제주도 굿 제차 중 연구

Abstract

This paper is a study of Seoksallim in the performance phases of Jeju Island rituals. As few studies have focused on this small scale of ritual performance phase, it is believed that this study will contribute to building a new perspective of Seoksallim in Jeju shamanism. It is also considered as having its significance and value even with such a study attempt. Seoksallim is a ritual ceremony where gods or sprits are summoned to the altar and food is offered. Then incenses and candles are lit and drinks are offered followed by singing, dancing and praying. All participants at the venue are active participants in this rite.

Seoksallim is typically performed in one of three methods: (1) Ancestor God Gunwung Ilwol is summoned at Chogamje Phase during a summoning rite. (2) Take place as an independent shamanistic ritual between the god-summoning service Chogamje Phase, and god-reception rite Maji-gut. (3) Summon the god as the last phase of a ritual performance at the god-reception rite Maji-gut. In method (1), Seoksallim is carried out at the ritual service, Chogamje Phase. Through interviews with Shimbang "Shaman", it is found that Seoksallim can take place in services such as Choshinmaji, Chosanggye, Jetsanggye, and Jeohsanggye. In addition, it can be performed at all types of Maji-gut rite, Chogamje, and shincheonggyue rituals. In method (2), Seoksallim can repeatedly be performed according to the circumstances. In method (3), it takes place as the last phase of the rituals such as Buldomaji, Ilwolmaji, Chogongmaji, and Eegongmaji rites. This paper also studies the transmission patterns of Seoksallim in two aspects; individual belief and communal faith. The individual faith features all of the three performance methods. However, in the case of communal faith, Seoksallim is conducted only when the god Gunwung Ilwol is invited and performed. Through interviews with Shimbang, it was established that Seoksallim is also performed as an independent ritual service. This paper studies the transmission patterns focusing on Shamanistic songs, which are sung in Seoksallim such as Deokdam-sori, Nolle-sori, Seowudget-sori, Dambul-sori and Ninanni-sori. In this study, Deokdam-sori and Nolle-sori are compared and analyzed with the relation of Shimbang-gok, "blessing and praying song" Through this analysis, it was established that Seoksallim shares features Goryeo Dynasty in its story with comparison with Gunwungbon-puri. It was also found that Seowudget-sori is related with God Seonwangchambong. Finally, since Dambul-sori and Ninanni-sori feature Buddhistic characteristics, it was established that they are sung only when an ancestor god is Buddhist. Seowudget-sori and Dambul-sori can be learnt relatively easily thanks to the chorus structure in singing. This feature allowed them to spread widely across Jeju Island, with the result that they are orally narrated at various performance sites and venues still to this day.

Seoksallim features an open structure. All the participants are able to take part in the rite of Seoksallim through the ritual performance of Nolpan. Furthermore, it functions as the foundation for education for Shaman Shimbang. It also includes various contents such as Gunwungbon-puri, Josangshinbon-puri, and Yeonudakkuem. Looking into Durin-gut, "ritual", it is obvious that the role of Seowudget-sori is to present and bring out gods.