경기민요 명창 묵계월의 생애사 연구

Abstract

본 논문은 경기민요 명창 묵계월의 생애사Life history를 통해, 경기민요의 근․현대사를 정리함으로써, 전통예술의 학론적 기반을 구축하고자 함에 그 목적이 있다. ‘명창의 생애사’란 명제의 특성상 가계家系는 물론, 특히 ‘구술심전口述心傳’에 의한 도제식徒弟式 전수傳受 교육상 사승師承 관계를 예의 주시했다. 묵계월의 가계는 당시 대부분의 가창가歌唱家가 그러했듯이 한미寒微해 11세부터 20세까지 양어머니에 의해 교육된 소리꾼으로 출발했지만, 중요무형문화재로 선발된 이후 비로소 예인藝人으로서의 신분 상승, 나아가 그 영예에 충실하고자 자신의 사명감에 솔선수범率先垂範하였음을 증명하였으며, 사승관계를 통해 경기민요에 관심 갖게 된 동기 및 그 학습과정과, 공연 및 음반활동, 특히 경기민요연구회 결성과 연구회 활동, 나아가 경기민요의 무형문화재 등재 과정을 경기민요의 발달사적 차원에서 정리하였다. 물론 이상의 정리 작업이 참고문헌을 통한 연구·정리가 아니라. 온전히 한평생(80여년) 경기민요 가창자로 살아온 묵계월과, 40여년 스승으로 모시고 함께 활동해 온 연구자와의 대담 녹취는 그 어떤 유형의 문헌적 기록 이상의 귀중한 자료적 가치를 지녔으며, 노령으로 인한 기억상실은 몇몇 문헌에서 보충하므로, 묵계월 개인의 전기적 가치 이상 경기민요의 발전사적 가치 및 미래 제시적 연구물이고자 하였다. 특히 목계월·안비취·이은주 3인을 주축으로 한 경기민요연구회의 세 명인은 경기민요 무형문화재로 등재된 이후, 이들 명인은 생활인으로서의 명창이 아닌, 공인, 이른바 예인藝人으로서의 품위는 물론, 사명을 다 했음을 무대공연 및 왕성한 음반활동, 그리고 민속예술의 대중화에 기여한 민속공연활동의 시례를 다양한 팜플렛 및 초대장·홍보게시물 등 자료 제시를 통해 예증했다. 그 중 특히 묵계월의 남다른 업적은 거의 독보적으로 이문원 소리선생으로부터 전수傳受해 완창完唱해 오던 송서율창誦書律唱의 맥을 제자 유창에게 전수傳授해 2009년 서울시 문화재 제 41호 송서율창 보유자에게 계승하므로 스승의 도는 물론, 당대에서 끊어질 뻔했던 한 전통예술의 맥을 이었다는 점에서 참다운 사도師道를 다했다 할 것이다. 이 밖에도 묵계월의 문하에는 인간문화재 보유자 2명, 전수조교 4명, 전수 장학생 5명, 대통령상 수상자 9명, 경기민요 이수자 36명 등 많은 후학을 양성하므로 민속예술가로서는 물론, 위대한 교육자의 역할을 다했을 뿐만 아니라, 예능 못지않게 중시한 인성교육의 면면을 점검하고 예증하였다. 따라서 묵계월 명창 한 분의 생애사 논고였지만, 이 논고를 통해 초기 한국 민요의 발달 과정은 물론, 앞으로 국악인 모두가 사명처럼 수행해야 할 과제를 제시하므로 경기민요의 발전사 및 위대한 교육자로서의 면모를 밝혀 후학의 귀감으로 삼고자 했다.|This article aims to establish an academic basis of Gyeonggi folk song, a type of Korean traditional art by examining the modern and contemporary history of Gyeonggi folk song through the life history of a master singer Muk Gyewol. Following the typical definition of ‘life history’ of a master singer, the article particularly focuses on both the pedigree, and the unique relations between a master and pupils that are formed especially when obeying to masters and his or her teachings are considered as strictly absolute and such teaching are usually orally passed down to the pupils. As most other singer families did in Korea, Muk’s family had low social status. When she was eleven, Muk started her career as a professional folk song singer under the teachings of her stepmother, which continued till she turned to twenty. It was not until she was selected as an Important Intangible Cultural Heritage when she was finally upwardly mobile. The article shows how Muk took the initiative and set an example of a master singer in order to devote herself to the honor of the Important Intangible Cultural Heritage. Also the article attempts to explain Muk’s reasons and motivations to get involved in Gyeonggi folk song, the learning process, performance and other activities such as forming Gyeonggi folk song research association and its activity by thoroughly understanding the relations between a master and pupils. Moreover, the process of listing Gyeonggi folk song as an Intangible Cultural Property was examined from the aspect of the development of the Gyeonggi folk song. This research is not just conducted through the examinations on references or previous researches. It also includes the record of conversation between the researcher who has been a pupil of Muk for about 40 years and Muk herself who has lived as a master singer of Gyeonggi folk song for her whole life. Surely it is more valuable resource than any other literature records on this topic. However, Muk’s loss of memory due to old age was supplemented by other literature records. Hence, the article proposes more than just an individual biography: the valuable development of Gyeonggi folk song and its future value. After they were designated as an Intangible Cultural Treasure, Muk Gyewol, An Bi-chwi, and Lee Eun-joo, who are master singers as well as the main figures of the Gyeonggi folk song research association, not only maintained dignity as a public figure but also greatly performed their mission as a master singer. The article also illustrates it through their stage performance, active involvement in recording and shows how folk performance contributed to popularization of folk art by investigating various pamphlets, invitations and advertisements of the performance.

The unique and great achievement of Muk Gyewol is in her making great efforts to teach and passing down her skills to her pupils, which can be seen as unequaled. She had carried on the legacy of singing Songseo-yulchang that she learned from her teacher, Lee Munwon and succeeded to her pupil, Yoo Chang who were designated as the 41 Intangible Cultural Treasure of Seoul in 2009. As a result, it can be said that Muk prevented the tradition from being broken off. Surprisingly, under Muk’s teaching there are two students who hold the designation of Human Cultural Asset, four apprentices as assistant instructors, five apprentices with scholarship, nine awardees of President Prize and thirty six students who completed the Gyeonggi folk song course. She fostered numerous pupils and fulfilled the mission both as a master singer and folk artists. Furthermore, she not only focused on the students’ skills as a singer but also paid close attention to build students’ upright character as an individual In conclusion, the article deals with the life history of a master singer, Muk Gyewol and covers the overall history of Korea’s Gyeonggi folk song. Also it shows how Muk Gyewol has set an example of a great teacher for the future generation and successfully fulfilled her mission as a master singer through her whole life. Finally it suggests tasks that are assigned to other younger Korean folk singers.