한・일 무형문화재 전통무용의 표현매체 비교연구: 김백봉 부채춤과 카기야데후우(かぎやで風)의 부채를 중심으로

전은자,박난영,하테루마나가코 무용역사기록학회 2017 무용역사기록학 Vol.47 No.-

This study seeks to compare expression media between Kim Baek-bong’s Korean fan dance, a traditional dance designated as an intangible cultural asset of Korea and Kagyadifu (かぎやで風), a fan dance of Okinawa in Japan. The study examines hand motions of the two traditional dances. The author used an index of KAMAKURA as an external analytical method, while focusing on interviews and oral records to understand inherent characteristics. The ethnic identities of the expression media were identified as follows. First, fan functioned commonly by physical awareness and recognition of the body. The fans of the two countries did not directly express objects such as letters, but tried to describe the shape of the entire object as an extended part of the body. Second, the fans of Korea and Japan were differentiated as abstract technique in the process where sensual wave was reflected in the body. Ryukyu dance did not express the lyrics in a graphical or realistic way as in the case of sign language. The expression of fans was not verbal. Fans made a symbolic display of yearning that the region - the island - had toward outside world. In Korea, more than 30% of group dance figuratively reveals intention of original authors or nature. This is an indication that Korea's new art dance was affected by modern dance of the modern times. Third, fans had multidimensional contexts in showing internal feelings. Korean dance depicts nature or intention of authors, and express inner feelings through various rhythms. Ryukyu dance expresses relations between a fan and a dancer abstractly by containing a joyful feeling of the performer, rather than venting the feelings. The comparison of intangible cultural properties of both countries could reveal that they harnessed the same expression media but showed difference in their unique national emotion. 본 연구는 한국과 일본 무형문화재 전통무용의 표현매체 비교를 목적으로 한다. 일본 오키나와 무형 문화재 ‘카기야데후우(かぎやで風)’와 한국 평안남도 제3호 무형문화재 ‘김백봉 부채춤’이 그 대상이다. 이를 위해 부채를 사용하는 손동작에 주목하다. 외형적 사용기법은 가마쿠라의 지표를 이용했고 내재 적인 특성을 위해서는 구술채록과 인터뷰에 초점을 두어 결과를 논의하다. 이를 통해 표현매체는 민 족적 정체성을 차별적으로 생성하고 있음을 확인할 수 있었으며 다음과 같은 결과를 도출하다. 첫째, 양국의 표현매체인 부채는 공통적으로 신체 지각과 인식의 대상으로 기능한다. 외형적으로 부채의 구조는 접부채의 형태로 공통되고 한국무용 부채는 류큐무용부채의 1.3배의 크기 다. 부채의 기능면에서 양국의 부채는 편지․붓․칼․거울 등의 구체물을 대상으로 직접적으로 표현하 지 않고 신체의 연장으로서 「신체」전체의 형을 구현한다. 부채는 「비유하지 않는다」라고 하는 것이 공 통된 특징임을 확인하다. 둘째, 부채의 감각적인 파동이 신체에 투되어지는 과정에서 추상적이고 구상적인 기법으로 차별적 으로 구성되어 진다. 부채를 통해 동작하는 손의 감각 파장은 예술적 생성과 창조성의 발현으로 볼 수 있다. 양국 부채춤 의 외형적 사용기법 특성을 파악해봤을 때 류큐무용이 한국보다 2개의 형을 더 제시하고 있다. 류큐무 용은 가사의 내용을 수화와 같이 직접적이고 사실적으로 표현하는 것에 중점을 두지 않는다. 부채를 통한 표현은 언어적이지 않으며 그 지역이 표상하는 세계관 즉 섬지역에서 갖는 외부세계를 향한 동경 을 상징적으로 드러낸다. ‘카기야데후우’ 가사에서 ‘오늘 기쁨은 무엇에 비유 할 수 있나, 꽃봉오리가 아침 이슬을 받아서 활짝 핀 것 같은 느낌이다’에서는 봉오리가 열린다는 언어적이고 시적인 표현을 가사로 전달하지만 개인무에서나 군무에서는 부채를 꽃잎에 비유하지 않는다. 신체에서 ‘핀다’는 의미 를 자각하고 있지만 부채를 잡은 손은 추상적인 기법으로 구성된다. 한국무용의 부채 외형적 사용기법은 가마쿠라의 악력 파악계 표준형과 신장형이 주로 보이는데 카기 야데후우에 비해 다양한 형을 제시하고 있지는 않는다. 군무에서 30% 구상성을 가지는 기법은 꽃, 산, 파도 등의 자연이나 원작자의 내면(의도)이 표상되어 나타난다. 이는 한국의 신무용이 근대시기 모던댄 스의 향을 받았기 때문이라고 해석된다. 셋째, 표현매체를 통해 내면의 감정을 표현하는데 있어서는 다차원적인 맥락을 가진다. 인터뷰와 구술채록을 통해서 인간 문화재들이 내면의 감정표현에 있어서 다차원적인 맥락을 가지고 있다는 것을 발견하다. 한국 김백봉 부채춤은 자연이나 작가의 내면성 의도가 표상되어있고 그것을 다양한 리듬을 통해 밖으로 표출한다. 그러나 류큐무용은 부채를 통한 기쁨의 감정을 표현할 때 가사의 이미지를 안으로 담아내어 부채와 무용수 내적 관계를 정적으로 표현한다. 양국 무형문화재를 통해서 동일한 표현매체를 사용하지만 고유한 민족정서 특성이 상이하게 나타나는 것을 알 수 있다. 이를 통해 한일 무형재 문화재 전통무용분야 표현매체 중 부채의 사용기법을 조명하는 과정에서 한 나라의 문화 속에서 생성된 민족적 상징체의 유사성과 상이점을 도출하다. 그리고 타문화의 이해에 대해 새로운 정의와 접근 ...

조선 당악정재의 형성과정에 의한 실체분석

전은자 한국체육철학회 1997 움직임의철학 : 한국체육철학회지 Vol.5 No.2

Culture and arts in the Yi Dynasty were developed through creation and introduction in a sense that they celebrate the achievement of the founding of the dynasty and prayed for the safety of life and property. 36 types of dance were created by hosting court dance and diverse events and a total of 56 types of court dance and music was held until the end of the Yi Dynasty. Especially, as the culture of the tang Dynasty peninsula from unified silla through the Koryo Dynasty to the Yi Dynasty, it exerted an influence on our musical instrument music, dance poetry and so on. Dance introduced from Chinese luring and ching in the Yi Dynasty was termed Tang-ak-Jung-jae mu in the Yi Dynasty was used as a means to exhibit the dignity of the new dynasty rather than thought and mind. In keeping with the change of the times, only the characteristic and format of Tang-ak-Jung-jae(Tang court dance and music)and Sun-Jo in the late Yi Dynasty, so that Tang-ak-Jung-jae was changed into the indigenous korean dance and music and systematized. It can be seen that Tang-ak-Jung-jae was successful in giving shape to our inspiration of the national spirit of our old ancestors that Tang-ak-Jung-jae be consistent with Korean sentiments and thinking however remarkable it might be Tang-ak-Jung-jae created in the early Yi Dynasty includes seven types of Keum-chuk, Su-bo-rok, Keunchun-jung, Su-nyong-myong, Ha-hwang-eun, Ha-sung-myong and Sung-taek. And there are Yuk-hwa-dae and Kok-pa inherited from the Koryo era. Tang-ak-Jung-jae created in the late Yi Dynasty is of 4 types such as Jang-saeng-bo-yeon-ji-mu, Yeon-baek-bok-ji-mu, Je-suchang and Choi-hwa-mu. Seeing that these types of dance are almost similar to Hyang-ak-jung-jae in the form of music used in actual dance movement it is safe to see it as Hyang-ak-jung-jae. Seen at a level of handing over our traditional cultural heritage, this is nistaken for a foreign thing and can occasion the error in making an accurate judgement of it. That is, it is worth to note that Tang-ak-Jung-jae-mu was the dance introduced into the Korean peninsula from the Chinese Tang Dynasty and was recreated as new Jung-jea-mu due to its consistency with Korean sentiments and tradition in the process of adaptation and assimilation. Jung-jae-mu currently performed in the National Classic Music Institute has been reproduced as 43 types of 53 total ones by Kin Chun-hong since the 1980s. This nay be regraded as a part of efforts to maintain and preserve our traditional futures in the face of contemporary way of thinking shaken by readily changing social situations and the precarious situation of the times. Though historical evidence was ascertained as to expressive method, dance movement, dance props, costumes, etc of Jung-jae-mu that appears on the stage and is traditionalized today, it shows a tendency to be decolored and denatured greatly. This can not be seen as a desirable phenomenon Therefore, it is thought that I is anurgent task to restore and reproduce Jung-jae-mu to suit the contemper sense and era while taking advantage of the characteristic of Jung-jae-mu that contains-alike luxurious and simple and static and diverse dance movement rather than making its diverse changes and modification.

한·중·일 전통무용의 문화콘텐츠 비교

전은자,하테루마나가코 한국무용예술학회 2019 무용예술학연구 Vol.75 No.3

The purpose of this study was to compare cultural contents of Korean, Chinese, and Japanese traditional dances. This study compared case studies focusing on educational and cultural contents, mass media, local festival tours, etc. As a research method, theoretical literature such as books, literature data, and academic papers was reviewed and utilized. Through cultural transfer and reenactment of traditional dances, all three countries were striving to revitalize the economy and to create a national symbol for a country in the international community, and to use the media to convey a large amount of information to people, beyond the limits of places and time given in the past to traditional dances. They also served to promote the countries’ self-esteem as a cultural citizen through the revitalization of the local economy as well as the transfer and reproduction of traditional culture.

무용프로그램이 다문화가족의 문화적응에 미치는 영향

전은자,김현정 한국무용예술학회 2010 무용예술학연구 Vol.31 No.-

Today, the Korean society is fast becoming a multi-cultural society. In view of this, it is not ideal for Korea to pursue a single-race nation. A multi-cultural society aims at unity, which can be accomplished through interactive communication, not unilateral absorption, helping immigrants establish a national identity. Culture is composed of various areas while a language is only one of them. Besides a language, therefore, we need to consider how to approach other areas as well. At present, educational programs for a multi-cultural family provided in Korea are mainly focused on teaching Korean culture in a unilateral way. Thus, this study suggests an interactive dance education program in order to change such educational trends. Of various areas helping one understand culture, dance is worthy of notice. In terms of communication, communication can be done not only through voices or letters but also through gesture, and a language of such gesture is dance. In terms of cultural history, dance has always reflected cultures of times and thus significantly helps one understand societies. Supposing that problems in the multi-cultural society in Korea arise from lack of communication between cultures, this study examines the need and effectiveness of dance education for communication. Comprehensive effects of the program suggested in this study are as follows. First, a dance program could offer an opportunity for cultural exchange. Second, the problem of lack of communication could be solved through the joy obtained from participating in the dance class. Meanwhile, there were secondary effects as well. First, the participants could change their previous ideas on dance. Second, the Korean dance and musical instruments (e.g. Janggu, Sogo) could renew their perspective on Korean culture. Third, children who were excessively timid or overreacting could develop positive and cheerful personalities through the dance class. As the number of multi-cultural familiesis rapidly rising, which increases the potential of a cultural clash, art education for such a family is highly valuable and effective. Nevertheless, the following problems are present as obstacles to the popularization of these educational programs. First, the number of art education programs available for multi-cultural families is not sufficient and they are operated only by a few organizations with limited coverage. Second, there is lack of diversified efforts to operate the programs. Along with individual efforts, there should be an infrastructure to share research and study materials on various cultures, and those majoring in art should be able to receive more practical cultural education in this regard. Third, there is lack of those majoring in art that are equipped with multi-cultural capabilities. Fourth, limited human resources make it difficult to meet various needs of participants. Based on an analysis of this study, it suggests several solutions. First, various art education programs should be implemented with the support of government and academic organizations. They should make a cooperative effort to establish an infrastructure so that more multi-cultural families can benefit from the programs. This would include establishing more public and easily accessible facilities to increase coverage. Second, intensive efforts should be made to foster lecturers equipped with multi-cultural capabilities through practical curricula on multi-cultural dance. More studies and education materials are also required. Particularly, such efforts should be made by universities, for those majoring in dance play an important role in multi-cultural education as lecturers. Third, continuous efforts should be put into operation of art education programs by families. A cultural clash may occur from a relationship with a spouse or parents-in-law. Thus, operation of the programs at a family level can help to communicate and understand each other.

소고무의 구조적 분석에 의한 실체 연구

전은자(Jun Eun Ja) 대한무용학회 1998 대한무용학회논문집 Vol.23 No.-

민속춤의 성향분석과 변형에 관한 연구

전은자 ( Eun Ja Jun ) 대한무용학회 1996 대한무용학회논문집 Vol.19 No.-

일무 (佾舞) 에 내제된 의식절차 분석에 의한 실체연구

전은자(Jun Eun Ja) 대한무용학회 1999 대한무용학회논문집 Vol.25 No.-

한량무를 통한 변형적 특이성에 관한 연구

전은자(Eun Ja Chun) 대한무용학회 2000 대한무용학회논문집 Vol.27 No.-

신무용 기점에서 본 배구자 연구

전은자 ( Eun Ja Jun ),이재연 ( Jae Youn Lee ) 대한무용학회 2005 대한무용학회논문집 Vol.45 No.-

이중섭의 서귀포 시대 연구

전은자 ( Eun Ja Jeun ) 제주대학교 탐라문화연구소 2011 탐라문화 Vol.0 No.39

이중섭은 한국의 국민화가라는 명성에 걸맞게 어느 예술가보다도 파란만장한 삶을 살았다. 평안남도에서 태어난 이중섭은 일제강점기에 일본 문화학원 재학시절부터 자유미술가협회에 작품을 출품하여 호평을 받았다. 귀국 후에 원산을 중심으로 활동하던 이중섭은 한국전쟁이 발발하자 가족과 함께 원산에서 부산을 거쳐 서귀포로 피난을 와 어려운 현실에도 불구하고 창작을 멈추지 않았다. 이중섭의 서귀포 시대는 11개월 정도에 불과하지만 그 기간은 이중섭의 예술세계에서 결코 간과할 수 없는 중요한 시기라고 할 수 있다. 이중섭의 서귀포 시대 소재로는 섬, 게, 물고기, 아이들, 가족, 귤, 소 등을 들 수 있다. 이 소재들은 서귀포 시대는 물론 그 이후에도 이중섭의 유화나 드로잉, 은지화에 자주 등장하면서 이중섭 그림의 중요한 모티브가 되었으며, 이중섭의 대표작을 탄생시키는 데에도 적잖은 영향을 끼쳤다. 그러나 이중섭의 서귀포 시대가 그의 예술세계에서 중요한 부분을 차지함에도 불구하고, 이중섭을 조명한 여러 권의 연구서에서는 이중섭의 서귀포 시대가 매우 미약하게 다뤄지고 있다. 이것은 다른 지역에 비해 체류기간이 상대적으로 짧았던 서귀포 시대의 중요성에 대한 인식이 부족한 데에 기인한다고 볼 수 있다. 따라서 본 연구는 이중섭의 서귀포 시대를 재조명하는 데에 의미를 두고 있다. 이중섭의 서귀포 시대 관련 그림들에서 발견할 수 있는 특징적인 요소로는 따뜻하고, 해학적이고, 즐겁고, 포근한 사랑, 그리고 유토피아적인 환상 등을 들 수 있다. 결국 이중섭이 가족의 사랑을 더욱 심도 있게 표현할 수 있었던 것도 바로 서귀포 시대가 있었기 때문이다. 이번 연구에서 또 한 가지 중요한 것은 이중섭의 학창시절에 관한 문화학원 동창생들의 증언이다. 이것은 이중섭 연구에 미진한 부분을 보강한다는 점에서 서귀포 시대와 더불어 큰 의의를 갖는다. Lee Joong-Seop is adored as a people`s artist of Korea. But his life was checkered despite his posthumous fame unparalleled by many other artists. He was born in Southern Pyeongan province in northwest Korea and studied in the Japanese School of Culture during the forced Japanese occupation of Korea. While at the school, he was favorably noticed following his first submission of paintings to the Free Artists Association while at school. After returning to Korea, his artwork was mainly based around the area of Wonsan in northeast Korea. Upon the outbreak of the Korean War, he fled from Wonsan with his family through Busan to Seogwipo on Jeju Island. The life in refuge was not easy but he persistently continued to paint. The Seogwipo period of Lee Joong-Seop lasted only about eleven months. But it was the finest time of his artwork. He painted a variety of objects that he saw living on the island, such as, an island, a crab, children, family, tangerines, and cows. These objects remain as important motives for his paintings even after his Seogwipo period. They frequently appear in his oil paintings and drawings, as well as, drawings on silver foil paper. It is very clear that the Seogwipo period definitely influenced the birth of the major pieces of Lee Joong-Seop`s artwork. Despite the significance of the Seogwipo period in his art world, research papers on Lee Joong-Seop give only a meager touch of the period. The influence of the Seogwipo period is perceived as insignificant because his time in Seogwipo was relatively short, compared to the time he lived in other regions. Accordingly, the study sheds a new light on the Seogwipo period of Lee Joong-Seop. The notable characteristics of the paintings from his Seogwipo period arebe described as warm, witty, merry, loving, and a fantasy like Utopia. The in-depth depiction of family love in his paintings was possible because of his time in Seogwipo. Another important point of this study is given to the testimonies of his school mates from the Japanese School of Culture. Since the testimonies will corroborate the missing parts in research on Lee Joong-Seop, the significance should be equally important to his Seogwipo period.