무고(舞鼓)의 교방화 과정에 대한 연구 : 동래고무를 중심으로 = The Study for Gyobangnization of Mugo : Mainly with Dongrae-Gomu

국문 초록 (Abstract)

무고(舞鼓)는 고려시대 향악 정재 중 하나로 오랜 시간 궁중정재로 연희되어 오늘날에 이르기까지 유구한 역사를 자랑하는 ‘북춤’이다. 물체를 두드려서 소리를 내는 북은 인류 역사상 가장 오래된 악기 중 하나이며, 전 세계 어디에나 어떤 형태의 사회에나 존재하는 것만 보아도 그 역사를 충분히 짐작할 수 있다. 우리나라의 경우 기원전·후에 부여(夫餘) 사람들이 하늘에 제사를 지내며 온 나라가 음주가무(飮酒歌舞)를 동반한 제천의례(祭天儀禮)를 거행했는데, 이 의식을 “북으로 맞이한다.” 는 뜻에서 '영고(迎鼓)'라 칭하였다. 한반도 남부 삼한(三韓) 지역에서도 역시 “제천의식 때 장대에 방울과 북을 달아 잡귀를 막았다.”라는 역사적 기록을 보아도 아주 먼 옛날부터 의식을 동반한 춤에 북이 쓰여 졌음을 알 수 있다.
본 연구는 궁중정재인 무고가 부산 동래지역 교방으로 이행되는 과정에서 나타난 변화 양상과 미적 특성을 찾아 동래고무만이 가지는 문화·예술적 가치를 정립하고 동래고무의 문화재적 가치와 위상을 높이는 데 그 목적을 두고 있다.
무고는 고려시대부터 조선 후기까지 궁중에서 연희되었고 시대별로 북과 무용수의 수, 춤사위, 복식, 창사(唱詞)의 여부 등 많은 변모를 겪었으며, 조선후기에는 여악제도가 폐지됨에 따라 무동들에 의해 무고가 추어지기도 하였다. 장악원에서 궁중 가무를 익혀 내·외연(內·外宴)에 참여하였으며, 일제 강점기에는 ‘이왕직아악부’로 명칭이 바뀌었다가 한말(韓末) 마지막 무동인 김천흥에 의해 복원, 현재 국립국악원에서 연행되고 있다. 또한 비슷한 시기 지방 관아에 소속된 교방에서도 기녀들에 의해 ‘무고’가 ‘고무’라는 이름으로 연희되었고, 선상기제도를 통해 궁중과 지역 교방의 기녀들이 서로 교류하였음은 여러 문헌에 적시 되어있다.
동래고무의 역사는 <동래부사접왜사도>에 보여 지는 동래교방 기녀들의 연행모습을 통해 유추해볼 수 있으며, 동래지역에서 교방무가 전승·연희 될 수 있었던 이유는 조선통신사 사행로(使行路)의 마지막 지점이자 일본국왕사(日本國王使)의 시발점이었기 때문에 교차 지점인 이곳에서 지속적인 연향이 필요하였다. 이후 동래교방은 일제 강점기를 거치며 동래권번으로 역사가 이어졌는데, 동래권번의 마지막 예기였던 김해월, 석국향으로부터 김온경(현 보유자)에게 이어져 1987년 1월 18일 부산민속예술관에서 첫 발굴 시연회가 개최되면서 다시 빛을 보게 되었고 1993년 12월 28일 부산시무형문화재 제 10호로 지정, 현재까지 동래고무보존회를 통해 전승되고 있다.
본문에서는 <무고>와 <동래고무>의 형식적인 측면을 분석하여 교방화 과정에서 나타난 변화 양상을 고찰하였다.
1). 춤의 구성 및 진행 과정에서는 북 1개에 원무 4명, 협무 4명으로 구성된 기본 형식은 같으나 진행 과정에서 많은 차이를 보인다. 춤 사위는 무고의 경우 의례를 진행하기 위해 격식과 예(禮)를 갖추는 동작이 주로 사용되는 반면 동래고무의 경우 세련미와 역동성이 강조되어 기예(技藝)를 뽐내고 있다.
2). 복식과 무구의 경우 무고는 궁중정재 복식인 황초단삼에 원무만 사방색의 쾌자를 덧입고 북채를 사용, 협무는 삼지화를 드는 반면 동래고무는 조선시대 혼례복인 녹의홍상을 입고 원무만 녹색원삼을 덧입으며 북채를 드나 협무는 한삼만을 착용하는 차이를 보인다.
3). 음악 및 창사의 경우 무고는 ‘함령지곡’을 사용하고, 동래고무는 영산회상 중 ‘유초신지곡’을 사용하는데 이는 지역화 과정에서 그 지역의 문화를 수용하며 변화 된 양상으로 보여 진다.
이상과 같이 변화되는 과정 속에서 동래고무는 차별화되며 지역적 정체성을 가진 춤으로 정착하였는데, 이에 따른 내용적 가치를 살펴보면 다음과 같다.
첫째, ‘절제(節制)’의 미를 가진 춤이다. 동래고무는 민속춤 계열의 교방무와 달리 궁중의 법도를 계승한 법춤이므로 자신의 감정을 드러내기보다는 춤사위에 나를 맞추는 품격 있는 절제미가 느껴진다. 이는 동래고무가 교방화 과정에서 무고의 절제미를 함께 계승했다고 볼 수 있다.
둘째, ‘역동(力動)’의 미를 가진 춤이다. 역동은 절제의 미와는 상반되는 개념으로 역동의 미는 교방화 과정 중에 변화된 양상이라 할 수 있겠다. 이는 경상도 지역의 투박하고 활달한 지역적 정서가 더해지고 춤사위와 구성의 변화로 인해 역동의 미가 형성되었을 것으로 추측된다.
셋째, 동래고무는 이 상호보완적인 미적 가치들이 잘 조화되어 모자람도 과함도 없는 ‘중용(力動)’의 미를 창조해 내었으며, 부산 동래지역의 독특한 정체성을 가진 교방무로 정착되었음을 알 수 있다.

목차 (Table of Contents)

• 국문초록···············································································································································ⅴ
• Ⅰ. 서론···················································································································································1
• 1. 연구의 필요성과 목적·········································································································1
• 2. 연구방법 및 제한점··············································································································2
• Ⅱ. 이론적 배경···································································································································4
• 1. 무고의 유래와 전승··············································································································4
• 2. 무고의 갈래와 교방 ‘고무’의 유입(流入)경로·························································15
• 1) 무고의 갈래····················································································································15
• 2) 교방 ‘고무’의 유입·······································································································16
• 3) 동래교방으로 전승된 ‘동래고무’···········································································19
• Ⅲ. 궁중무고에서 교방고무로의 이행에 나타난 형식적 측면 분석··························23
• 1. 원류로서의 ‘무고’················································································································23
• 1) 춤의 구성 및 진행과정································································································23
• 2) 복식 및 무구····················································································································26
• 3) 음악 및 창사····················································································································28
• 2. 교방화로의 이행에서 보여지는 ‘동래고무’······························································29
• 1) 춤의 구성 및 진행과정································································································29
• 2) 복식 및 무구····················································································································31
• 3) 음악 및 창사····················································································································32
• Ⅳ. 동래고무로의 정착 및 내용적 가치 분석·····································································36
• 1. 동래고무로의 정착과 변화 양상··················································································36
• 2. 동래고무의 문화·예술적 가치························································································41
• 1) ‘절제(節制)’의 미를 가진 동래고무·········································································41
• 2) ‘역동(力動)’의 미를 가진 동래고무·········································································43
• 3) ‘중용(中庸)’의 미를 가진 동래고무·········································································45
• Ⅴ. 결론 및 제언······························································································································47
• 참고문헌···············································································································································50
• Abstract················································································································································53