This thesis is to look over the various status of the women in the shaman songs among Korean myths. Seo-Sa-Mu-Ga (The descending shaman songs) are stories about the Goddess which are sung by shaman in the ritual. The songs sung by shaman are became in the area of literature depending on the record as shamans' songs are disappearing. It is sure that they were the songs of richness and wealth in the first ritual. However they had been subjected to many changes due to the introduction of ideology of governing power.
Nowadays it is difficult to find the original forms of the songs. Men-ruling system intruded the shaman's belief, suppressed, and changed the manners and value of the women. Therefore the existing shaman songs represent the various roles and behaviors of the women invoking a blessing under the ideology of the governing power.
The status of the women in the shaman songs are classified into three categories the passive women, the intermediate status women, and the active women.
The women in the passive position appear in 'Dang Gum Ae Gi' and 'Won Gang A Mi'. The women show a passive women accomplishing her life through birth and bringing children under men-dominated system.
The women in the intermediate status appear in 'Princess Bari' and 'Chung Jung Gak Si'. The woman in Princess Bari sacrificed herself for her father without showing her will and ability even if she tried to find self identity. In Cung Jung Gak Si, she overcame the suffering and distress under confucianism, and became a core of the family.
The active women show in 'Ja Chung Bi' and 'Gam Eun Jang A Gi'. They are active and independent women to express their abilities in JeJu island.
The women in the shaman songs were distorted by confucianism and men-dominated system. so, it is hard to find the original form of women's status. However, the women in the shaman songs continuously had tried to find self identity by accepting, refusing and challenging the men-dominated system.