조선 후기 전통춤의 교섭양상 연구

Abstract

조선 후기 전통춤은 우리가 막연히 짐작하듯 그리 단조롭지만은 않다. 전대(前代)의 춤 역사를 이해하는 관점으로는 문화적 다원 현상이 반영되어 있는 조선 후기 전통춤을 그려낼 수 없다. 넓게 보되 깊이를 지닌 새로운 관점으로 전통춤을 찾아내고, 그 춤들 간의 교섭 관계를 밝혀 조선 후기 전통춤의 진정한 의미를 제고하고자 한다. 조선 후기 의궤(儀軌) · 읍지(邑誌) · 세시기(歲時記)의 기록 속에서 궁중, 교방, 민속의 춤 조각을 찾을 수 있었고, 다각적인 관점으로 해석하고 엮어보니 세 개의 춤은 완전히 분리된 객체로 볼 수 없었다. 3개의 축이 전승 · 변용 · 교섭의 역사적 순환을 한 것이다. 국연(國宴) 의궤로 본 조선의 궁중춤은 영조 대(1694∼1776년)를 기점으로 전성기를 맞이할 기반 토대를 구축한다. 전대(前代)에 비해 춤 종목은 확대되고, 춤추는 관기를 ‘무기(舞妓)’라 명명(命名)하였다. 향기(鄕妓)로만 구성된 <처용무(處容舞)>는 인조반정(1623년) 후 장악원 관기의 혁파로 인한 선상기제도의 유동성을 잘 보여준다. 정조 대(1776∼1800년)에 오면 <학무(鶴舞)> · <첨수무(尖袖舞)> · <검기무(劍器舞)> 가 처음 등장하고, 1작(爵)에 여러 춤이 공연되거나 무구(舞具)의 사용 범위가 확대되면서 춤 연출의 다양성이 조성된다. 춤을 사랑했던 왕세자, 효명세자는 순조 대(1800∼1834년)의 궁중춤 르네상스를 이룬 일등 공신이다. 그는 역대 최대 28개의 궁중춤을 선보였고, 이중 19개는 신작(新作)으로 ‘아명(雅名)’을 기재한 향악교주로 연주되었다. 또한 협무(挾舞)를 투입하고, 별도의 소품을 제작하여 예술본연의 창작 욕구로 다양한 춤 주제를 표현하고자 했다. 이는 궁중춤의 새로운 시도를 넘어선 도전이며, 외부의 무조건적 수용이 아닌 조화를 통한 궁중의 무작(舞作)이다. 헌종 대(1834∼1849년)에 오면서 당악의 향악화가 본격화되었고, <관동무(關東舞)>가 궁중춤으로 영입되는 최초의 사례가 보인다. 그 이후 1873년 선천교방의 <항장무(項莊舞)>와 1887년 산대놀이의 <사자무(獅子舞)>가 고종 대(1863∼1907년)의 궁중춤으로 유입된다. <항장무>는 극적 상황이 배제된 궁중의 <항장무>로 , <사자무>는 왕에게 북향하는 궁중의 <사자무> 로 재창작된 것이다. 주요 『읍지』와 (1872년)『교방가요』를 중심으로 본 교방춤은 궁중으로부터 유입된 <포구락(抛毬樂)> · <무고(舞鼓)> · <처용무(處容舞)> · <향발(響鈸)> · <아박(牙拍)> · <연화대(蓮花臺)> · <학무(鶴舞)>· <헌선도(獻仙桃)> 춤이 대부분의 교방에서 연희되었다. 그리고 교방의 지리적 · 사회적 · 역사적 배경들로 특성화된 지역춤이 발전하면서, 그 춤은 전국적으로 전파된다. 16세기부터 재인(才人)의 <사자무>는 평안도 지역의 공사(公私) 연향의 주요종목이며, 선천교방의 <항장무>는 19세기 후반부터 궁중과 타지역 교방에서 연희된다. 경상도 지역에서 유래된 <처용무> 와 <검무>는 18 · 19세기 전국 교방의 가장 인기 있는 종목으로 손꼽힐 만하다. 역으로 『교방가요』를 보면 궁중춤 <학무>와 민속춤 <승무>가 경상도 교방춤으로 유입된 경우도 찾을 수 있다. 이 춤들은 궁중춤 <학무> 보다 더 자유롭게 날아다니는 교방의 <학무>로, 민속춤 <승무> 보다 더 가벼운 사랑이야기로 연출된 교방의 <승무>로 만들었다. 즉 조선 후기 교방은 지방고유의 향토색을 지닌 기존 춤과 유입된 춤을 적절히 조화함으로써 자신들만의 춤 세계를 일권낸 것이다. 그리고 전문예인으로서 교방 향기(鄕妓)들은 궁중에서 자신들의 춤을 선보이면서 지역문화의 우수성 및 특수성을 전파했다. 조선 후기 민속춤의 족적(足跡)은 많지 않으나, 선조들의 생활상을 담고 있는 여러 세시기를 통해 존재감을 확인할 수 있다. 정월(正月)에는 호장 감독의 ‘입춘굿’과 북을 두드리며 걸립하는 ‘법고(法鼓)’, ‘처용(處容)’의 벽사행위가 성행했다. 중원(中元)에는 절의 백종절과 남자들의 <백중놀이>, 부녀자들의 <회소무(會蘇舞)>가 현종 · 정조 · 순조에 이르기까지 대표적인 춤으로 연희된다. 이중 <회소무>는 궁궐에서 일하는 여자들의 노동무(勞動舞)이었으나, 조선 후기 부녀자들을 위한 대표 춤으로 부상한다. 노동을 놀이로, 놀이를 노동으로 여겨 삶의 힘겨움을 춤과 음악으로 승화시켰다. 사시사철 늘 연희된 산대놀이와 굿도 있다. 지방의 호장들은 이 민속춤을 기획 · 주도하였고, 전문성 · 구체성 · 단독성을 지닌 향기의 춤은 민속춤으로 전파된다. 민속춤에 전이 된 향기의 춤은 민중과 더불어 추는 대중적 특성으로부터 배제되거나, 재인과 민중에 의한 재현의 한계로 그 명맥을 이어가지 못했다. 즉 조선 후기 민속춤은 독립된 춤 작품으로서의 예술성과 역사성을 발췌하기는 힘들지만, 여민동락(與民同樂)의 대표적인 문화 징표이다. 조선 후기의 정치적 안정 및 경제적 잉여로 인해 민중문화의 수요 및 예술본연의 창작 증대, 민족 예술의 자각 속에서 전통춤의 교섭은 더욱 가속화 되었다. 그 교섭양상은 선상기(選上妓) 제도의 활성화와 중인(中人)계층의 역할 강화로 더욱 분명해진다. 특히 중인계층은 18세기부터 신분상승 운동을 전개하면서 춤 문화의 관리자 · 향유자 · 행위자로 거듭난다. 각종 춤과 무인(舞人)을 만나게 해 준 주체자인 것이다. 그 경로에 형성된 궁중과 민중 · 표층과 기층 · 상(上)과 하(下)의 춤 문화 속에서 변용의 핵심적 매개자는 교방과 관기였다. 원-텍스트는 수용하고, 그 축대를 중심으로 자신들만의 춤으로 무작(舞作)한 것이다. 그로 인해 각기 다른 층위에 있던 춤들이 상호 역동적 교섭이 일어나고, 창조적 갱신을 통해 춤의 역사적 진보가 이루어진다. 즉 조선 후기 전통춤의 문화적 다원현상 중 가장 핵심적인 경로를 제공한 것은 선상기 제도와 중인계층이며 그 경로 위에서 무작(舞作)이 이루어진 자리는 교방이고, 이를 행한 사람은 무기(舞技)였다. 따라서 조선 후기 18세기는 서로의 춤에 관심을 둔 교섭을 위한 준비시기이며, 19세기는 춤 교섭의 상(象)이 본격적으로 펼쳐진 춤 기양(技瘍)의 절정기이다. 이와 같은 논의는 전통춤에 대한 뿌리와 그 형(型)을 제시한 작은 시도이다. 자국문화의 정체성 및 한국전통문화의 중요성이 대두되는 현시점에서 이 시도가 오늘날 전통춤의 지지대가 되고 미래 전통춤의 방향을 제시할 수 있는 올바른 관점과 든든한 기반을 제공하길 기대해 본다.| Traditional dances in the late Joseon Dynasty are not as simple as we vaguely expect. A single point of view for understanding the history of dances in previous generations may not be enough to depict the traditional dances of the time in the context of cultural diversity. In this respect, this study aims to find out traditional dances with broader and deeper perspectives and understand the negotiation among them to ultimately gasp the true meaning of traditional dances in the late Joseon Dynasty.

Fragments of court, Gyobang, and folk dances were found in 'Uigwe', 'Eupji', 'Sesigi'. Multilateral analysis and interpretation on these literatures have found that the three dances are not completely separate. They went through a process of transmission, transformation, and negotiation. When national rituals are interpreted by Uigwe, court dances formed the basis of their heyday in King Yeongjo's reign between 1694 and 1776. Types of dances expanded compared to the previous generations, and state-sponsored gisaengs specializing in dances were renamed 'Mugi', which means a dancing gisaeng. <Cheoyongmu>, mainly composed of 'Hyanggi', implies the flexibility of 'Seonsanggi system' caused by the dispersal of Jangakwon gisaengs after King Injo's restoration in 1623. The basis of dance culture develops diversity of presentations in King Jeongjo's reign between 1776 and 1800. <Hakmu>, <Cheomsumu>, and <Geomgimu> first appeared, while many dances were played in a single play and types of dancing tools expanded. Crown King Hyomyeong, who was as smart as King Jeongjo, played an important role in the achievement of renaissance of court dance in King Sunjo's reign between 1800 and 1834. He introduced 28 different court dances, and 19 of them were totally new and played as 'Hyangakgyoju' with the names of artists marked. Putting up co-dancers on the stage and making various props were a completely new approach, and the natural creative wants were expressed with a variety of themes. It was a challenge beyond a mere innovation and a great piece of art not an unconditional acceptance of external factors. In King Heonjong's reign between 1834 and 1849, Dangak started to turn into Hangak and <Gwandongmu> became the first case of being accepted to court dance. <Hangjangmu> of Seoncheon Gyobang and <Sajamu> of Sandaedogam came in to court dance during King Gojong's reign in 1873 and 1887 respectively. Both of them were re-created as court dances, as <Hangjangmu> excluded any dramatic situations with customized directions and <Sajamu> took the form of heading north to the King.

Gyobang dances, in the context of 『Eupji』 and 『Gyobanggayo(1872)』, include<Pogurak>·<Mugo>·<Cheoyongmu>·<Hyangbal>·<Abak>·<Yeonhwadae>·<Hakmu>· <Heonseondo>, all of which came in from the court. As local dances developed under geographical, social, and historical backgrounds of Gyobang, they expanded all over the country. <Sajamu> played by men of talent was performed at the banquets in Pyeongan-do region, while <Hyangjangmu> of Seoncheon Gyobang, the representative local dance, was played at Court and other local Gyobangs as of late 19th century. <Cheoyongmu> and <Geommu> were the most popular types of dance in Gyeongsangdo Gyobang, the origin of 'Cheoyonggamu' and 'Geommujihi', as well as in all the Gyobangs in 18th and 19th century. 『Gyobanggayo』 also indicated that <Hakmu>, a court dance, and <Seungmu>, a folk dance, came in to Gyodang dance of Gyeongsang-do region. The new <Hakmu> was more liberal than the one played at Court, while the new <Seungmu> was less lofty than the original one. Gyobangs in the late Joseon Dynasty developed their own dances in harmony with others, remaining the intrinsic color of the region. Hyanggis, as professional men of art, spread the excellence of their local culture and shared the regional culture through the banquets with military generals and men of talent.

Although the origin of traditional dances in the late Joseon Dynasty is unclear, they did exist according to the almanac. 'Ipchungut' performed by supervisor of Hojang, 'Beopgo' performed by beating a drum, and an act of keeping away disaster performed by 'Cheoyong' were prevalent in the first month of the year. On July 15th in the lunar calender, 'Baekjongjeol' of Buddhist temples, <Baekjungnori> of men, and <Hoesomu> of housewives were performed as the most popular types of dance until King Hyeonjong, King Jeongjo, and King Sunjo. Particularly, <Hoesomu> settled into the representative dance of housewives, starting from the labor dance of women working in the palace. They sublimed the hardship of their lives into dance and music, taking labor as play and play as labor. 'Sandaenori' and 'Gut' are two of the representative dances of our grass roots beyond the time and space. Hojangs in the local areas planned and directed folk dances, and the dances of Hyanggi with professionalism, concreteness, and individuality. However, the dances of Hyanggi failed to keep alive, being excluded as a functional element of folk dances played with the people or thanks to the limitations of presentation by the people and men of talent. In other words, traditional dances in the late Joseon Dynasty are hard to extract their the artistic and historical values as a piece of art, but are an important cultural mark of 'Yeomindongrak, Rejoice with People'.

Political stability and economic surplus in the late Joseon Dynasty accelerated the negotiation of traditional dances in the context of the demand of popular culture, increase in the creation of art, and awareness of popular art. Such negotiation aspects became more distinct with the revitalization of Seonsanggi system and the stronger roles of the middle class. Particularly, the middle class turned over to the manager, enjoyer, and doer of dance culture with the movement of status elevation in the 18th century. They were the actant that laid foundation for dancers to meet their dances. The principal media of transformation in the dance culture formed between the court and the people, between surface and substratum, and between upper and lower classes were Gyoang and state-sponsored gisaengs. They created their own dances with such axis as the center, which increased the number of each dance and gave birth to the advancement of dance history.

What offered the core channel to the cultural diversity of traditional dances in the late Joseon Dynasty are Seonsanggi system and the middle class. Gobang contributed to the birth of various dances as well as gisaengs of great dances. 18th century in the late Joseon Dynasty was a time for preparation of negotiation for others' dances, and was the zenith of desire for expression of dances, where the aspects of negotiation started in the 19th century.

Where the identity of national culture and the importance of Korean traditional culture are entering into the picture, desirable perspectives and adamant basis for supporting the traditional dances of today and suggesting the direction for them are in dire need.; Traditional dances in the late Joseon Dynasty are not as simple as we vaguely expect. A single point of view for understanding the history of dances in previous generations may not be enough to depict the traditional dances of the time in the context of cultural diversity. In this respect, this study aims to find out traditional dances with broader and deeper perspectives and understand the negotiation among them to ultimately gasp the true meaning of traditional dances in the late Joseon Dynasty.

Fragments of court, Gyobang, and folk dances were found in 'Uigwe', 'Eupji', 'Sesigi'. Multilateral analysis and interpretation on these literatures have found that the three dances are not completely separate. They went through a process of transmission, transformation, and negotiation. When national rituals are interpreted by Uigwe, court dances formed the basis of their heyday in King Yeongjo's reign between 1694 and 1776. Types of dances expanded compared to the previous generations, and state-sponsored gisaengs specializing in dances were renamed 'Mugi', which means a dancing gisaeng. <Cheoyongmu>, mainly composed of 'Hyanggi', implies the flexibility of 'Seonsanggi system' caused by the dispersal of Jangakwon gisaengs after King Injo's restoration in 1623. The basis of dance culture develops diversity of presentations in King Jeongjo's reign between 1776 and 1800. <Hakmu>, <Cheomsumu>, and <Geomgimu> first appeared, while many dances were played in a single play and types of dancing tools expanded. Crown King Hyomyeong, who was as smart as King Jeongjo, played an important role in the achievement of renaissance of court dance in King Sunjo's reign between 1800 and 1834. He introduced 28 different court dances, and 19 of them were totally new and played as 'Hyangakgyoju' with the names of artists marked. Putting up co-dancers on the stage and making various props were a completely new approach, and the natural creative wants were expressed with a variety of themes. It was a challenge beyond a mere innovation and a great piece of art not an unconditional acceptance of external factors. In King Heonjong's reign between 1834 and 1849, Dangak started to turn into Hangak and <Gwandongmu> became the first case of being accepted to court dance. <Hangjangmu> of Seoncheon Gyobang and <Sajamu> of Sandaedogam came in to court dance during King Gojong's reign in 1873 and 1887 respectively. Both of them were re-created as court dances, as <Hangjangmu> excluded any dramatic situations with customized directions and <Sajamu> took the form of heading north to the King.

Gyobang dances, in the context of 『Eupji』 and 『Gyobanggayo(1872)』, include<Pogurak>·<Mugo>·<Cheoyongmu>·<Hyangbal>·<Abak>·<Yeonhwadae>·<Hakmu>· <Heonseondo>, all of which came in from the court. As local dances developed under geographical, social, and historical backgrounds of Gyobang, they expanded all over the country. <Sajamu> played by men of talent was performed at the banquets in Pyeongan-do region, while <Hyangjangmu> of Seoncheon Gyobang, the representative local dance, was played at Court and other local Gyobangs as of late 19th century. <Cheoyongmu> and <Geommu> were the most popular types of dance in Gyeongsangdo Gyobang, the origin of 'Cheoyonggamu' and 'Geommujihi', as well as in all the Gyobangs in 18th and 19th century. 『Gyobanggayo』 also indicated that <Hakmu>, a court dance, and <Seungmu>, a folk dance, came in to Gyodang dance of Gyeongsang-do region. The new <Hakmu> was more liberal than the one played at Court, while the new <Seungmu> was less lofty than the original one. Gyobangs in the late Joseon Dynasty developed their own dances in harmony with others, remaining the intrinsic color of the region. Hyanggis, as professional men of art, spread the excellence of their local culture and shared the regional culture through the banquets with military generals and men of talent.

Although the origin of traditional dances in the late Joseon Dynasty is unclear, they did exist according to the almanac. 'Ipchungut' performed by supervisor of Hojang, 'Beopgo' performed by beating a drum, and an act of keeping away disaster performed by 'Cheoyong' were prevalent in the first month of the year. On July 15th in the lunar calender, 'Baekjongjeol' of Buddhist temples, <Baekjungnori> of men, and <Hoesomu> of housewives were performed as the most popular types of dance until King Hyeonjong, King Jeongjo, and King Sunjo. Particularly, <Hoesomu> settled into the representative dance of housewives, starting from the labor dance of women working in the palace. They sublimed the hardship of their lives into dance and music, taking labor as play and play as labor. 'Sandaenori' and 'Gut' are two of the representative dances of our grass roots beyond the time and space. Hojangs in the local areas planned and directed folk dances, and the dances of Hyanggi with professionalism, concreteness, and individuality. However, the dances of Hyanggi failed to keep alive, being excluded as a functional element of folk dances played with the people or thanks to the limitations of presentation by the people and men of talent. In other words, traditional dances in the late Joseon Dynasty are hard to extract their the artistic and historical values as a piece of art, but are an important cultural mark of 'Yeomindongrak, Rejoice with People'.

Political stability and economic surplus in the late Joseon Dynasty accelerated the negotiation of traditional dances in the context of the demand of popular culture, increase in the creation of art, and awareness of popular art. Such negotiation aspects became more distinct with the revitalization of Seonsanggi system and the stronger roles of the middle class. Particularly, the middle class turned over to the manager, enjoyer, and doer of dance culture with the movement of status elevation in the 18th century. They were the actant that laid foundation for dancers to meet their dances. The principal media of transformation in the dance culture formed between the court and the people, between surface and substratum, and between upper and lower classes were Gyoang and state-sponsored gisaengs. They created their own dances with such axis as the center, which increased the number of each dance and gave birth to the advancement of dance history.

What offered the core channel to the cultural diversity of traditional dances in the late Joseon Dynasty are Seonsanggi system and the middle class. Gobang contributed to the birth of various dances as well as gisaengs of great dances. 18th century in the late Joseon Dynasty was a time for preparation of negotiation for others' dances, and was the zenith of desire for expression of dances, where the aspects of negotiation started in the 19th century.

Where the identity of national culture and the importance of Korean traditional culture are entering into the picture, desirable perspectives and adamant basis for supporting the traditional dances of today and suggesting the direction for them are in dire need.