제주도 <서우젯소리>의 연행적 특질 －제주시 조천읍 함덕리 《추는굿》(1984)과《영등굿》(2023) 사례를 중심으로－

초록

The shamanic ritual song <Seowujet-sori> is performed across a range of individual to communal rituals by the religious practitioners of Jeju Island. Although the ritual functions of this song vary depending on the context, it serves as a foundational text for examining the cultural cycle of sustainability of intangible heritage due to its transmission system based on embodied experience as ‘dancing.’ This paper compares and analyzes the performative aspects of <Seowujet-sori> in the ceremonies 《Chuneun-Gut》(1984) and 《Yeongdeung-Gut》(2023) held in Hamdeok-ri. In summary, <Seowujet-sori> demonstrates a rhythmic structure characterized by a 3-beat, 4-pulse rhythm. The shaman (Simbang) improvises lyrics and melodies within this rhythmic framework, leading to a flexible melody system that varies depending on the performer. During the performance, participants engage directly in the ritual by dancing, thereby embodying the song. The shaman describes <Seowujet-sori> using terms such as ‘Naenanggim-sori’(like crossing over waves) and ‘Datgamgi-sori’(like hoisting an anchor), reflecting the practitioners’ cognitive attitudes toward addressing and sending off ‘Dochaebi,’ a figure symbolizing ‘Han,’ against the backdrop of the sea. As a narrative shamanic ritual song, <Seowujet-sori> in 《Chuneun-Gut》 immerses participants in a trance-like state, offering liberation from the melancholic layers of ‘Han’(the emotion of sadness). Conversely, in 《Yeongdeung-Gut》, the song fosters a cyclical transmission system where participants experience spiritual ecstasy as a community. Thus, <Seowujet-sori> represents a means of singing from the ontological perspective of Jeju Island’s faithful, addressing and sending off negative entities within their recognized life space, the ‘sea.’ Its ‘flexible rhythm’ is internalized and transmitted through both individual and communal rituals, forming a cyclical mechanism based on the embodied experience of dancing.

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