제주도 초감제 굿춤 연구

Abstract

제주도는 신화의 땅으로 현전하는 무속신화가 매우 다양하고 각 본풀이 구연에 앞서 초감제를 반드시 올린다. 이는 여러 신들이 굿이 열리는 장소에 좌정하기까지 하늘이 열리는 아득한 태초의 시간부터 오늘의 굿판이 열리는 현재까지 신의 내력과 인간의 기원을 담은 초월적 현상을 경험하게 한다. 본고는 제주도의 굿춤이 제의 속에서 신화적 상징체계를 담고 있음을 전제 로 초감제의 굿춤을 분석하였다. 분석범위는 초감제의 베포도업춤과 군문열림춤, 새ᄃᆞ림춤, 신청궤춤이다. 초감제 굿춤의 사상적 배경을 제공하는 베포도업침과 천지왕본풀이는 천지개벽과 인간세상의 질서를 만든 근본내력을 밝히는 한국의 창세신화다. 그 내용을 살펴본 바, 무극(無極)에서 하나의 태극(太極)으로 태극에서 음양(陰陽)과 오행(五行)이 생겨나고, 오행은 천지만물의 생명이 운화하는 자연과 인간 삶의 질서를 마련하였다는 것이다. 하늘과 땅, 인간의 조화로운 질서가 어떻게 생겨났는지 동양의 천문 우주론을 바탕으로 서사가 전개되었다. 본고는 천문 우주론에 대한 해석 자체가 목적이 아니라 제주도라는 지역의 환경적 요인은 제주인의 삶이 고대로부터 천문, 역법에 근거한 자연의 질서를 동경하며 자연신을 숭배하고 하늘의 질서를 강조했던 우주적 관념이 제주민의 의식 속에 자리하였음이 제주도굿 초감제의 본풀이(신화)에 나타나며, 초감제 본풀이는 의례 속 굿춤과 상관성을 지니며 사상적 기틀을 제공한다고 보았다. 신화는 심방의 언어적, 행동적 요소로 재현되는데 이때 굿춤은 제의의 구술상관물인 신화를 상징적으로 표현하는 수단이 되는 것이다. 이는 본고가 제의학파 신화론을 근거로 제의와 신화, 굿춤의 상관성을 논의하였음을 말한다. 초감제 굿춤은 신화와의 제의의 상관성을 잇는 매개로 그 원리를 첫째, 초공본풀이에 근거한 무조신의 성장배경이다. 무조신 젯부기삼형제가 삼천천제석궁에 갇힌 어머니를 구하기 위해 아버지를 찾아가고 심방이 되는 과정은 제주도의 굿을 집행하는 심방의 길과 무구와 악기의 내력을 담은 신화이다. 둘째, 시간과 공간의 분할에 있다고 보았다. 시간의 분할은 초감제 굿춤이 베포도업부터 천지왕과 신들이 생겨난 시간적 순서에 따라, 신이 오는 굿청에 좌정하기까지 시간적 순서에 따라 굿을 진행한다. 공간의 분할은 안과 밖, 이승과 저승, 안연물과 밧연물, 선 굿춤과 앉은 굿춤, 동서남북 사방에 좌정한 신들을 위한 의례로 굿춤의 시간성과 공간성은 굿을 연행하는 형식과 구조에 영향을 미친다. 셋째, 동양우주론을 바탕으로 한 제주민의 생사관과 세계관이다. 동양의 우주론은 무극에서 태극으로 음양이 생겨나고 음양은 순환하여 오행이 생겨나며 음양오행은 하늘과 자연의 질서를 만들어 인간세상의 삶에 영향을 미친다는 것이다. 한마디로 초감제의 굿춤은 초공본풀이에 근거한 굿법으로 베포도업침과 천지왕본풀이의 신화적 상징제의를 시간과 공간을 분할하여 신을 맞이하는 춤이라고 하겠다. 제주도 굿춤의 신화적 상징은 삼멩두(무구)와 연물(악기)을 통해서 제의를 양식화 하였다. 심방의 삼멩두와와 연물은 굿춤을 구성하는 중요요소인데 초공본풀이의 무조신의 내력에 따른 무구를 활용한 춤사위가 굿춤의 주를 이룬다. 제주도굿의 연물은 심방의 동선에 따라 연주가 달라지는데 이는 안연물과 밧(밖)연물로 구분된 제주도굿의 음악적 특징이다. 심방의 동선은 제청의 안(이승, 俗의 세계)과 밖(저승, 聖의 세계)을 구분하여 움직이는데 이런 공간적 분할에 따른 악기의 연주가 달라지는 것이다. 제주도의 굿춤에는 동작의 형태면에서 기본형 1,2,3 동작과 뒷걸음 춤, 앉은 손놀림 춤, 도랑춤이 기본적인 동작소가 되어 굿춤을 구성하였다. 이 기본동작들은 무구의 사용과 함께 굿춤의 신화적 표현에 주술적 기능을 더하였는데 요령은 신의 세계로 들어가는 기능을, 신칼과 천문은 신의(神意)를 점치는 점사(占辭)도구이자 무구(舞具)로서 기능을 하였다. 기본형 1,2,3동작은 춤을 구성하는 기본 동작소이며, 공간의 이동과 춤의 시작과 마무리에 쓰인다. 뒷걸음 춤은 두 가지 형태로 보여 지는데 신을 맞이하기 위한 맞이형과 신을 즐겁게 하기 위한 놀림형으로 구분된다. 이들 기본동작소는 제주도의 굿춤을 구성하는 기본 형식이 된다. 제주도 초감제 굿춤은 굿의 구조에 있어서 연행성, 원리에 있어서 규범성, 춤의 내용면에서 예술성을 지니며, 신화의 철학적, 사상적 배경을 근거로 제의의 신성성을 표현하는 행동적 제의 양식이다.|As Jejudo is the island of myth, its inherited shaman myths are very diversified and they always dance Chogamje (the first part of Gut) before each main narration. Before various gods take seats on the place of this Gut, it makes the audiences experience a transcendent phenomenon that contains the history of the gods and the origin of humans from the time of the beginning of things until the present time when this Gut is performed. This paper analyzed the myth and shaman dance of Chogamje on the assumption that Jejudo's shaman dances contain the mythic symbolic system in rites. The analysis was made on Chogamje with Bepodoeopchim and Cheonjiwangbonpuri and on shaman dance with Bepodoeop dance, Saedarim dance and Sincheonggwe dance. Bepodoeopchim and Cheonjiwangbonpuri that appear in Chogamje are for the myth of world creation that illuminates the fundamental history of the beginning of the world and the order of human world. They describe the epics, based on oriental cosmology, how the harmonious order among heaven, earth and human could be created. The analysis on the content of the myth of world creation showed that the Great Ultimate was created from the limitlessness, yin-and-yang and five elements were created from the Great Ultimate and the five elements prepared the order of nature and man that drives the lives of all creatures. Bepodoeopchim describes the creation of the world, and Cheonjiwangbonpuri describes that day and night were created by the adjustment of the number of year and month by the twin brother born from the marriage of heaven father and earth mother, this created the order of universe and nature, and good and evil were created in the human world out of the competition between these two twin in order to take possession of human world when the younger brother who failed in the competition of puzzle and blooming took over this world through his trick. These two myths are reproduced in rites by the narration of a shaman at the beginning of gut according to temporal order of today's gut. The myths are reproduced as shaman's linguistic and behavioral elements and such shaman dances become a means to express, in a symbolic way, the myths which are the correlative oral statement of rites. The mythic symbols of Jejudo shaman dance stylized the rites through Sammengdu (dancing tool) and Yeonmul (instrument). Shaman's Sammengdu and Yeonmul are the major elements that compose shaman dances, and the dancing steps utilizing dancing tools according to the history of ancestry god of shaman in Chogongbonpuri take the major part of shaman dance. The performance of Jejudo gut differs by the moving line of shaman and this is the musical characteristic of Jejudo gut which is composed of inner-performance and outer-performance. The moving line of shaman differs by the inner world (this world, world of desire) and the outer world (next world, world of divinity) and the performance of instruments become different according to such spatial division. Rite hall where guts are performed is a small universe and guts are performed inviting gods to each Dangkle. Dangkle becomes a three-dimensional space, a small universe, and shaman stands on the boundary where heaven and earth, god and man communicate each other at the center of this small universe. It was considered that Jejudo's shaman dances have the distinctiveness that implies the oriental cosmology inside the symbols of myths and rites. It existed in the structure and principle of shaman dances that cross over time and space. The structure of Jejudo's shaman dances is composed of the performance of main narration according to time flow and inviting gods as a chief of rite, and the correlation between main narration (myth) and shaman dance could be illustrated through the way of gut called 'Cheongsin (requesting god) + Maji (reception). Chogamje shaman dance is a mediate that connects the correlation between myth and rite, and first, its principle is based on the growth background of ancestry gods of shaman based on Chogongbonpuri. The ancestry gods, three Jetbugi brothers, went out to seek their father in order to bail out their mother who was locked in Samcheoncheonjeseok palace and became shamans. This tale is a myth that contains the way of shamans who execute Jejudo guts and the history of dancing tools and instruments. Second, it is deemed to be in the separation of time and space. As for the division of time, Chogamje shaman dance is performed, in the temporal order of appearance of Cheonji King and gods, since Bepodoeop until the time the gods seat on the gut hall. The separation of space is for this world and next world, inner-performance and outer-performance, sanding shaman dance and sitting shaman dance, and rite for the gods who seat on every four directions and the nature of shaman dance's time and space, influences the form and structure for the performance of such guts. Third, Jejudo resident's view on life and death based on oriental cosmology. Oriental cosmology claims that yin and yang are created from the limitlessness toward the Great Ultimate, the circulation of yin and yang creates five elements, the yin-yang and five elements produce the order of heaven and nature which influence the life of human world. Bepodoeopchim and Cheonjiwangbonpuri are for the Korean myth of world creation that contains the order between heaven and earth, human world and nature. In this myth of world creation, the epic is developing based on oriental cosmology. This oriental cosmology has been determining the way of living by influencing the Jejudo resident's view on life and death and the world. In short, the shaman dance of Chogamje is a way of gut based on Chogongbonpuri, and Bepodoeopchim and Cheonjiwangbonpuri can be considered as dances to receive gods after dividing the time and space of their mythic and symbolic rites . Jejudo shaman dance is composed of basic action elements - basic actions 1, 2, 3, backward step dance, seating-and-hand dance and Dorang dance. These basic actions add shamanistic function on the mythic expression of shaman dance together with the use of dancing tools. While Yoryeong has a function to enter into the world of gods, divine sword and astronomy perform the function as fortune-telling tool for god's will and dancing tool. The summary of the characteristics of Jejudo Chogamje shaman dances as the symbols of myths and rites is as follows; First, it is a reception dance to receive gods with the narration of main performance according to the hierarchy of the gods and peformed in a way of shaman dance based on Chogongbonpuri. Second, it is a all-direction dance that implies the nature of time and space. It separates the inside and outside of rite hall in the spatial aspect and shows transcendent shaman dance that crosses over time and space by performing the procedure of shaman dance according to temporal order. Third, Chogamje shaman dance has a nature of mythic symbol by proposing actions for the main narration.

Studying the shaman dances is deemed to be an opportunity to understand our folklore and develop, in an academic way, the value of our cultural heritage that is vanishing in this country. It is also thought to be a basis to infer and illustrate the origin of Korean dances with the principle of dance that contains yin-and-yang and opposition in Korean dances and the nature of circulation of all-direction dance. It is also a process of knowing the way of living to understand and respect the world order that exists between heaven and earth and between nature and human.; As Jejudo is the island of myth, its inherited shaman myths are very diversified and they always dance Chogamje (the first part of Gut) before each main narration. Before various gods take seats on the place of this Gut, it makes the audiences experience a transcendent phenomenon that contains the history of the gods and the origin of humans from the time of the beginning of things until the present time when this Gut is performed. This paper analyzed the myth and shaman dance of Chogamje on the assumption that Jejudo's shaman dances contain the mythic symbolic system in rites. The analysis was made on Chogamje with Bepodoeopchim and Cheonjiwangbonpuri and on shaman dance with Bepodoeop dance, Saedarim dance and Sincheonggwe dance. Bepodoeopchim and Cheonjiwangbonpuri that appear in Chogamje are for the myth of world creation that illuminates the fundamental history of the beginning of the world and the order of human world. They describe the epics, based on oriental cosmology, how the harmonious order among heaven, earth and human could be created. The analysis on the content of the myth of world creation showed that the Great Ultimate was created from the limitlessness, yin-and-yang and five elements were created from the Great Ultimate and the five elements prepared the order of nature and man that drives the lives of all creatures. Bepodoeopchim describes the creation of the world, and Cheonjiwangbonpuri describes that day and night were created by the adjustment of the number of year and month by the twin brother born from the marriage of heaven father and earth mother, this created the order of universe and nature, and good and evil were created in the human world out of the competition between these two twin in order to take possession of human world when the younger brother who failed in the competition of puzzle and blooming took over this world through his trick. These two myths are reproduced in rites by the narration of a shaman at the beginning of gut according to temporal order of today's gut. The myths are reproduced as shaman's linguistic and behavioral elements and such shaman dances become a means to express, in a symbolic way, the myths which are the correlative oral statement of rites. The mythic symbols of Jejudo shaman dance stylized the rites through Sammengdu (dancing tool) and Yeonmul (instrument). Shaman's Sammengdu and Yeonmul are the major elements that compose shaman dances, and the dancing steps utilizing dancing tools according to the history of ancestry god of shaman in Chogongbonpuri take the major part of shaman dance. The performance of Jejudo gut differs by the moving line of shaman and this is the musical characteristic of Jejudo gut which is composed of inner-performance and outer-performance. The moving line of shaman differs by the inner world (this world, world of desire) and the outer world (next world, world of divinity) and the performance of instruments become different according to such spatial division. Rite hall where guts are performed is a small universe and guts are performed inviting gods to each Dangkle. Dangkle becomes a three-dimensional space, a small universe, and shaman stands on the boundary where heaven and earth, god and man communicate each other at the center of this small universe. It was considered that Jejudo's shaman dances have the distinctiveness that implies the oriental cosmology inside the symbols of myths and rites. It existed in the structure and principle of shaman dances that cross over time and space. The structure of Jejudo's shaman dances is composed of the performance of main narration according to time flow and inviting gods as a chief of rite, and the correlation between main narration (myth) and shaman dance could be illustrated through the way of gut called 'Cheongsin (requesting god) + Maji (reception). Chogamje shaman dance is a mediate that connects the correlation between myth and rite, and first, its principle is based on the growth background of ancestry gods of shaman based on Chogongbonpuri. The ancestry gods, three Jetbugi brothers, went out to seek their father in order to bail out their mother who was locked in Samcheoncheonjeseok palace and became shamans. This tale is a myth that contains the way of shamans who execute Jejudo guts and the history of dancing tools and instruments. Second, it is deemed to be in the separation of time and space. As for the division of time, Chogamje shaman dance is performed, in the temporal order of appearance of Cheonji King and gods, since Bepodoeop until the time the gods seat on the gut hall. The separation of space is for this world and next world, inner-performance and outer-performance, sanding shaman dance and sitting shaman dance, and rite for the gods who seat on every four directions and the nature of shaman dance's time and space, influences the form and structure for the performance of such guts. Third, Jejudo resident's view on life and death based on oriental cosmology. Oriental cosmology claims that yin and yang are created from the limitlessness toward the Great Ultimate, the circulation of yin and yang creates five elements, the yin-yang and five elements produce the order of heaven and nature which influence the life of human world. Bepodoeopchim and Cheonjiwangbonpuri are for the Korean myth of world creation that contains the order between heaven and earth, human world and nature. In this myth of world creation, the epic is developing based on oriental cosmology. This oriental cosmology has been determining the way of living by influencing the Jejudo resident's view on life and death and the world. In short, the shaman dance of Chogamje is a way of gut based on Chogongbonpuri, and Bepodoeopchim and Cheonjiwangbonpuri can be considered as dances to receive gods after dividing the time and space of their mythic and symbolic rites . Jejudo shaman dance is composed of basic action elements - basic actions 1, 2, 3, backward step dance, seating-and-hand dance and Dorang dance. These basic actions add shamanistic function on the mythic expression of shaman dance together with the use of dancing tools. While Yoryeong has a function to enter into the world of gods, divine sword and astronomy perform the function as fortune-telling tool for god's will and dancing tool. The summary of the characteristics of Jejudo Chogamje shaman dances as the symbols of myths and rites is as follows