20세기 초 <판염불>의 가창 양상 －잡가집에 수록된 <판염불>을 중심으로－ = Panyeombul and Its Performers in Korea’s Modern Transition: A Study Based on Japgajip

다국어 초록 (Multilingual Abstract)

This study examines the transmission and transformation of Panyeombul, a representative repertoire of sadangpae (itinerant female entertainers), from the late nineteenth century to the early twentieth century. Although the sadangpae as a performance group gradually disappeared with the collapse of the traditional social order, Panyeombul continued to circulate on modern stages through changing groups of performers. Drawing upon contemporary newspapers, commercial songbooks (japga-jip), and early broadcasting records, this article traces how the performers of Panyeombul shifted from premodern itinerant troupes to urban-based professional singers such as Park Chun-jae and the Pyeongyang naltangpae ensemble.
The analysis of songbooks published between 1914 and 1918 reveals that while Panyeombul initially remained a part of the stage repertoire, its Buddhist incantation section (the yeombul text) gradually disappeared, and the remaining sancheongyeonggae and sarang texts were reorganized under the title Nollyang. This shift coincided with the institutionalization of kisaeng training, where Nollyang—already widely accepted as an old folk song (Joseon-koga)—could be accommodated, whereas Panyeombul was increasingly excluded due to its stronger association with sadangpae ritual functions.
The study further demonstrates that while Nollyang gained prominence in modern media such as commercial records and folk-song anthologies, Panyeombul survived only sporadically, appearing, for example, in a 1937 Kyeongseong Broadcasting program on “Old-Style Kyeonggi Folk Songs” and reemerging in the 1951 expanded edition of Musang yuhaeng shin-gu japga. These patterns reveal that the disappearance of Panyeombul was not a linear process of extinction but rather a non-linear trajectory in which discontinuation, marginalization, and partial revival coexisted.
By situating Panyeombul within the broader reconfiguration of santaryeong repertories and the evolving performance culture of early twentieth-century Korea, this study illuminates how traditional musical elements were selectively preserved, renamed, or omitted in response to changing social perceptions and media environments. The findings contribute to a deeper understanding of the dynamic mechanisms that shaped the modern reception of premodern vocal genres.