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The paintings of dancing in Jisangsegyedo(地上世界圖) fall into dances in the earthly world and in the heavenly world. The former, painted on the four sides of the wall, describe those dances that pray for the lasting of the human world as an extension of the world after death, and the latter illustrate those symbolic and Utopian godly dances that are expressed from the Goguryeo(高句麗) people’s views on the universe, religion, and dance.The types and properties of dancing in Jisangsegyedo are as follows.(1) The compositions of dancers in Goguryeo’s mural painting, Jisangsegyedo appear diversely with ‘solo dancing,’ ‘duet dancing,’ ‘trio dancing,’ ‘five-person dancing,’ and ‘great group dancing,’ etc.(2) ‘Dancing by professional dancers,’who are subject to the nobility or the king, are performed. As the most honorable treatment, the professional dancers’ dancing is shown to the person who is buried in the tomb. (3) There are more male dancers’ dancing than female dancers’. The solo dancing is all composed of male dancers, and female dancers appear only in the duet dancing and group dancing. Generally, women perform musical instruments, and men dance. That is to say, it is because the culture of Goguryeo was high-spirit men-oriented, and on the other hand, the Western dancing was introduced mainly on the male dancer basis.(4) Along with the introduction of Buddhism, the Western dancing came to Goguryeo through the Silk Road. The dancers in this case were professional dancers nationalized or transmitted from the West.(5) Most of the dances by the professional dancers are Gwangsumu ‘wide sleeve dance.’ Gwangsumu is performed with long sleeves by professional dancers, which shows the performance nature of the dance performed in everyday living for the other life after the tomb host’s death.(6) Dancing by common people not by professional dancers is, or though professional, warriors’arms dancing, foreigners’ dancing, and acrobats’ dancing are all ‘dancing with bare hands.’ Thus, there are various dancing with bare hands and arms dancing that well represent Goguryeo people’s spirits. (7) Though they are dancing in living and conventions before and after death, group dancing and procession, which are performed by professional dancers, also have the properties of ‘funeral ceremonial dancing.’(8) The ‘procession dancing’ mitigates boredom and give pleasure to the host at the time of his/her going-out and trip.(9) There also appear ‘hunting ceremonial dancing’ in accordance with the outdoor hunting activities that Goguryeo men as a horse-riding people enjoy.(10) Some dances have the properties of ‘Baekhigiak(百戱伎樂) dancing (dancing with a hundred plays and music)’ with the Buddhist religious background, which implies the Buddhist view on life after death with which people wish reincarnation at the Western Paradise in the next life.

본 연구는 문헌연구를 토대로 세계 문화예술교육의 역사를 알아보고, 이를 바탕으로 ‘세계문화예술교육대회’에 대해 이해하고, 이러한 흐름 속에서 무용교육의 나아가야 할 방향에 대해 고찰한 연구이다. 민주주의 이념과 신자유주의 시장경제 체제 속에서 세계의 문화예술교육은 보다 발전 하게 되었고, 문화유산의 보존과 전승․국가 정체성 확립․문화적 다양성 강화․창의 적이고 전인적 인재육성․문화예술 체험의 대중화 등을 목적으로 국가적 수준의 정책사 업으로 추진되었다. 이러한 적극적인 지원과 노력으로 범지구적 세계문화예술교육 활동 의 하나인 ‘세계문화예술교육대회’가 출범하게 되었고, 제2차 서울 대회에서 채택된 ‘서 울 어젠다(Seoul Agenda): 예술교육 발전 목표’를 통해 세계는 문화예술교육 실천을 위한 지식과 경험을 전지구적으로 공유하게 되었다. 세계 문화예술교육의 역사적 흐름과 ‘세계문화예술교육 대회’의 지침들을 바탕으로 한 무용교육의 나아가야 할 방향은 다음과 같다. 1. 세계문화예술교육의 거시적 안목으로 무용교육을 이해하고, 바라 보아야 한다. 2. 무용의 대중화, 저변확대를 위해 대중 중심의 교육으로 변해야 한다. 3. 춤문화의 보편성을 추구하되, 동시에 각 지역과 나라의 정체성을 지켜야 한다. 4. 정부를 비롯한 민간단체, 무용교육 관계자 및 실천가들의 창조적 협력관계가 형성 되어야 한다. 5. 이론과 실제의 간극을 줄이기 위해, 무용교육 관계자와 실천가들의 이론적․실천 적 역량을 강화해야 한다.

The purposes of this study, based on the literature research, is to view the history of international arts and culture education, understand ‘The World Conference on Arts Education’ and to find out the direction of Dance Education from the historical point of view. Under the ideology of democracy and in Neo‐liberalist market economy, international arts and culture education has developed and been supported by a nation as a national policy to preserve cultural assets, establish national identity, enforce cultural diversity, nurture creative and holistic human resources and popularize culture and art experiences. With such active supports and efforts, ‘The World Conference on Arts Education’ the global arts and culture education activity was held. Through ‘Seoul Agenda: Arts Education Development Goal’ adopted in the 2nd Seoul Conference, the world came to share their knowledge and experiences globally. Following are the directions that the dance education should go for. 1. We should understand and think of dance education with the macro view of international arts and culture education. 2. We should focus on the public to popularize and expand the population supporting dance education. 3. We should keep the identity of each country and region, while pursuing the universality of the dance culture. 4. Dance education professionals and practitioners should enforce their competency in theory and practice to reduce the gap between the theory and the reality. 5. There should be creative cooperation between organizations and individuals including government agencies and civil organizations, dance education professionals and practitioners.

본고는 제주도의 춤 하위문화1)를 찾아내고, 그 요소를 중심으로 이형상(숙종28년) 의 <탐라순력도>와 이후 이원조(헌종7)의 『탐라록(耽羅錄)』에 나타난 입춘굿 탈놀이를 문화사적으로 살펴 보왔다. 제주도는 아름다운 자연 속에서도 그 자연을 끝없이 숭배하 고, 기도해야 하는 자연환경적 요소로 인해 무수한 신을 섬기고 있으며, 이형상의 <탐라 순력도>『건포배은(巾浦排恩)』(1702년)․일본의 제주수탈 제도화(1910년대)․4ㆍ3사건(1948년)의 역사적 요소들로 제주 춤 문화의 독자성을 유지할 수 있었다. 이 중 <탐라순력도>『정의양 로(庭儀養老)』ㆍ『정방탐승(正方探勝)』ㆍ『제주양로(濟州養老)』(1702년)의 무인(舞人)․무인(舞人)의 형상(形象) 및 의상․무구(舞具) 의 구성을 통해 제주의 무수한 신당을 혁파하고, 중앙 유교문화의 유입과 재현을 위해 노력한 조선 시대 성리학자 이형상의 흔적을 알 수 있었다. 그러나 제주 도사 신광수 『탐라록(耽羅 錄)』(1764년)과 제주목사 이원조『탐라록(耽羅錄)』(1841년)에는 이형상의 정치적 흔 적은 사라지고, 그들의 문화 속에 토속신앙만이 자리잡고 있음을 시사했다. 특히 이원조 『탐라록(耽羅錄)』(1841년)의 ‘입춘굿 탈놀이’ 에 대한 기록은 어떠한 상황에서도 제주 도민들의 토속신앙을 대신할 수 없고 그러한 신앙심은 춤으로 극대화된다는 것을 알 수 있었다. 현재까지도 <입춘굿탈놀이>는 험난한 자연환경에 순응하기 위한 기도의 집단춤 이 주가 되고 있으며, 고달픈 삶을 영위해야 했던 제주여성들은 노동을 놀이처럼, 놀이 를 노동처럼 여기며 대동의 가락과 춤으로 삶의 시름을 신에게 비렴2)하였다. 결국 제주의 춤 문화 정체성은 두레형식의 노동을 놀이로 발전시킨 무아(無我)의 강 인한 여성성과 정치적 부침(浮沈)을 거듭하면서도 절대신을 향한 주술성으로 대표된다.

This thesis has looked out for the sub-culture of Jeju dance, and has observed Yipchungut Talnori with a cultural history viewpoint shown in <Tamra Soonryeokdo (耽羅巡歷圖)> of Hyeong-sang Lee(28th year since the reign of King Sook-jong) and [Tamrarok(耽羅錄)] of Won-jo Lee(7th year since the reign of King Heon-jong) after on by focusing on those elements. As a result, the identity of the dance of Jeju that has unique cultural area is as follows. Jeju Island has worshiped numerous gods due to its natural and environmental elements in which they have to admire and pray the nature endlessly even within its beautiful nature, and by the historical factors of <Tamra Soonryeokdo(耽羅巡歷圖)>[Geonpo Bae-eun](1702) from Hyeong-sang Lee, the institutionalization of the exploitation of Jeju by Japan(the 1910s) and 4.3 Incident(1948), it could maintain the originality of Jeju dance culture. The forms of dancers in <Tamra Soonryeokdo(耽羅巡歷圖)> [Jeongeui Yangro(旌義養老)], [Jeongbang Tamseung(正方探勝)], [Jeju Yangro(濟州養老)] (1702) and the composition of garments and dancing helmets are the traces by Hyeong-sang Lee, the Neo-Confucianist of the Chosun era, who has made an effort to introduce and reproduce the central confucianism and do away with innumerable shrines in Jeju. In the [Tamrarok((耽羅錄)] (1764) of Jeju guru Gwang-soo Shin and [Tamrarok(耽羅 錄)] of Jeju moksa(牧使) Won-jo Lee (1841), the political intention and trace of Hyeong-sang Lee disappeared, and it is on the record that only their indigenous religion has rooted deeply into their culture. Especially, the record of ‘masquerade of the exorcism on the onset of spring’ of [Tamrarok(耽羅錄)] by Won-jo Lee showed that it could never substitute the Jeju resident’s indigenous religion at any circumstances and that faith is culminated into dance. <Yipchungut Talnori> in Jeju is the collection of mindset and phase in Jeju culture. Collective dance of devotions to accommodate to the harsh natural environment turns out to be its main. Especially, Jeju island has an extraordinarily great female culture, and the women who have lived a painful life regarded their labor as play and their play as labor, and appealed their anxieties of life with the melodies and dances of Korea to god. The identity of the dance culture in Jeju is represented as the incantation towards the absolute god with a repetition of strong feminism and political fluctuation of self-effacement that has developed the labor of a cooperative farming team format into play.