본 연구는 한국민속춤에 속하는 장고춤의 사적 흐름을 살피고, 장고의 원형 및 변형․발전과정을 탐색하였다. 그러한 장고춤의 변화양상을 토대로 장고춤의 무용사적재정립을 모색한 결과 다음과 같은 결론을 도출하였다. 첫째, 삼국시대에 ‘고(鼓)’라고지칭하는 요고를 고분벽화 및 유물을 통해서 파악하였다. 벽화에서 요고를 연주하는비천상은 악사와 무용수로서의 역할 모두를 담당한 종합예술인으로 보았다. 둘째, 고려시대의 주악상에 나타난 장고와 벽화의 장고춤은 모두 종교적 제의성을 내포하고있다는 점에서 삼국시대의 요고춤과 고려시대에 장고춤은 제의성이 강한 춤으로 추측된다. 셋째, 조선시대의 장고춤은 정치적․문화적 영향 하에서 종교적 제의성과 함께민속적 유희성을 포함하게 되었다. 넷째, 일제강점기에는 권번에서 장고춤을 추어졌다. 또한 신무용가 최승희가 장고춤을 무대화하면서, 현재 한반도에서 추어지고 있는창작 장고춤의 발판을 만들어 주었다. 결론적으로 장고춤은 한국춤의 기원과 동시성을 갖는다는데 큰 의미와 가치가 있다. 장고춤은 원시사회의 종합예술로 탄생한 춤과북의 조합이라는 전통성, 한국인의 토속적인 제의성, 한국인의 속성인 한․신명과 민족의 유희성, 그리고 현대에 와서는 예술의 극치인 창작성까지 모두 겸비한 춤이라는것이다. 따라서 현재의 장고춤이 갖는 예술적인 특성을 지속적으로 발전시키는 것과함께 장고춤 본연의 사상이나 원형성이 담긴 춤의 복원 및 보전 방안도 함께 모색해야만이 무용사적으로의 위상도 확립될 수 있을 것으로 생각한다.
This study searched the historical flow of Janggo dance, one of the Korean folk dance, and examined the origin, evolution and development process. And, with the revaluation of Janggo dance from the view of dance history, the following conclusions were derived . First, as a one of percussion instrument from a drum in the ancient times, and Yogo called in 'Go (鼓)" in the Three Kingdoms period was found in the ancient tomb murals and relics. Bicheonsang in a tomb murals playing Yogo dance was considered as a multidisciplinary artist in charge of both playing music and performing dance. Janggo in the Juaksang of Goryeo dynasty and Janggo dance in the tomb murals both showed religious rite. So the both Yogo dance in Three Kingdom era and Janggo dance in Goryeo dynasty were assumed to be strong religious rite dance. Third, Janggo dance in the Joseon Dynasty included religious rite and folk playfulness under the political and cultural influences. As Choi, Seung-Hui, Korean modern dancer in the early 20th century, performed Janggo dance at the theater, this became a foothold of a creative Janggo dance in Korea. This Jang-go dance had many different characteristics including traditionality as a synthetic art combining drum and dance in primitive society, folk religious rituals of korea, Han, ShinMyeong and enjoyment as a korean attribute, and also Creativity - the highest reach of art - in modern era. Thus, for the re-establishment of status in the Korean dance history, we have to prepare methods for restoring and preserving of Jang-go dance's meaning and original form as well as keeping the current efforts to develop its artistic charactieristics.
This study searched the historical flow of Janggo dance, one of the Korean folk dance, and examined the origin, evolution and development process. And, with the revaluation of Janggo dance from the view of dance history, the following conclusions were derived . First, as a one of percussion instrument from a drum in the ancient times, and Yogo called in 'Go (鼓)" in the Three Kingdoms period was found in the ancient tomb murals and relics. Bicheonsang in a tomb murals playing Yogo dance was considered as a multidisciplinary artist in charge of both playing music and performing dance. Janggo in the Juaksang of Goryeo dynasty and Janggo dance in the tomb murals both showed religious rite. So the both Yogo dance in Three Kingdom era and Janggo dance in Goryeo dynasty were assumed to be strong religious rite dance. Third, Janggo dance in the Joseon Dynasty included religious rite and folk playfulness under the political and cultural influences. As Choi, Seung-Hui, Korean modern dancer in the early 20th century, performed Janggo dance at the theater, this became a foothold of a creative Janggo dance in Korea. This Jang-go dance had many different characteristics including traditionality as a synthetic art combining drum and dance in primitive society, folk religious rituals of korea, Han, ShinMyeong and enjoyment as a korean attribute, and also Creativity - the highest reach of art - in modern era. Thus, for the re-establishment of status in the Korean dance history, we have to prepare methods for restoring and preserving of Jang-go dance's meaning and original form as well as keeping the current efforts to develop its artistic charactieristics.
