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 ¾ÆÁ÷µµ ±×°÷¿£ ÇسàµéÀÌ ÀÖ¾ú´Ù. ÇÒ¸Ó´Ï, ¾î¸Ó´Ï·Î À̾¸° °­ÀÎÇÑ »ý¸í·Âµµ ±×´ë·Î¿´´Ù. ±×·± ±î´ß¿¡ ¼Ò¼¶(¿ìµµ)¿¡¼­, ¼­±ÍÆ÷¿¡¼­, ¼º»êÆ÷¿¡¼­ ¹°ÁúÇÏ´ø ¡®Á¦ÁÖµµ Çسàµé¡¯ÀÌ Ãâ°¡õóʳ ÈÄ »Ñ¸®³»¸° ´ÙµµÇØÀÇ ÇؾÈÀº ¶Ç ´Ù¸¥ ¡®ÀÛÀº Á¦ÁÖµµ¡¯¿´´Ù. ±×µéÀÌ °¡²Ù¾î¿Â ¡®¹°Áú[¾î·Î³ëµ¿]¹®È­¡¯´Â Á¦ÁÖ ÇسàÀÇ ±àÁö¿´°í ±× Á¤Ã¼¼ºÀÇ Â¡Ç¥¿´´Ù. ÀÌÁ¦ ½ÃÀýÀÌ ÁÁ¾ÆÁ® ¿¾³¯Ã³·³ ³ë¸¦ ÀúÀ» ÇÊ¿ä°¡ ¾ø°Ô µÇ¾ú´Ù. ±× »ÓÀΰ¡. °í¹«·Î ¸¸µé¾îÁø ¹°Áú ¿ÊÀº »ìÀ» ¿¡´Â Çѱ⸦ ¸·¾ÆÁÙ ¼ö ÀÖ°Ô µÇ¾ú´Ù. ±×·¯³ª ¿­ ±æ ¹° ¼Ó »ç½ÅÞÝãê °çÀ¸·Î ¶Ù¾îµé¾î¾ß ÇÏ´Â µÎ·Á¿ò¸¸Àº ¹Ù²îÁö ¾Ê¾Ò´Ù. ±×µéÀº ¡®ÆíÇÏ°Ô »ç´Â °Í¡¯¸¸ÀÌ À¯ÀÏÇÑ °¡Ä¡°¡ ¾Æ´Ï¶ó´Â ±ú´ÞÀ½À» ¿Â¸öÀ¸·Î º¸¿©ÁÖ°í ÀÖ¾ú´Ù. ±× °ªÁø ³ëµ¿À» ÅëÇØ ÀÚ¿¬ ¼Ó¿¡¼­ Àΰ£ÀÇ ÇѰ踦 ºÎ´ÜÈ÷ È®ÀÎÇØ°¡´Â ÇسàµéÀÇ ÀÏ»ýÀ̾߸»·Î ³¯ÀÌ °¥¼ö·Ï ´õ¿í ºû³¯ °ÍÀ̶ó´Â Á¡, Áö±Ý ´©±¸µµ ºÎÀÎÇÒ ¼ö ¾øÀ¸¸®¶ó. 

 

 ¼­ºÎ °æ³² ÇؾÈÁö¿ªÀÇ Çسàµé·ÎºÎÅÍ <ÇØ³à ³ë Á£´Â ¼Ò¸®>¸¦ ä·Ï¡¤ºÐ¼®ÇÏ´Â °ÍÀÌ º» ¿¬±¸ÆÀÀÇ ¸ñÇ¥¿´´Ù. ±×·¯³ª ³ë Á£´Â ¹è°¡ »ç¶óÁ³À¸´Ï, ±× ³ë·¡°¡ ³²¾Æ ÀÖÀ» ¸® ¾ø¾ú´Ù. ±×·¡¼­ Àü¡¤Çö¾÷ ÇسàµéÀ» µÎ·ç ã¾Æ´Ù´Ï¸ç ±×µéÀÇ ±â¾ï ¼Ó¿¡ ÀúÀåµÈ ³ë·¡ÀÇ ÈçÀûµéÀ» ¡®µ¿³É¡¯ÇØ¾ß Çß´Ù. °íµÈ ¹°Áú ÀÛ¾÷ÀÌ ³¡³ª¸é ¹ãÀÌ À̽»ÇØÁö°ï Çß´Ù. ÇÏ·ç Á¾ÀÏ ³ìÃÊ°¡ µÇ¾î ¡®»¡¸® ±¸µéÀåÀ̳ª Áö°í ½Í´Ù¡¯´Â Çسàµé¿¡°Ô Åë»çÁ¤ÇÏ¿© ³ë·¡¸¦ ÇѵΠ¼ö ¾ò¾îµè±â¶õ ¼ö¿ùÇÑ ÀÏÀÌ ¾Æ´Ï¾ú´Ù. ±×·¡µµ ÇÑ ¼ö µÎ ¼ö ³ìÀ½±â¿¡ ´ã°Ü°¡´Â ¸ð½ÀÀ» º¸¸ç ¿ì¸®µéÀº ³»½É Èå¹µÇØÇß´Ù. ÇسàµéÀÌ ¾î¸° ½ÃÀý ÇҸӴϳª ¾î¸Ó´Ï¿¡°Ô ¾ò¾îµéÀº ³ë·¡µéÀº ´ëºÎºÐ ±â¾ï ¼Ó¿¡¼­ ÀÌ¹Ì °õÆÎÀÌ°¡ ½½¾î ÀÖ¾ú´Ù. ±×³ª¸¶ ±× Á¤µµ·Î¶óµµ º¸Á¸µÈ °ÍÀº Á¦ÁÖ ÇسàµéÀÇ ÃѸíÇÔ ´öºÐÀ̾ú´Ù. ¼ö½Ê ³â °£ ³ë ÀúÀ» ÀÏÀÌ ¾ø¾ú´Âµ¥, ³ë Á£´Â ³ë·¡°¡ ºÒ·ÈÀ» ¸® ¾ø´Ù. ºÎ¸£Áö ¾Ê´Â ³ë·¡°¡ ±â¾ï ¼Ó¿¡ ³²¾Æ ÀÖÀ» ÀÌÀ¯ ¶ÇÇÑ ¾ø¾ú´Ù. ±×·³¿¡µµ ±×µéÀÌ ³ë Á£´Â ½Ã´¿À» Çϸ鼭 ¸·Èû¾øÀÌ ºÎ¸¦ ¼ö ÀÖ¾ú´ø °ÍÀº ±× ³ë·¡µéÀ» ¾î¸° ½ÃÀýºÎÅÍ ¡®³ë¿ªÒ¾æµ¡¯ ¼Ó¿¡¼­ ÀÍÇû±â ¶§¹®ÀÌ´Ù. ¸»ÇÏÀÚ¸é ±³½Ç¿¡¼­ ¹è¿î ³ë·¡µéÀÌ ¾Æ´Ï¶ó, ³ëµ¿ÀÇ ÇöÀå¿¡¼­ ´«¹°°ú ÇÔ²² ÀÍÇûÀ¸¹Ç·Î ±× ³ë·¡´Â ÀÌ¹Ì ÆÈ´Ù¸®ÀÇ ±ÙÀ° ¼Ó¿¡ ¹è¾îµé¾î ÀÖ¾ú´ø °ÍÀÌ´Ù. °¡¸¸È÷ ¾É¾Æ¼­´Â »ý°¢µµ ³ªÁö ¾Ê´ø ³ë·¡°¡ ³ë Á£´Â ½Ã´¿¸¸ ÇÏ¸é °Åħ¾øÀÌ Èê·¯³ª¿À´Â ¸ð½ÀÀ» ÅëÇØ ±×·± Á¡À» ¾Ë ¼ö ÀÖ¾ú´Ù. ¿ì¸®´Â ³ë·¡¸¦ ãÀ¸·¯ °¬´Ù°¡ ±×µéÀÇ »îÀ» ¾ò¾ú°í, ±×µéÀÇ »îÀ» ÅëÇØ ¿ì¸®ÀÇ ¹«Áö¸¦ ±ú´Ý°Ô µÇ¾ú´Ù.

 

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 ¿©±â¿¡ À̸§À» ¹àÇô °í¸¶¿òÀ» Ç¥ÇØ¾ß ÇÒ ºÐµéÀÌ ¸¹´Ù. ÁÖ·Î °ÅÁ¦µµ¿Í Å뿵 Áö¿ªÀÇ Çسàµé, ¾îÃÌ°èÀåµéÀÌ´Ù. »çõ½Ã ¼­ºÎ°æ³² Á¦ÁÖµµ¹Î¿¬ÇÕȸ ÀÌâÁ¶ ȸÀå´Ô, »ç·®µµ ¾îÃÌ°è ÇÔÁ¤È« °èÀå´Ô, °ÅÁ¦½Ã Á¦ÁÖµµ¹Îȸ °íâȯ ȸÀå´Ô, °ÅÁ¦ ÇâÅä»ç ¿¬±¸¼Ò À̽Âö ¼ÒÀå´Ô µî Á¶»ç¡¤¿¬±¸ °úÁ¤¿¡¼­ Å« µµ¿òÀ» ÁֽŠ¿©·¯ ¾î¸¥µé²² °¨»çµå¸°´Ù. ¹«¾ùº¸´Ùµµ »çõ½ÃÀÇ À±°è¿Á¡¤¿ìÁ¡ÀÌ, °ÅÁ¦½ÃÀÇ ±è°æÀÚ¡¤°íºÀ¿î¡¤¿ìÃá³à¡¤Á¤±¸¹Ì¡¤À̼ø¿Á¡¤À±¹ÌÀÚ¡¤°í¼ø±Ý, Å뿵ÀÇ ÇöÁ¾¼ø¡¤Çö¿µÀÚ¡¤°­»ó±Ù¡¤±è»ý¼ø¡¤±è¼ø¿­¡¤°í»ê¹é¡¤°­Ã¢È­, ³²ÇØÀÇ ±è¼±¿Á ´Ô µî ³ë·¡¸¦ µé·ÁÁֽŠÀá¼öíÖáùµéÀº º» ¿¬±¸¿¡ °áÁ¤ÀûÀ¸·Î ±â¿©ÇÑ ºÐµéÀÌ´Ù. ÀÌ ºÐµéÀÌ ¾Æ´Ï¾úÀ¸¸é º» ¿¬±¸´Â ÇÑ ¹ßµµ ¾ÕÀ¸·Î ³ª¾Æ°¥ ¼ö ¾ø¾úÀ» °ÍÀÌ´Ù. ÀÌ ºÐµé²² ¾þµå·Á °¨»çµå¸°´Ù.

 ÁÁÀº »çÁøÀ» Á¦°øÇØÁֽŠ»çÁøÀÛ°¡ ±èÀÍÁ¾¡¤¼­Àçö ¼±»ý´Ô, °ÅÄ£ ¿ø°í¸¦ °ö°Ô ´Ùµë¾î ¸ÚÁø Ã¥À¸·Î ²Ù¸çÁֽŠ¹Î¼Ó¿øÀÇ È«±â¿ø »çÀå´Ô¡¤È«Á¾È­ ºÎÀå´Ô¡¤Á¶Á¤È­ ¼±»ý²² °¨»çµå¸°´Ù. ³» Ä£±¸ ¸¶ÀÌŬMichael Souza¼±»ýÀº À̹ø¿¡µµ ¿µ¹®ÃÊ·ÏÀÇ ±³Á¤À» ²Ä²ÄÈ÷ º¸¾Æ ÁÖ¾ú´Ù. ¹«¾î¶ó °í¸¶¿òÀ» Ç¥ÇØ¾ß ÇÒÁö ¸ð¸£°Ú´Ù. º» ¿¬±¸´Â Çѱ¹ÇмúÁøÈïÀç´Ü¿¡¼­ Å« ¿¬±¸ºñ¸¦ Á¦°øÇØÁØ ´öºÐ¿¡ ¹«¸® ¾øÀÌ ¼öÇàµÇ¾ú°í, ºûÀ» º¼ ¼ö ÀÖ¾ú´Ù. Àç´ÜÀÇ ÈÄÀÇ¿¡ °¨»çµå¸®¸ç, ÀÌ Ã¥À» ±× °á°ú¹°·Î ¼¼»ó¿¡ ³»¾î ³õ´Â´Ù. °âÇãÇÑ ¸¶À½À¸·Î µ¿ÇÐÁ¦ÇöÀÇ °ü½É°ú ÁúÁ¤À» ±â´Ù¸°´Ù.

 

 

                             2005. 6. 30.

 

                

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                                                 ¿¬±¸Ã¥ÀÓÀÚ  Á¶±ÔÀÍ   

 

 

 

 

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A Field Study on the Transmission of the Jeju Island's Women Divers' Rowing Songs to the Korean Mainland

  -Centering around the Western Gyeongnam Coastal Regions of Korea-

 

 

                   Cho, Kuy-Ick/Lee, Seong-Hun/Moon, Sukhie/Kang, Myeong-Hye

 

 

 

 

Table of Contents

 

Foreword

 

1st part

 

¥°. Existence and Meaning of Munteul

¥±. Characteristics of Their Transmission

¥². Synchronic and Diachronic Approach

¥³. Musical Approach

¥´. Bibliography

    Index

 

2nd part

 

¥°. Lyrics

¥±. Scores by Singers

 

Appendix : CD of the Songs

 

 

 

Abstract

 

 

   ¥°. Existence and Meaning of Munteul

 

 

                                                                                         

I came acrosst a special term, Munteul meaning a literary framework during the field work for <Korean Women Divers' Rowing Songs> in the coastal region of Western Kyeongnam. Munteul  is a common concept of form and style in all of the women divers' songs including their rowing songs. It is also a concept of form and style generalized among the women divers of Jeju Island and other regions. Munteul of <Korean Women Divers' Rowing Songs>  coincide with the 'meaning' category of the Formula(formula-formulaic expression-theme) worked out by A. B. Lord. Munteul can be considered not only as the singers' unit of memory and transmission, but also a unit for making poems. All informants have the Munteul as the semantic and structural unit of <Korean Women Divers' Rowing Songs> . Judging from their statements, there are a great number of sorrowful, pleasant, and reproaching Munteul, We can only guess its variety. However, its form is so simple. The songs have some functional factors. So, whatever content the Munteul has, it is a help to rowing labor. Some principles like  'choice and metonymy, extension, borrowing' work on the formation of Munteul. <Korean Women Divers' Rowing Songs> have developed from the simple to the complicated. In the process, the part related with the real labor and personal emotion unrelated with the real labor were unified in a structure. It is a substance having a sort of diachronic disposition, because Munteul can continue as far as the songs last.

 

 

 

¥±. Characteristics of Their Transmission

 

 This study is on transmission and variation of <Korean Women Divers' Rowing Songs> in Western Gyeongnam Province.  In 1889, women divers in Chejudo came to the mainland to work in Cheongsando, Wando, Busan, Yeongdo, Geojedo, Dolsan, Gijang, Woolsan and even in Gyeongbuk Province.  In this sense, it is safe to say that the women divers from Chejudo began to temporarily leave their homes for other work places as early as the late 19C in earnest. Accordingly <Korean Women Divers' Rowing Songs> also began to spread to the mainland at that time.  As for Geoje City and Sacheon City in Western Gyeongnam Province, rowing boats singing <Korean Women Divers' Rowing Songs> continued till the late 1960s when power boats were newly introduced.

Women divers, who were born in Chejudo and moved to Western Gyeongnam Province for work, learnt <Korean Women Divers' Rowing Songs> when swimming to the workplace on the coast from Chejudo or when rowing to the workplace in their new working environment.  Most of the women divers who settled in Western Gyeongnam Province actually learned the songs when working in the mainland after leaving their home town.

Women divers who had learnt <Korean Women Divers' Rowing Songs> when swimming to work in Chejudo sang only fragmentary parts of the song.  It is because the distance they had to swim from the seashore to their workplace on the coast was short, and they had to sing in waves with only a short time to sing <Korean Women Divers' Rowing Songs>.

Contrastingly, those who had learnt <Korean Women Divers' Rowing Songs> when going to their workplace from the mainland by boat could sing relatively longer parts of the songs.  This is attributed to the fact that they rowed to small islands on the coast for relatively longer periods of time in Western Gyeongnam Province, with longer time to sing.  The songs could be even richer depending on personal characteristics of the singer, which is believed to be correlated to the singer's word-creating and singing abilities.

The lyrics of <Korean Women Divers' Rowing Songs> which passed through Western Gyeongnam Province showed several features, such as variations with nouns, connective suffixes of inflected words, and auxiliary words, as well a refrain that changed into a 2 metrical foot structure.

Through this study, it was confirmed that the singers, who were born in Chejudo but lived in Gyeongnam Province for a long time, or who were born in Gyeongnam Province and briefly lived in Chejudo but whose parents were from Gyeongnam Province, were under a linguistic environment where they could easily learn the dialect of Gyeongnam Province, and thus tended to sing <Korean Women Divers' Rowing Songs> in the Gyeongnam Province dialect.

Hyeon Jong-sun was an active singer who could add new content to the original words of <Korean Women Divers' Rowing Songs> transmitted in fixed words, to make a complete structure of parallelism, while Yoon Mi-ja had excellent word-creating and singing ability, by dividing <Korean Women Divers' Rowing Songs>, which had been generally sung in one phrase, into two phrases and by extending the words.

 

 

¥². Synchronic and Diachronic Approach

 

 The purpose of this paper is to examine diachronically and synchronically the sound that have been sung by Jeju Island women divers when they went to the sea.

   The study results reveal that the quality of diver¡¯s lives had got much better, and it has been proven that the women divers have become the object of envy with a high rate of profits in their own specialty. Some things have changed a lot; lead is being used at this time, and have become much simpler because of the improvement in quality. In the past, it was not  that important to change one's life drastically. For example, it has been shown that rubber diving suits have merits and demerits even our modern age. Moreover, many of names that have been used in Jeju Island have been changed over the years.

 On the other hand, when it has been taken as a side view of a folk belief, women divers in the western area of Gyeong Nam have kept the folk beliefs of Jeju Island where they were born. Because of this, they had many restrictions that followed from when they were living in their former hometowns. Part of them have become extinct or changed, and it has been seen that there were many changes both individually and collectively. Thus, the religious services that were organized by the children of women divers with relatives in Sa Cheon and Tong Yeong, connected new practices with traditional folk beliefs. Private devotion had existed in Yongwangmegigi, which had been used by Jeju women divers from ancient times. Each area saw different changes that resulted in simpler beliefs and practices. These had been changed into simpler beliefs in each area differently.

 As a result of studying what had been changed and what aspects had been assumed on ¡¸The sound of rowing women divers¡¹, ¡¸yeogi yotong sadowirogunang¡¹ what has been found by the writer was the song for working(¹°Áú) near the water though, The ¡¸yeogi yotong sadowirogunang¡¹  is regarded as the archetype of the sound of rowing women divers mainly because the principal words of the songs appeared as they have been, and also as a refrain.

 What is more important is that, as a result of researching the sound, which was selected by women divers who left their hometown in western Gyeong Nam, it has been shown that there were similar words of the songs within ¡¸the sound of rowing¡¹. In accordance with this, it was considered as a common code, which distinguished between ¡¸the sounds of rowing women divers¡¹ and ¡¸the sounds of rowing¡¹. Overall, it cannot be confirmed that the sounds of rowing women divers had significant changes on the basic structure either diachronically nor synchronically. Its function as a recreated text depends on the various situations.  

  The result is that these songs create a collection of the sounds of the rowing women divers, who have left their homes, They must be collected without delay.

 

¥³. Musical Approach

       

<Korean Women Divers' Rowing Songs> are the song that woman divers from Jeju island sang while rowing when they would go to and come back from work. These songs have also been transmitted to the mainland. This paper analyzes the songs that were transmitted to the mainland and compares them with the songs from Jeju island. The results of this study are summarized as follows.

The melodic phrases of these songs begin with two specific types of melodies that are similar, and ends with three types of cadences, which are a characteristic of these songs. These songs consist of an opening and several periods. The melody of the opening appears with modifications in the following periods. The melodies of the melodic phrases are descending, for the most part. The mode of these songs are basically a re-mode, but sometimes it is changed to a do-mode. The musical range of these songs are usually one octave, and the rhythm is in six-eights time.

The songs transmitted to the main land are similar to the songs from Jeju island. However the re-mode is not kept in the songs of the main land as strong as in the songs of Jeju island. This is probably because the songs transmitted to the main land are affected by popular songs which tend to end with "do" rather than by the folk mode Menari-tori.

 

key wordss: Korean Women Divers' Rowing Songs, Munteul , Formula, Jeju Island, Coastal Region of Western Kyeongnam, Unit of memory, Unit of making poems, Unit of transmission, Choice, Extension, Borrowing, Women Divers' Rowing Songs, transmission, variation, refrain, singing ability Woman diver's rowing song, Jeju island, main land, re-mode, do-mode, Menari-tori, cadences.