『대정현아중일기』에 등장하는 제주 방비(房婢)연구: 방비의 역할과 여악(女樂)수행을 중심으로 = A Study on Jeju's Bangbee in 『Daejeonghyun Ahjung Diary』: Focusing on B angbi and a famale Court Music (Yeoak)

다국어 초록 (Multilingual Abstract)

In the Joseon Dynasty, gisaeng or gwan-gi were officially registered entertainers. Their primary role was to perform music, dance, and song, which is why they were also called yeoak (female performers). However, there were others known as giyeok, whose duties were limited to accompanying officials and soldiers stationed in remote areas. Although their roles and statuses differed, the general public often perceived them as the same, which created misunderstandings and discomfort for those who were professional performers. It is thought to be a part that can provide serious errors in the academic and historical basis of Korean dance. Therefore, this study attempted to provide basic data on this through the contents of Jeju's defense in “Daejeonghyun Ahjung Diary.” Bangbi (serving women dispatched to the frontier) existed primarily to support administrators and soldiers in remote regions. According to the 19th-century journal “Daejeonghyun Ahjung Diary” written by Kim In-taek, who served as magistrate of Daejeonghyeon in Jeju, the roles of bangbi were as follows:First, when a woman became a Bangbi, her status was adjusted from gi (妓) to bi (婢), and she received greater material benefits. Second, Bangbi were officially allowed to give birth. Third, Bangbi had the right to refuse cohabitation but could be punished for it. Fourth, Jeju maintained its unique custom of local female entertainers (younyeo) becoming gwanbi (official maidservants). Fifth, Bangbi did not engage in performing arts such as singing, dancing, and music. Conversely, records from Jeju-mok at the time indicate the presence of gisaeng skilled in the performing arts, thereby confirming the functional distinction between yeoak and bangbi.