수영지신밟기의 세대분류에 따른 춤의 전승고찰

A Study on the Inheritance Dances according to the Generational Classification of Suyeong Jishinbalgi -Focusing on Buk and Beokku dance-

본 연구는 부산광역시 지정 무형문화재 제22호인 수영지신밟기의 전승에 있어서 세대별 춤의 변화 양상을 살펴보고자 하였다. 연구방법으로는 문헌조사 및 동영상 분석을 실시하였으며, 보유자, 보유자후보, 전수교육조교를 대상으로 하여 심층면담을 통해 다음과 같은 연구결과를 도출하였다. 첫째, 1세대는 수영지신밟기의 연희가 거의 중단된 상태로 상포계 회원을 중심으로 전수교육이 이루어졌다. 이에 상포계 회원들이 주요 배역을 맡았으며, 춤이라기보다는 흥겨운 몸짓의 놀이 중심의 연희였다. 둘째, 2세대는 수영야류가 국가무형문화재로 지정되면서 수영지신밟기의 연희도 재개되던 시기로 1세대와 큰 차이를 보이지 않지만, 가락에 있어서는 사설과 춤마당에 따라 적정하게 연행 구조가 정립되고 있었다. 3세대는 부산광역시 무형문화재로 지정받는 쾌거를 이룬 시기로 이 과정에서 연행 구조가 비교적 체계화되었다. 1-2세대와 달리 버꾸에서도 보유자후보 및 전수교육조교가 발탁되어 춤의 기틀을 마련하게 되었으며, 시각적 연희가 돋보이게 되는 시기로 인정받고 있다.

The aim of this research was to examine the changes in the melody and dance of Suyeong jisinbalgi performed in Suyeong area, in Busan. For this study, literature survey, video analysis, and in-depth interviews were conducted. The derived characteristics of each generation of this tradition are as follows. During the first generation, the performance style of Suyeong jisinbagi was almost stopped. In this period, the training of the tradition was carried out, centering the members of Sangpo-gye. This influenced the individuals of this group to take the major characters of the practice. First, the performance style of Suyeong jisinbalgi was more like a dance that was focused on entertainment, although its characteristics are mostly that of men. Secondly, as Suyeongyaryu was designated as a national intangible cultural heritage, the performance of Suyeong jishinbagi was resumed in the second generation. There was no significant difference from the first generation in the performance style, but in terms of rhythm, some alterations were made. This was the period when certain editorial performance and dance style were established, accordingly. During the course of the third generation, the Suyeong jisinbalgi tradition was nominated as an intangible cultural heritage by Busan Metropolitan City. Through this process, the performance structure of this tradition was established with relative stylization. The third generation was different from the first and second generation in regard to dance performance, too, as it was the period that has laid the performance style of dance and, by the result, its visual effect has stood out.