1970-80년대 영상을 통해 본 한영숙류 승무의 본질 = The Essence of Han Young-Suk Style Seungmu: A Study Through Video Materials From the 1970s and 1980s

다국어 초록 (Multilingual Abstract)

This study aims to explore the essence and characteristics of Han Young-suk style Seungmu. In line with this purpose, the following research questions are formulated: 1. What are the essence and characteristics of Han Young-suk style Seungmu? 2. How has Han Young-suk style Seungmu changed across different periods? 3. How has Han Young-suk style Seungmu been passed down through the second and third generations? To address the first question, videos of Han Young-suk’s Seungmu from 1972 are examined, and the Jisutgi is confirmed as the essence of this dance. For a comparative study of the second research question on the changes in Han Young-suk’s Seungmu across different stages of her life, the performances in videos from 1981 and 1987 are analyzed. Through this comparison, it is confirmed that the Jisutgi is most prominently featured in the 1972 video, which was filmed in her 50s, while the 1981 video reflects the maturity of her 60s. The 1987 footage demonstrates that Han Young-suk’s Seungmu had been established in the form of a Jeonsugok [transmission piece]. To examine the status of the transmission of Han Young-suk style Seungmu in the second and third generations, this study compares a recorded performance of Han Young-suk with her two disciples in 1985 with the Seungmu Jeonpan [complete version] performed by Lee Ae-joo and 11 third-generation disciples in 1994. I later supplement this comparison with a memorial performance on the 30th anniversary of Han Young-suk’s passing in 2019. The analysis reveals that the Han Young-suk style Jisutgi, as seen in the second generation, is either absent or avoided in the third generation.
In the discussion, it is suggested that the Jisutgi of Han Young-suk style Seungmu 1) reflects a unique Korean view of the body, 2) embodies the harmony [圓融, perfect harmony in Buddhism] of a living body that is difficult to capture through rational methodologies, and 3) opens up the possibility of a new creative methodology based on Jisutgi.
Finally, this study proposes that the essence of Han Young-suk’s Seungmu, symbolized by Jisutgi, can be comprehended through a harmony(圓融)-based analysis of Korean tradition, which can encourage future generations to inherit and preserve this essence.