일제강점기 한남권번과 권번시조

Abstract

The purpose of this study is to examine the establishment process of Hannam-Gwonbeon during the imperial Japan’s forced occupation period and Sijo (formal poetry) works that introduced Hannam-Gwonbeon, and to analyze their content and meaning. The main characteristic of Gisaeng (female entertainers) during the imperial Japan’s forced occupation period is that they escaped from the status of government-gisaeng. As these changes had a significant impact on the Gisaeng system and Gisaeng activities, before analyzing their works, this study attempted to explore the change process of the Gisaeng system. Based on this, this study attempted to grasp the meaning of Hannam-Gwonbeon by examining Hannam-Gwonbeon’s establishment process and the Sijo’s works that introduced Hannam-Gwonbeon.
 During the imperial Japan’s forced occupation period, after the abolition of the government-gisaeng system, as the Gisaeng crackdown decree was implemented, the Gisaeng guild was established to manage these people of Gisaeng. Gisaeng was recognized as one of the occupations that make a living from dancing and singing. In a capitalist society, Gisaeng’s various activities became a means of making money.
 Hannam-Gwonbeon were a Gwonbeon, the majority of whom were from Namdo (southern Jeolla province). Although its size was smaller than other Gwonbeon guilds, their Namdo Sori gained popularity as a special talent, and they used that advantage as a competitive advantage. These characteristics of Hannam-Gwonbeon also appear in their Sijo works. ‘Wolgyehwa (laurel flowers; 月桂花)’ and ‘Nambangjigang (南方之强)’ would mean their effort and sincerity, and at the same time, they mean those Gisaeng (Gwonbeon) with outstanding skills from Namdo. Through this, it can be seen that Hannam-Gwonbeon’s unwavering momentum and hope for eternity.
 These Gisaeng of Hannam-Gwonbeon learned their skills with constant effort and sincerity amidst the changes of the times and sought to be recognized for their technical-artistic abilities through performances. For these Gisaeng, technical-artistic crafts were not simply a means to make money, but a means to prove their worth as artists with tradition and expertise. Therefore, Gisaeng during the imperial Japan’s forced occupation period should not be recognized only as a sexual object, but there is a need to re-identify as artists who continued the tradition and passed it on to future generations.