金德明의 傳統춤과 傳承에 관한 硏究
A study of the traditional dance and transmission of Kim Duck Myung
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This is the first study of the career of Kim Duk Myung who had lived with dancing all his life and inherited temple and Gyobang dance, maintained the content of arts, and the activity to transmit. Therefore analyze the characteristic factor of Kim Duk Myung's dance and examined the study of the researchers who had not contacted with Kim Duk Myung's dance in critical point of view. To find out the background of Kim Duk Myung's also examined the history of a gisaeng. In his childhood Kim Duk Myung's parents left him to the care of the Tongdosa where he came to know about the handed down temple dance. Unlikely usual temple dance well known technique or butterfly dance transmitted Yangsan Tongdosa temple dance is ingenious and unique and not limited to monks but has the wide realm of dance. And the temple dance has ceased since Yang DaeEung, Shin GyeongSoo monks generation due to the purification of the Buddhism circle but Kim Duk Myung transmitting their dance of the heyday is proved by many survival from intangible cultural asset excavation investigation in 1976. But researchers who do not understand the background of the transmission from temple to folklore excluded from an object of study and as a result precious cultual heritage lost footlight and buried. Kim Duk Myung's dance became various kinds including after meeting Pyeongyang anticipator 'Kim Nong Ju'. Through 'Kim Nong Ju's dance his maturity reached full maturity stage. Living in the harsh earthly world his dancing life was fateful and he could never let go of dancing. Sometime along the life dancing was the means of livelihood. Kim Duk Myung was the only transmitted dancer of a temple and a gisaeng call- office dance and most of the dance was originated and handed down orally after Shilla Tongdosa was founded. Furthermore his dance expresses internal feeling and spirit, footloose and connected fancy-free, cheerful and stylish mingled in harmonious strong gentle dancing steps His dance carries over bending and stretching steps, strains danjeon, lift up the one side of the pelvis while taking a step and releasing the power. There is a rough stylishness of a man in the dancing steps. Through his Sachal dance , , , has transmitted to Gyobang dance , , . His transmission activity was most active in Jinju, Kimhae and Yangsan and Jinju Hanryanmoo, Kimhae Seokjeonnori, Yangsan ungsang gopbaeginori etc. were transmitted and discovered. In conclusion, I feel sadness as a researcher that still there are many researchers who disregard the truth but dispute over in intangible cultural asset system. In the future his art and the truthfulness of his life should be researched in diversified ways and point out these problems to junior scholars.