경제 · 영제 천수바라춤 비교 연구 = A Comparative Study on Gyeongje · Youngje Cheonsubara-chum

다국어 초록 (Multilingual Abstract)

The Buddhist ceremonies are classified for Gyeongje, Jungje, Wanje and Youngje around regions. The jakbeop (dance in Buddhist ceremonies) of the Buddhist ceremonies are performed with the ceremonial writings as its focal point that the classification of this type would not be probable. However, classifying the jakbeop in the site of the Buddhist ceremonies are is attributable to the succession with the influence of a number of conditions, such as, individual competency, regional cultural environment, social development type, class of enjoying person and others. In particular, the Gyeongje has significant influence on the Jungje and Wanje while the Youngje could affirm clear differential point.
Therefore, cy analyzing Cheonsubara-chum (temple cymbals dance of thousand hands) of Gyeongje and Youngje the commonalities and differences is confirmed. As such, having Cheonsubara-chum as the applicable frame, this is the dance performed for purification of broad-mindedness that the symbolic implication of this dance not only conforms to repetition and sequential order but also influence throughout the reunion. This is the reason that each and every reunion dances the Cheonsubara-chum regardless of conditions of region, lineage, type of reunion and others.
Cheonsubara-chum is the dance performed in singing Cheonsubara Dharani in Beompae. Therefore, the capability and composition of Cheonsubara Dharani are taken a look. The capability has 15 kinds of Seonsaeng (birth from a great place) and 15 kinds of virtuous deed of yeom (cleaning and dressing of corpses) that exempts from bad death, which is confirmed from the Script. The composition is confirmed to be Du-ja (2-letter), Seot-ja (3-letter), Neok-ja (4-letter) and Daseot-ja (5-letter) in Gyeongje, and Du-ja and Seot-ja in Youngje, and this is closely related to the composition of dance movement.
Around Neok-ja and Daseot-ja dance movement in ‘Gargi 1 and 2’ and ‘Baramoegi’, Gyeongje dances ‘Sileooligi 1 and 2’ in Du-ja and Seot-ja before and after. Youngje works on ‘Baramoegi 1’ Du-ja before Seot-ja. Those Du-ja and Seot-ja before ‘Baramoegi 1’ dances with ‘jwajeon (left turning)’ or ‘woojeon (right turning)’ while Seot-ja behind ‘Baramoegi 1’ dances ‘Sileooligi 1’. And the other Du-ja dances ‘Gargi 1 and 2’ and Seot-ja dances ‘Sileooligi 2’.
Also, there exists an applied dance motion as well. ‘Gargi 1 and 2’ of Du-ja dances for ‘Jeopbara’, and ‘woojeon’ of Du-ja and Seot-ja dances for ‘Apbutyeo-woojeon’ while ‘Baramoegi 1’ of Du-ja danced for ‘Baramoegi 2’.
Through the above-mentioned dance analysis, the homogeneity of the Gyeongje and Youngje Cheonsubara-chum is taken a look, and there are similarities in the costumes of Cheonsubara-chum, position to change the dance movement, striking technique to instrumental accompaniment Cheonsubara Dharani, Gargi of dance motion and Jeopbara. On the other hand, there are different points appearing in the dance movement throughput Cheonsubara Dharani including the preparatory position, foot motion and others. In particular, the applied dance movement of Youngje Cheonsubara-chum shows diversity and dynamics unable to find in Gyeongje. Gyeongje has its dance movement repetitive to have simple, fast, light and delightful feminine feels to it while Youngje has variety of dance movement in heavy, slow and profound to have significant motion with powerful masculine feels to it.