으로 예비 초등교사들은 전통놀이의 효과적인 교과 적용방안으로 학생들의 신체적 발달을 위하여 방과 후 시간 및 체육시간을 활용한 전통놀이를 가장 선호하는 것으로 나타났다. 결론: 이상의 결과를 바탕으로 전통놀이를 초등학교 체육교과에 적용시키는데 예비 초등교사들의 긍정적인인식을 확인하였으므로 전통놀이를 실제 체육교육에 반영하기 위해서는 전통놀이와 관련된 통합교육의 다양성을 확보하는 것이 중요하다. 또한 초등교사들을 위한 전통놀이 강연이나 연수의 기회가 체계적으로 확대되어 이를 통해 전통놀이 교육을 활성화시킬 필요성이 있다.

중국 연극의 이원구조와 경극

김종진 한국중국현대문학학회 2010 中國現代文學 Vol.0 No.54

The most universal way to understand the landscape of modern Chinese play is by the dual structure of spoken plays and traditional operas. This understands that spoken plays represent modern, nontraditional and western play models and that traditional Chinese operas represent premodern, traditional and Chinese-style play models. This way of understanding seems flawless but it is not quite perfect considering that both of them are presently available theatrical arts. This study examined this unstable dual structure focusing on the history of Peking Opera(京劇) based on the recent outcome of discussion on ‘Colonial Modernity’. Peking Opera is a modern traditional play. First started in the middle of Qing dynasty, Peking Opera was mainly distributed for performance amid the development of modern market economy and urban economy, which is why the role of artists was considered more important than that of writers. However, when the period of Reform Movement of Traditional Opera(戱曲改良運動) came, Peking Operas accepted the participation of intellectual writers. The intellectuals of Reform Movement of Traditional Opera who recognized plays as tools of enlightenment attempted to put topical contents and western stories into their Peking Operas and this changed the form of Peking Operas. The Peking Operas at this time gave up a large portion of its essentialism characteristics and adopted realism. Peking Opera along with Wenmingxi(文明戱), which was a spoken play in the initial stage were called as ‘new theater’ and launched modern Chinese play. When the period of May-Fourth Movement came, Peking Operas were no longer able to participate in the modern Chinese plays. The leaders of the movement considered all the Chinese theatrical traditions including Peking Operas to be justly abolished and tried to establish modern Chinese plays only with spoken plays. This did not necessarily mean that Peking Opera suffered a blow. The performance environment of Peking Opera was still not bad and it also enjoyed great honors through overseas performances. However, due to the situation that it could no longer participate in modern Chinese plays and the eyes of Chinese and foreigners, Peking Operas became conservative rapidly. In the end, Peking Opera became the symbol representing what is Chinese and traditional. The dual structure that Peking Opera representing all the Chinese traditions of theatrical arts was artificial manipulation. Moreover, the dual structure understanding that makes distinction between traditional art model from the implanted western art model is already an idea of ‘Colonial Modernity’. With this kind of understanding, the recent slogans of Chinese theatrical world such as ‘Spoken Play Nationalization’ and ‘Traditional Opera Modernization’ can only dilute the essential properties of spoken plays and traditional operas. The perspective of decolonization overcoming the idea of ‘Colonial Modernity’ can be accomplished through the negotiation between spoken plays and traditional operas.

전래놀이프로그램이 유아의 행복감과 리더십에 미치는 효과

이미나(Mi-Na Lee)김경희(Kyung-Hee Kim) 인문사회과학기술융합학회 2018 예술인문사회융합멀티미디어논문지 Vol.8 No.8

본 연구는 전래놀이와 전래동요 활동이 유아의 행복감과 리더십에 미치는 영향을 알아보고자 실시하였다. 연구문제는 첫째, 전래놀이와 전래동요 활동은 유아의 행복감에 미치는 효과는 어떠한가? 둘째, 전래놀이와 전래동요 활동은 유아의 리더십에 미치는 효과는 어떠한가? 연구대상은 G시 소재 어린이집 유아 38명(실험집단, 19명, 통제집단, 19명)이다. 행복감 측정도구는 이은주(2010)가 개발한 측 정도구와 리더십 측정도구는 김성숙(2008)이 개발한 교사용 평정척도를 사용하였다. 전래놀이 및 전동요는 한국의 문화와 전통의 지식 및 개념, 신념, 가치 등을 학습하도록 구성되어 있다. 또한, 유아발달 특성을 고려하여 발달 과업을 참고하였다. 본 프로그램은 개인 보다는 또래 간 함께 하는 활동과 협동놀이로 구성되어 있다. 전래놀이 및 전래동요 활동은 현재 국가수준의 교육과정인 만5세 누리과정이다. 연구결과, 유아교육기관에서의 전래놀이 활동이 유아의 행복감과 리더십에 효과가 있음을 알 수 있다. 이에 전래놀이와 전래동요 활동은 행복감과 리더십을 위해 매우 중요한 활동으로 교육현장에서 적극적으로 활용될 수 있음을 시사한다. 이러한 경험은 미래를 주도할 유능한 사회인으로써 변화를 주도할 수 있는 리더자 교육의 필요성을 시사한다. The purpose of this research is to verify the effects of traditional plays and traditional songs on the happiness and leadership of young children. Research issues First, what is the effect of traditional play and traditional songs on the happiness of infants? Second, what are the effects of traditional play and traditional songs on young children s leadership? The subjects of the study were 38 children (experimental group n=19, control group, n=19) in nursery. For the measure of happiness, the measurement tool developed by Lee, Eun-Ju(2010) and the teacher s rating scale developed by Kim, Sung-Sook(2008) were used. The traditional play and traditional songs are structured to learn knowledge, concepts, beliefs and values of Korean culture and tradition. In addition, developmental tasks were considered in consideration of the developmental characteristics of infants. This program consists of Play with peers and cooperative play rather than individuals. The traditional play and swaying activity is the 5th year old curriculum which is the national level curriculum. Results, It can be seen that the traditional play activities at early childhood education institutions are effective for the happiness and leadership of infants. This suggests that traditional play and traditional song are very important activities for happiness and leadership and can be actively used in education field. An experience like this suggests a necessity of the education for leaders who can lead the future as a competent member of the society.

전래놀이프로그램이 유아의 행복감과 리더십에 미치는 효과

이미나,김경희 사단법인 인문사회과학기술융합학회 2018 예술인문사회융합멀티미디어논문지 Vol.8 No.8

The purpose of this research is to verify the effects of traditional plays and traditional songs on the happiness and leadership of young children. Research issues First, what is the effect of traditional play and traditional songs on the happiness of infants? Second, what are the effects of traditional play and traditional songs on young children's leadership? The subjects of the study were 38 children (experimental group n=19, control group, n=19) in nursery. For the measure of happiness, the measurement tool developed by Lee, Eun-Ju(2010) and the teacher 's rating scale developed by Kim, Sung-Sook(2008) were used. The traditional play and traditional songs are structured to learn knowledge, concepts, beliefs and values of Korean culture and tradition. In addition, developmental tasks were considered in consideration of the developmental characteristics of infants. This program consists of Play with peers and cooperative play rather than individuals. The traditional play and swaying activity is the 5th year old curriculum which is the national level curriculum. Results, It can be seen that the traditional play activities at early childhood education institutions are effective for the happiness and leadership of infants. This suggests that traditional play and traditional song are very important activities for happiness and leadership and can be actively used in education field. An experience like this suggests a necessity of the education for leaders who can lead the future as a competent member of the society. 본 연구는 전래놀이와 전래동요 활동이 유아의 행복감과 리더십에 미치는 영향을 알아보고자 실시 하였다. 연구문제는 첫째, 전래놀이와 전래동요 활동은 유아의 행복감에 미치는 효과는 어떠한가? 둘째, 전래놀이와 전래동요 활동은 유아의 리더십에 미치는 효과는 어떠한가? 연구대상은 G시 소재 어린이집 유아 38명(실험집단, 19명, 통제집단, 19명)이다. 행복감 측정도구는 이은주(2010)가 개발한 측정도구와 리더십 측정도구는 김성숙(2008)이 개발한 교사용 평정척도를 사용하였다. 전래놀이 및 전래 동요는 한국의 문화와 전통의 지식 및 개념, 신념, 가치 등을 학습하도록 구성되어 있다. 또한, 유아 발달 특성을 고려하여 발달 과업을 참고하였다. 본 프로그램은 개인 보다는 또래 간 함께 하는 활동과 협동놀이로 구성되어 있다. 전래놀이 및 전래동요 활동은 현재 국가수준의 교육과정인 만5세 누리 과정이다. 연구결과, 유아교육기관에서의 전래놀이 활동이 유아의 행복감과 리더십에 효과가 있음을알 수 있다. 이에 전래놀이와 전래동요 활동은 행복감과 리더십을 위해 매우 중요한 활동으로 교육현 장에서 적극적으로 활용될 수 있음을 시사한다. 이러한 경험은 미래를 주도할 유능한 사회인으로써 변화를 주도할 수 있는 리더자 교육의 필요성을 시사한다.

전래놀이에 대한 영아 교사의 인식 및 운영 현황 분석

김회순 ( Kim Hoi Soon ),곽승주 ( Kwak Seung-ju ) 미래유아교육학회 2018 미래유아교육학회지 Vol.25 No.3

The purpose of this study was to present a proper guidance direction of infant education through the application of traditional plays by analyzing infant teachers’ awareness, the management status and difficulties, and an improvement plan of traditional plays for an infant class of a day care center. This study conducted a quantitative analysis using questionnaires through a survey of 328 infant class teachers in Seoul and Gyeonggi-do areas. As a result, infant teachers’ interest in traditional plays was found to be higher than average, and they perceived that the education of traditional plays for infants was necessary to form diverse plays culture. However, in term of the operation situation, the highest ratio of the respondents said that traditional plays for an infant class were not implemented properly and as the reason for it, the respondents pointed out inadequate preliminary knowledge and materials about traditional plays. According to the survey, the traditional plays for infants were mostly implemented during special event periods like traditional holidays, etc. and the frequency of operation of traditional plays was once or twice a year. In addition, the internet was used most in reference materials for plays. Difficulties in operating traditional plays were found to include difficulties in planning traditional plays depending on the development level & characteristics of infants, and the lack of understanding of a detailed guidance method. As an improvement plan, the respondents cited a children’s story containing traditional play themes, active application of songs, and supply of data on traditional play guidance divided by infant development level etc.

‘전통적 놀이’의 범주와 분류체계 기초연구

강성복,박종익 국립무형유산원 2024 무형유산 Vol.0 No.16

이 글은 「문화재보호법」에 무형문화재 영역의 하나로 명시된 ‘전통적 놀이’의 분류체계 정립을 위한 기초연구이다. 전통적 놀이는 여러 세대에 걸쳐 전승되어온 무형의 유산 중에 일정기간 역사성을 충족하면서, 동시에 현재의 전승성을 확보한 놀이를 말한다. 따라서 그 범주는 유사한 의미를 지닌 ‘전통놀이’·‘민속놀이’·‘전래놀이’를 아우른다. 놀이는 인류의 역사와 함께 시작된 오랜 무형유산의 산물이다. 문화복합체로 성립된 놀이의 종류는 수없이 많고 다양하다. 때문에 모든 놀이를 하나의 일관된 원칙으로 포괄하기란 애초에 불가능하다. 그런데도 난마처럼 얽혀 있는 놀이의 분류를 시도하는 이유는 한국 문화유산의 커다란 흐름 속에서 전통적 놀이의 양상을 체계적으로 접근하고, 나아가 그 속에 용해된 의미망을 확장하는 데 목적이 있다. 놀이는 일정한 목적성과 더불어 참여자의 자발성·평등성·공감성·공정성을 근간으로 성립된다. 자발적인 놀이가 이루어지는 요체는 재미와 규칙의 공정성이다. 편을 나누어 승부를 겨루든, 상대와 마주 앉아 판놀이(board game)를 하든 재미가 없으면 더 이상 놀이는 형성되지 않는다. 그런 점에서 놀이의 지속성을 담보하면서 유희적 속성을 극대화해주는 것이 바로 규칙이다. 물론 전통적 놀이 중에는 규칙이나 승부와 무관하게 나름의 질서를 가지고 전개되는 놀이도 적지 않다. 이러한 놀이의 특성을 고려하여 본 연구에서는 ‘놀이의 진행방식과 규칙의 유사성’을 주요 기준으로 삼아 크게 아홉 가지 범주로 대분류하였다. 이른바 <겨루기놀이(승부놀이)>, <술래놀이>, <내기놀이>, <역할놀이>, <가무놀이>, <언어·노래놀이>, <오락유희놀이>, <기원·의례놀이>가 그것이다. 아울러 각각의 범주를 다시 31가지 유형으로 나누어 전통적 놀이의 분류체계를 도출하였다. This article aims to investigate the fundamental study for the establishment of a classification system of 'traditional play' specified as one of the areas of intangible cultural properties according to the Cultural Heritage Protection Act. Traditional play refers to a game that satisfies historicity for a certain period among intangible heritages passed down over generations and embraces the succession of the current era. Therefore, the category puts together 'traditional games', 'folk entertainment', and' traditional play', which have similar meanings. Play is a piece of work of a long-standing intangible heritage that began with the history of humankind. This cultural complex comes in numerous and diverse types of games. In this regard, it might be impossible to include all games in one consistent principle in the first place. The reason for attempting to classify playing intertwined like chaos is to systematically approach the aspects of traditional play in the great flow of Korean intangible heritage and expand the meaning network dissolved in them further. Play is established based on traits like participants' spontaneity, equality, empathy, fairness, and a specific purpose. The essence of voluntary play is about having fun and fairness of rules. If there is no fun in competing with each other or playing a board game with sitting face-to-face with the opponent, the game will no longer be formed. In this regard, a rule maximizes the pleasurable attribute while ensuring the continuity of play. Various games are played in their order regardless of rules or winning. Considering these characteristics, this study largely classified them into nine categories, using the similarity between the way of playing and the rules as the primary criteria. These are the so-called "competing games," "playing tag," "pretending game," "role play," "song and dance play," "language and song play," "leisure play," "origin and ritual play," In addition, a classification system of traditional play was developed from 31 types which divided each category.

무라야마 지준(村山智順) 『조선의 향토오락(朝鮮の鄕土娛樂)』을 통해 본평안남도 지역의 전통놀이 상황에 관한 연구

박태규 국민대학교 일본학연구소 2020 일본공간 Vol.27 No.-

This study examined the background of the traditional play research/ promotion of the Japanese Government-General of Korea during the Japanese colonial era and Chijun Murayama's Indigenous Entertainment in Joseon. In addition, this study investigated the situations of the traditional plays in the Pyeongannam-do region based on that. The Japanese Government-General of Korea during the Japanese colonial era developed a movement for the promotion of the agricultural areas of Joseon and policy on the promotion of the traditional plays. Also, before that, it surveyed the traditional plays of Joseon. Chijun Murayama's Indigenous Entertainment in Joseon can be said to be the result of the project for the survey on the traditional plays of the Japanese Government-General of Korea. Indigenous Entertainment in Joseon describes the names of a total of 6,400 plays of 13 provinces in nationwide Joseon and about 1,300 kinds of plays. This study investigated the situations of the traditional plays, focusing on Pyeongannam-do including Pyeongyang. As a result of an analysis of the situations of the traditional plays of Pyeongannam-do based on Indigenous Entertainment in Joseon, children enjoyed the most plays at the time, followed by men and women. As a result of an examination of the plays of men and women, the plays of women were much fewer than those of men. Also, in women’s plays, labor plays were done, which were in the boundary between play and labor. Of men’s plays, Seokjeon (a mock fight with stone missiles) is remarkable. During the Japanese colonial era, Japan thoroughly controlled folk and play as well as politics. In plays, it thoroughly controlled Daedong Nori (festival of performers and audience), in particular, and as a result, Seokjeon had hardly been played since the 1910s while a Tug-ofWar had hardly been played since the end of the 1930s. Nevertheless, the fact that plays like Seokjeon, etc. were recorded in Indegenous Entertainment in Joseon shows that its existence was maintained as a play. This study is a baseline study with traditional play as a topic and at the same time, an area study in a broad meaning. Thus, it is expected that it would help understand the area and culture. A study of other areas not dealt in this study would be left as a task for the future. 본고에서는 첫째, 일제강점기 조선총독부의 전통놀이 조사/진흥 배경과 무라야마 지준의 조선의 향토오락에 관해 재고하고, 둘째, 조선의 향토오락을 바탕 으로 평안남도 지역의 전통놀이 상황에 관해 고찰하였다. 일제강점기 조선총독부는 붕괴되어 가는 조선의 농촌을 살린다는 미명 하에 농촌진흥운동을 전개하였다. 그리고 그것의 일환으로 전통놀이 진흥정책을 시행하였 는데, 그에 앞서 조선의 전통놀이 조사 작업 또한 진행하였다. 1941년 조선총독부 조사자료집 중 한권으로 출간된 무라야마 지준의 조선의 향토오락은 이상과 같은 전통놀이 조사의 결과물이라 할 수 있다. 조선의 향토오락을 바탕으로 평안남도의 전통놀이 상황을 분석한 결과 파악할 수 있는 내용은 크게 세 가지이다. (1) 당시 가장 많은 놀이를 즐긴 것은 어린이>성인 남성>성인 여성의 순이었다. (2) 성인 남녀의 놀이를 살핀 결과, 남성에 비해 여성의 놀이가 수적으로 매우 적었을 뿐만 아니라, 여성의 놀이에는 놀이와 노동의 경계에 있는 노동형 놀이 또한 행해지고 있었다. (3) 놀이의 주체로서 어린 이나 성인 남녀 등과는 별도로 유림이 따로 표기 되어 있는 것으로 보아 전통사회의 신분 등에 관한 시각이 잔존했던 것으로 여겨진다. 본 연구는 전통놀이를 주제로 한 기초연구이면서 동시에 광의의 지역연구로서 해당 지역과 문화를 이해하는 데 도움을 줄 수 있을 것으로 기대된다.

1920년대 전통연희공연의 전개양상

김민수 민족음악학회 2022 음악과 민족 Vol.- No.63

This paper attempted to further study the context of traditional performances in the 1920s, which developed amid the rapidly changing atmosphere of performing culture in response to the demands of the times of modernization, and confirmed the following facts. Unlike what has been defined as a decline period, traditional performances in the 1920s were actively performed through theater stages, master singing contests led by Pansori masters, and activities of traditional music organizations formed under the perception of a crisis of traditional music. In particular, in the existing discussions, Gwangmudae in the 1920s concluded that traditional performances were greatly dampened by the acceptance of new wave plays. Of course, Gwangmudae University changed its operations depending on the management, such as setting up a new wave play and a new performance that was popular at the time. However, despite such a situation, it can be seen that traditional performances were selected as a major repertoire that guaranteed the success of the wide stage throughout the 1920s and were continuously performed. In addition, the Chosun Theater, which was newly established in 1922 for the purpose of screening movies, frequently introduced traditional performances as a role of encouraging the public to watch movies and providing attractions during the vacuum of movie distribution. When the traditional play was being steadily performed around the theater, the master singer contest, which began in the mid to late 1920s, helped expand the stage of traditional performances limited to theaters in Gyeongseong nationwide. The master singer contest, in which pansori was the main repertoire of the 1910s, played a decisive role in reorganizing the traditional performance of the Gwangmudae, which was linked to the tradition of the 1910s, into music centered on pansori and music. In addition, by the time of the rise of the master singer contest, related organizations begin to form amid the awakening that rapid changes in performance culture could threaten the existence of traditional music. They promoted the term Joseon music in response to the changes of the times, not the traditional play, and contributed to enhancing the value of traditional music and reestablishing its status. In particular, Pansori masters, who were virtually leading the traditional music industry based on the master singing contest, were directly or indirectly involved in the formation of traditional music organizations during this period and led activities for the revival of traditional music in the 1920s.