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송경숙 (진주교육대학교, 진주교육대학교 교육대학원)

지도교수
송미숙
발행연도
2019
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진주교육대학교 논문은 저작권에 의해 보호받습니다.

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이 논문의 연구 히스토리 (2)

초록· 키워드

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안성향당무는 2000년 8월 21일 경기도무형문화재 제34호 단체종목으로 지정된 전통춤으로, 향당에서 시작되었으며, 서민적 정서와 나라의 안녕을 수건과 깃발 등을 사용하여 표현한 춤이다. 안성향당무는 안성의 특성과 전통을 이어오며, 한국전통무용사에 중요한 춤으로, 그 종류도 많다. 그러나 안성향당무에 대한 연구는 개괄적 연구이기에 본 연구에서는 안성향당무 중 대표적 작품인 홍애수건춤의 기본 틀을 계승하고 올바른 전승에 일익을 담당하고자 선행연구를 고찰하고, 2017년 6월 23일 19시30분 미국 로스앤젤레스 한국문화원 3층 아리홀에서 공연한 송미숙의 영상을 분석하여 다음과 같은 결론을 도출하였다.
안성향당무는 다양한 춤 집단이 특질을 살려 전승해왔기에 깊이 있고, 분화되어 있으며, 춤 이름도 다양하고, 전문공연단체로 화조무, 봉황금란무 등 화려하고 웅장한 군무가 많으며, 전문춤꾼들이 많아 채선향, 장검무 같은 개인기를 발휘할 독무도 많다.
안성향당무에는 화랑무, 배례무, 태극진세춤, 홍애수건춤 등 수건을 사용하는 춤이 많은데, 안성이 양잠과 길쌈의 고장이기 때문이고, 백단(白丹)수건을 들고 추는 춤은 안성이 유일하다. 홍애수건춤은 흰 치마저고리에 흰 수건을 들고 비현실적 세계를 상징하는 무속 굿에서 비롯한 일반 살풀이춤과는 달리 여인의 일상을 표현했기에 버들잎색 치마저고리와 자투리 천을 이용한 백단(白丹)수건을 들고 춤을 춘다. 홍애수건춤을 세분하면 62개 춤사위이고, 상징성을 중심으로 구분하면, 여인
의 일상을 표현한 동작, 여인 삶의 고뇌를 표현한 동작, 역경을 극복하는 과정을 표현한 동작, 새 삶으로 도약하는 부활을 표현한 동작으로 나눌 수 있다.
홍애수건춤은 고뇌와 상념을 이겨내고 새롭게 도전하는 재생의 과정을 거쳐 새로운 다짐과 희망을 찾고 아픔을 환희로 승화시켜 나가는 과정을 다양한 춤사위를 통해 상징적으로 표현하는 기승전결의 구성력과 탄탄한 스토리가 있다.

목차

Ⅰ. 서론 ····························································································································1
1. 연구의 필요성 및 목적 ···························································································1
2. 연구방법과 범위 ·······································································································2
3. 선행연구 고찰 ···········································································································3
Ⅱ. 안성향당무의 기원과 전승 ·············································································6
1. 안성향당무의 기원과 발전 ·····················································································6
가. 안성의 문화배경과 향당 ····················································································6
나. 안성향당무의 역사적 전개 ··············································································11
2. 안성향당무의 종류와 전승 ···················································································18
가. 안성향당무의 종류와 특징 ··············································································18
나. 안성향당무의 전승계보 ····················································································21
Ⅲ. 홍애수건춤의 발생과 구조 ···········································································25
1. 홍애수건춤의 발생 ·································································································25
가. 홍애수건춤 관련 설화 ······················································································26
나. 홍애수건춤 수건의 의미 ··················································································27
2. 홍애수건춤의 구조 ·································································································29
가. 무복 및 무구 ······································································································29
나. 춤사위 ················································································································34
Ⅳ. 홍애수건춤 춤사위의 상징성 ······································································50
1. 여인의 일상생활을 표현 ·······················································································52
2. 여인 삶의 고뇌를 표현 ·····················································································53
3. 역경을 극복하는 과정을 표현 ·············································································54
4. 새 삶으로 도약하는 부활을 표현 ·······································································55
Ⅴ. 결론 ··························································································································57
참고문헌 ····························································································································59
Abstract ·····························································································································62

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