본 연구는 전통춤 공연현장이 반드시 바뀌어야 한다는 소명의식아래, 또 하나는 변화해가는 전통춤 공연현장을 보며 현재와 미래의 전통춤 공연현장에서의 융복합예술 패러다임에 대한 진단과 조망을 해보고자하는데 그 목적이 있다.
본 연구를 통해 현재 행해지고 있는 한국전통춤의 공연현장흐름을 진단하는데 도움이 될 것으로 사료되며 앞으로 새로운 한국전통춤이 나아갈 방향제시의 기본적 틀을 제공한다는 것에 그 의의가 있다하겠다. 전통춤 공연현장에서 전통춤과 전통 재구성춤, 전통 재창작춤 등의 새로운 시도들이 나타나고 있다. 같은 전통춤 작품의 경우도 국가지정 중요무형문화재로 지정된 작품들 이외의 다른 류파별 작품들과 다양한 시·도지정 무형문화재들이 발굴되고, 새롭게 선보이는 춤들이 속속히 나오고 있다. 가령 조갑녀류 승무, 김수악류 교방굿거리춤, 조흥동류 한량무, 김은희류 밀양검무 등이 그 한 예로 들 수 있다. 전통 재구성무용의 경우, 진주검무를 홀로 춤으로 재구성한 “구음검무”, 논개살풀이춤을 음악을 달리하여 이미지를 극대화시킨 “논개”를 들 수 있다. 전통 재창작무는 본 연구자의 경우를 예로들면, 이매방의 입춤을 재창작한 “산유화”, 최현의 산조춤을 재창작한 “숲”, 진도북춤을 퍼커션(percussio)악기 반주로 아리랑 민요에 맞추어 재창작한 “아리랑 환타지”를 들 수 있다. 전통춤의 콘텐츠 개발과 다각적 장르와의 융복합을 통한 변화와 시도는 관객들에게 외면당하고 있는 전통춤 공연의 절박한 현실에서 일반관객과의 적극적 소통을 할 수 있는 바람직한 현상이다. 또한 21세기 융합과 소통의 시대흐름에 부합된 전통춤 공연현장에서의 융복합예술 패러다임으로 파악할 수 있다.
The site of traditional dance performance is changing and it should be changed. Already enough, trend of the times and the spectators' sensibility are moving at breakneck speed. With an awareness that we should have our site of traditional dance performance changed under the reality of its actual change, this study aims to diagnose and look out on the paradigm of convergence arts at the present and future site of traditional dance performance. For study method, in order to analyze the sites of traditional dance performance made in the past 3 years, the researcher directly participated in, produced or viewed the performances, or looked over videos, programs and every literature of primary and secondary historical records. Limitations in this study are the fact that the researcher has failed to deal with all the theaters in Seoul producing traditional dance performance but just focused on Foyer, Sungkyun Theater, Seongam Arts Hall, Kous, etc. where currently such performances are being consistently given in full swing. This study is considered to be of help in diagnosing the current trend at the site of Korean traditional dance performance with significance in providing the basic frame of its new direction to proceed in the future. The existing traditional dance performance was a simple method of listing repertories, which was limited itself to designated cultural assets. Considering the performance scene on the theater-type stage right after our Flowering Time 100 years ago was a variety show including court dance, folk dances and new-style dance, today's performance of traditional dance putting back the clock is deemed impossible to secure the general spectators any more. This has unleashed many attempts including, first, critics who are differentiating among works using the new terms - traditional dance, reconstructed and recreated dances from tradition and creative dance. Reconstructed dance from tradition is the one made through new work of revision and complement in composing the order of movements, leaving the original movements and content contained in the traditional dance work as they are. Recreated dance from tradition is a new recreation of movements and composition contained in the original with newly made theme, content and choreographic design, betraying the attempt of recreation from the original traditional dance. Finally, creative dance refers to a newly created work totally different from the original traditional dance work, in which the original plays no further role than providing an idea or material. In short, on the site of traditional dance performance, these new attempts of traditional dance, reconstructed and recreated dances from tradition, etc, are appearing. Even for the same traditional dance work, works by school and diverse intangible cultural assets designated by cities and provinces other than state-designated important intangible cultural assets are being turned up while producing new works one after another. As observed above, we have the paradigm of convergence arts changing at the site of traditional dance performance. Instead of the existing performance in one method of listing repertories of traditional dance, the site is changing the software with traditional dance, reconstructed and recreated dances from tradition, creative dance, etc. on the level of transmission and development. Besides, they are presenting a new content of traditional dance performance by reconstructing its entire frame as hardware through convergence attempts made among many genres, such as popular music, history and literature, diverse spaces, image, etc. as well as live music. These changes and attempts are a desirable phenomenon favorable to positive communication with general spectators in an urgent reality of traditional dance performance being neglected by them. This can be recognized as the paradigm of convergence arts at the site of traditional dance performance coincidental to a trend of the 21st century, a time for convergence and communication.
