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본 논문은 안성향당무를 대표하는 홍애수건춤의 미적 특성을 수잔 K. 랭거의 미적 상징 이론으로 살펴보는 데 연구 목적이 있다. 랭거는 무용이 감정의 논리적 표현이라는 점에서 하나의 상징으로 성립될 수 있음을 주장한다. 즉, 표현적 형식으로서의 무용은 감정에 대한 관념을 나타내며 이것은 감정의 객관화라는 추상화된 형식을 의미하는 것으로 그것의 내용으로는 생명적 함의를 가진다. 본 연구에 사용한 무보는 2017년 6월23일 공연된 ‘한국예인의 명작명무전’ 공연자료를 토대로 하였다. 무보의 명칭은 현재 전승자가 사용하는 춤 진행순서에 따라 대표적인 동작을 사진으로 수록하고 설명을 붙였다. 연구결과는 다음과 같다. 첫째, 홍애수건춤의 무용사적 의의를 고찰하였다. 홍애수건춤은 향당무 전수조교인 유청자 선생의 전승작으로, 길쌈?출산?침선?세답 등 가사노동과 놀이를 즐기는 여인들의 삶의 희노애락을 백단 수건(붉은 수건과 흰 수건)을 이용, 여인들의 한 맺힌 삶의 고뇌와 역경을 헤쳐가는 애절한 심정을 표현하고 고난을 극복한 후 새 삶에 도약하는 부활의 과정을 거쳐 새로운 각오와 다짐으로 승화시킨 춤이다 둘째, 홍애수건춤의 미적 특성을 제의와 기복, 애절함, 업 혹은 삶의 무게, 자유와 환희로의 승화, 예술성 등으로 분류하여 홍애수건춤이 갖고 있는 신화적, 한과 멋, 무속적, 흥과 신명의 표현적 특징을 춤사위에서 밝혔다. 홍애수건춤에서는 전통적인 생활규범을 통해서 자연스레 표출되는 한국적인 정조라든가 상념, 연정, 소망 등과 같은 깊은 감정이 표현된다. 이 춤에서 한국의 자연, 풍속, 세태 등에서 포착할 수 있는 아름다운 시정을 무용화, 한국적인 멋과 흥의 조화로운 창출을 볼 수 있는 것은 이 때문이다. 따라서 무용은 ‘의미있는 형식’ 곧 ‘상징적 형식’임을 알 수 있다. 이를 통해 도출된 홍애수건춤의 미적특성 및 미적 상징은 홍애수건춤의 정체성 확립과 그 창조적 계승을 위한 학문적 모색이라는 점에서 의의가 있다.
목차
국문초록 ················································································································ ⅰⅠ. 서론1. 연구의 필요성 및 목적 ··············································································· 12. 연구의 범위 및 방법 ··················································································· 33. 선행연구 검토 ······························································································· 3Ⅱ. 랭거의 미적 상징론1. 랭거의 미적 상징 ························································································· 71) 미적 상징의 개념 ················································································· 72) 미적 상징과 표현 ··················································································· 82. 무용에서의 미적 상징 ··············································································· 10III. 홍애수건춤의 무용사적 의의1. 홍애수건춤의 개요 ····················································································· 141) 홍애수건춤의 발생 ············································································· 152) 홍애수건춤의 무구 및 음악 ································································· 173) 홍애수건춤의 춤사위 ············································································· 242. 홍애수건춤의 무용사적 의의 ··································································· 26Ⅳ. 홍애수건춤의 미적 특성1. 수건의 상징성 ····························································································· 291) 수건의 역사 ·························································································· 292) 수건의 상징성 ······················································································ 303) 흰색과 적색의 상징성 ········································································· 342. 홍애수건춤의 미적 특성 ··········································································· 361) 제의와 기복 ·························································································· 382) 애절함의 대상 ·························································································· 413) 업보 혹은 삶의 무게 ··············································································· 424) 자유와 환희로의 승화 ············································································· 525) 예술성 ········································································································ 57Ⅴ. 결론 ·········································································································· 62참고문헌 ··········································································································· 64Abstract ··········································································································· 68
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