KCI우수등재
『국가무형문화재 전승자 구술 자서전』의 문학적 의의 = A Study on Literary Significance of Oral Autobiography of National Intangible Cultural Heritage Transmitters
저자
김대숙 (평택대학교)
발행기관
학술지명
권호사항
발행연도
2022
작성언어
Korean
주제어
등재정보
KCI우수등재
자료형태
학술저널
발행기관 URL
수록면
64-119(56쪽)
제공처
This researcher named this period the 〈self-narrative〉 era. Korean men in the traditional society did not like to talk about themselves. Therefore, in Korean classical literature, 〈self-narrative〉 is mostly shown in women’s literature. In Korea, at the beginning of the 21st century, the 〈self-narrative〉 literature is popular, which is so-called an autobiography. This study examines what and how the 34 human cultural properties of Oral Autobiography of Korean Intangible Cultural Heritage Transmitters do in 〈self-narrative〉.
Most of those who were born around 1927 and died around 2015 lived through the harshest period in Korean history. This autobiography was compiled and completed by this researcher after having a meeting to interview the transmitters with a list of questions planned by NIHC (National Intangible Heritage Center). Although the interview items are the same, the narratives of the 34 people are different because their lives are all different. The analysis of the 34 people were divided into 1. production and repair, 2. music, 3. dance, 4. ritual.
The transmitters were born with talents handed down from their fathers or maternal families. Born in a poor countryside during the Japanese colonial period, they had no interest in their schooling from an early age and were only interested in what they were good at and wanted to do. Women learned by watching what their mothers did at home. The main characters of rituals were motivated by external factors such as wizardry or family history. Due to family history, innate talents, and the locality of the village they were born in, masters committed themselves to what they loved to do, but suffered from their parents’ opposition and social restrictions.
After meeting famed teachers and undergoing rigorous training, the transmitters were designated as cultural assets and succeeded in their careers through the encounter with a helper from outside. As a result of meeting with the pioneers who tried to revive traditional culture in the 1960s, they won prizes in 〈Korea National Folk Arts Contest〉 and 〈Annual Traditional Handcraft Art Exhibition〉 and were designated as cultural assets. As they received subsidies from the government, introduced Korean culture worldwide, taught at private academies and universities, and passed it on to their children and students, they said that they feel rewarding and have no regrets about their lives in the later years.
The transmitters tell their 〈self-narrative〉 honestly and in a fun way. There is nothing to be ashamed of and nothing to keep up appearances: they starved because they were poor, they were beaten by their fathers, they went to a dance academy not school without their parents knowing, they stole from others to run away from home, they didn’t take care of their children because they wanted to dance, and they went to father-in-law’s feast while boasting that they were yangban but ran away to Seoul just for singing. The Japanese oppression, the Korean War, and the Jeju April 3 Incident are also very personal events rather than historical backgrounds. They are culture heroes who overcame difficult times with hard effort and luck. The exaggeration and self-praise of the transmitters bring laughter. Old stories can be forgotten, but oblivion brings concentration. When it comes to transmission, the field with a strong desire to do so is dance. Jinju Geommu (Sword Dance of Jinju) dancer, Jeong Geum-soon talks only about dancing. Although she has forgotten almost everything due to dementia, the only memory she still remembers is about dance which she has been obsessed with for the rest of her life.
The transmitters’ 〈self-narrative〉, which compiles the stories of their lives like a pansori festival, shows the best of autobiography literature that blurs the boundary between fact and fiction.
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