민속무용 연구의 한 단면

머리말 4 | 강인숙| 박병천류 전통춤의 무용학적 가치_11 Ⅰ. 머리말···························································································· 11 Ⅱ. 박병천의 전통예술 활동 양상······················································· 14 Ⅲ. 박병천 전통춤의 공연예술화·무대화 작업··································· 24 1. 의식 춤의 공연예술화 ……… 24 2. 비 의식춤의 공연예술화 ……… 36 Ⅳ. 박병천류 전통춤의 무용학적 가치················································ 42 Ⅴ. 맺음말···························································································· 46 | 김주희| 교방춤의 전승경로_49 Ⅰ. 머리말···························································································· 49 Ⅱ. 교방춤의 개념 및 성립배경··························································· 52 Ⅲ. 교방춤의 종류 및 특징································································· 58 Ⅳ. 교방춤의 전승 경로······································································· 62 Ⅴ. 교방춤의 무형문화재 지정···························································· 66 Ⅵ. 맺음말···························································································· 73 |박 미 | 무형문화재 원형과 전형에 대한 고찰: 무용을 중심으로_77 Ⅰ. 머리말···························································································· 77 Ⅱ. 무용의 원형과 무용의 본질··························································· 82 Ⅲ. 무용에서의 전형 개념 확립··························································· 88 Ⅳ. 무용 종목을 바탕으로 한 전형 개념의 정립································ 92 Ⅴ. 맺음말···························································································· 97 | 박성민| 금릉 빗내 농악의 무용적 접근_101 Ⅰ. 머리말·························································································· 101 Ⅱ. 금릉 빗내농악의 구성································································· 104 Ⅲ. 금릉 빗내농악에 나타난 춤사위·················································· 108 1. 기러기굿의 춤 ……… 110 2. 소쩍굿의 춤 ……… 111 3. 쌍둥이굿의 춤 ……… 113 4. 판굿의 소고춤 ……… 113 5. 상사굿의 춤 ……… 114 Ⅳ. 금릉 빗내농악 춤의 기능과 의미················································ 115 Ⅴ. 맺음말·························································································· 123 | 서지연| 남해안별신굿춤의 변화 양상 연구_127 Ⅰ. 머리말·························································································· 127 Ⅱ. 남해안별신굿의 구성··································································· 130 Ⅲ. 남해안별신굿의 춤사위································································ 138 1. 남해안별신굿춤의 기본 동작 ……… 138 2. 잔삭다리굿춤의 춤사위 ……… 142 Ⅳ. 남해안별신굿 춤의 변화와 의미·················································· 150 Ⅴ. 맺음말·························································································· 156 | 양지선| 영남우도 교방연향에 나타난 교방춤의 의의_161 Ⅰ. 머리말·························································································· 161 Ⅱ. 영남우도의 교방과 교방연향······················································· 163 1. 영남우도의 교방 ……… 163 2. 영남우도의 교방연향 ……… 171 Ⅲ. 영남우도 교방연향에 나타난 교방춤··········································· 180 1. 검무 ……… 180 2. 고무 ……… 186 3. 포구락 ……… 189 4. 수건무手巾舞 ……… 191 Ⅳ. 영남우도 교방춤의 문화예술사적 의의········································ 193 1. 교방춤의 다양한 양식 연출 ……… 193 2. 교방연향의 의례를 담당 ……… 196 3. 무형문화재 지정의 당위성과 전통성 확보 ……… 198 Ⅴ. 맺음말·························································································· 202 | 장주화| 진주의 교방문화와 춤 전승_205 Ⅰ. 머리말·························································································· 205 Ⅱ. 진주 교방문화의 흐름과 전개····················································· 209 Ⅲ. 진주 교방문화와 춤 전승의 양상················································ 213 1. 교방가요에 기록 된 진주 교방춤 ……… 213 2. 권번으로 이어 문화재로 지정 된 진주 교방춤 ……… 218 Ⅳ. 진주 교방춤의 특징과 변화 양상················································ 222 Ⅴ. 진주 춤 전승의 교방문화적 의미················································ 227 Ⅵ. 맺음말·························································································· 231 | 홍태한| 서울 진오기굿 도령돌기 춤의 신화적 의미_235 Ⅰ. 머리말·························································································· 235 Ⅱ. 진오기굿의 재차 구성······························…

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