17 research outputs found
Roald Maliangkay, Broken Voices : Postcolonial Entanglements and the Preservation of Koreaโs Central Folksong Traditions
Editors' Note
We the editors of Korean Anthropology Review: A journal of Korean anthropology in translation (KAR) are presenting our fourth volume. This time we have selected articles that focus on space and place as anthropological problems. Anthropologists have long recognized space and place as objects of, and participants in, cultural meaning construction, and this volumes contributors explore how spatial phenomena are constructed and contested. The fourth volume also expands the geographical scope of our journal by including pieces that deal not only with South Korea but also present research conducted in another locale, Japan. Our goal is to showcase the geographical diversity of South Korean anthropologists interests, and we intend to continue translating articles that look beyond Korea for future volumes
์ํฌ์ด๋จธ๋๋ ธ๋๋ฐฉ๊ณผ ์ง์ญ ๋ฏผ์ ์ ํต์ ๋ถํ
For many scholars of Korean music, the southwestern province of the Korean peninsula remains a bright spot for folk performance activity. Residents of Jindo are widely acknowledged to be among the most proficient performers of Korean folk traditions. Thanks to the efforts of some key individuals, a few local genres underwent a period of refinement during the latter half of the 20th century which led to these genres designations as intangible cultural heritage. The island of Jindo, alone, hosts four performance traditions designated as national intangible heritage with many others designated regional and/or local intangible heritage. Many residents of the island, while depending on agricultural activities to earn a livelihood, began focusing energies on learning local music traditions both as a way to cushion their incomes and vie for coveted designation as human cultural treasure. This paper focuses on the efforts of the Sopo Village eomeoni noraebang (mothers singing room) in resurrecting and promoting folk song heritage. Instituted and curated by Han Namrye with the help of local government funding, the Sopo-ri eomeoni noraebang became both creative and social outlet for women of the village. Preceding the villages current jeonsugwan, the noraebang served as a crucial vehicle for maintaining and teaching local folk songs as well as provided a space for the learning of professionalized genres such as pansori. The paper examines both the primary performance repertory of members as well as the tension between perceived local standards and those promulgated by the official intangible heritage system. Balanced between need to preserve a local identity and promotion of the village within a contemporary tourism-based economic climate, the noraebang vitalizes local performance tradition as it reinvents and personalizes it. The paper argues for a consideration of grassroots efforts in cultural reconstruction and preservation in addition to the political and economic incentives driving cultural production in this southwestern corner of the peninsula.ํ๊ตญ์์
์ ์ฐ๊ตฌํ๋ ๋ง์ ํ์๋ค์๊ฒ ํ๋ฐ๋์ ๋จ์๋ถ ์ง๋ฐฉ์ ๋ฏผ์ ํ๋์ ์ฐ๊ตฌํ ์ ์๋ ์ค์ํ ์ฅ์๋ก ๋จ์ ์๋ค. ์ง๋์ ์ฃผ๋ฏผ๋ค์ ํ๊ตญ ๋ฏผ์ ์ ํต์์ ๊ฐ์ฅ ์๋ จ๋ ์ฐ์ฃผ์๋ก ์ธ์ ๋ฐ๊ณ ์๊ณ , ์ผ๋ถ ์ง๋์ ๋ฌธํ์ ์ฐ์ ์ฃผ์ํ ๋ช๋ช ๊ฐ์ธ์ ๋
ธ๋ ฅ์ผ๋ก 20์ธ๊ธฐ ํ๋ฐ์ ๋ค์ด ์ธ๋ จ๋๊ฒ ์ ์ ๋๋ ๊ณผ์ ์ ๊ฑฐ์ณ ๋ฌดํ๋ฌธํ์ ์ฐ์ผ๋ก ์ง์ ๋์๋ค. ์ง๋์์๋ง ๋ค ๊ฐ์ง ์ ํต๋ฌธํ๊ฐ ๊ตญ๊ฐ๋ฌดํ์ ์ฐ์ผ๋ก ์ง์ ๋์๊ณ , ๊ทธ ์ธ ๋ง์ ๊ฒ๋ค์ด ์ง์ญ๋ฌดํ์ ์ฐ์ผ๋ก ์ง์ ๋์๋ค. ์ง๋์ ๋ง์ ์ฃผ๋ฏผ๋ค์ด ๋์ฌ๋ฅผ ์์
์ผ๋ก ์ผ๊ณ ์์ง๋ง, ์๋์ ๋ํ ๋๋น์ฑ
๋๋ ์ธ๊ฐ๋ฌธํ์ฌ๋ฅผ ์ป๊ธฐ ์ํ ๋ฐฉ๋ฒ์ผ๋ก ์ ํต์์
์ ์ตํ๋ ๋ฐ ์ง์คํ๊ธฐ ์์ํ๋ค. ์ด ๋
ผ๋ฌธ์ ๋ฏผ์ ์ ์ฐ์ ๋ถํ๊ณผ ํ์ฑํ๋ฅผ ์ํ ์ํฌ์ด๋จธ๋๋
ธ๋๋ฐฉ์ ๋
ธ๋ ฅ์ ์ด์ ์ ๋ง์ถ์๋ค. ์ํฌ์ด๋จธ๋๋
ธ๋๋ฐฉ์ ์ง๋ฐฉ์ ๋ถ ์๊ธ์ ๋ฐ์ ํ๋จ๋ก๊ฐ ์ค๋ฆฝํ์ฌ ๊ด์ฅํ์๊ณ , ์ด๊ณณ์ ๊ณง ๋ง์ ์ฌ์ฑ๋ค์ ์ํ ์ฐฝ์กฐ์ ์ด๊ณ ์ฌํ์ ์ธ ๊ณต๊ฐ์ผ๋ก ๋ฐ์ ํ์๋ค. ํ์ฌ ๋ง์์์ ์ด์๋๊ณ ์๋ ์ ์๊ด์ ์ ์ ์ผ๋ก์ ๋
ธ๋๋ฐฉ์ ๋ฏผ์๋ฅผ ์ ์งํ๊ณ ๊ฐ๋ฅด์น๋ ์ค์ํ ์ฅ์๋ก ์ ๊ณต๋์์ ๋ฟ๋ง ์๋๋ผ ํ์๋ฆฌ์ ๊ฐ์ด ์ ๋ฌธ์ ์ธ ์ฅ๋ฅด๋ฅผ ๋ฐฐ์ธ ์ ์๋ ๊ธฐํ๋ฅผ ์ ๊ณตํ๋ ์ฅ์๋ก๋ ์ญํ ์ ํ์๋ค. ์ง์ญ ๋ฌธํ๋ฅผ ๋ณด์กดํ๊ณ ๋ง์์ ๊ฒฝ์ ์ ํ์ฑํ๋ฅผ ์ด๋ฃจ์ด ๋ด๊ธฐ ์ํด ์ํฌ์ด๋จธ๋๋
ธ๋๋ฐฉ์ ์ ํต์ ์ฌ์ฐฝ์กฐํ๊ณ ์ด๋ฅผ ํน์ฑํ์ํด์ผ๋ก์จ ์ง์ญ ๋ฌธํ์ ํ๋ ฅ์ ๋ถ์ด๋ฃ์๋ค. ๋ณธ ์ฐ๊ตฌ๋ ํ๋ฐ๋ ๋จ์๋ถ ๊ตฌ์์์ ์ด๋ฃจ์ด์ง๊ณ ์๋ ๋ฌธํ ์ฌ๊ฑด๊ณผ ๋ณด์กด์ ์ํ ๋ฏผ์ด(grassroots) ๋
ธ๋ ฅ๊ณผ ๋๋ถ์ด ๋ฌธํ ์์ฐ์ ์ํ ์ ์น์ โค๊ฒฝ์ ์ ์ฅ๋ ค์ฑ
๊ณ ๋ ค์ ๋ํ ์ฃผ์ฅ์ ๋ด์๋ค
Designing a Fresh Tradition: Young Kugak and Sonic Imaginings for a Progressive Korea
no abstract
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JSTOR link to article (restricted access) https://www.jstor.org/stable/4169997
Kugak Concerti -Changing the Contours of Korean Music Performance
ํด๋ฐฉ์ดํ ํ๊ตญ์ ์ ์
๊ณผ ๋ฏผ์์
๋ชจ๋ ์์ ์์
์ฑ๊ณผ ์คํ์ผ์ ๋ณดํธํ๊ณ , ์๋ก์ด ๊ฒ๋ค์ ๋ง๋ค์ด ๋๊ฐ๋ ๋ณํ์ ์ง๋ฉดํ๋ค. ๋ณธ ๋
ผ๋ฌธ์์๋ ๋ ๊ฐ์ง์ ๋ณํ ์์์ ํ์, ์ฆ ์๋ก์ด ๊ฒ์ ๋ง๋ค์ด ๋ด๋ ๋ณํ์ ์ด์ ์ ๋ง์ถ์ด ๊ตญ์
ํ์ฃผ๊ณก์ ์ดํด๋ณด๊ณ ์ ํ๋ค. ๊ทธ๋์ ๋ค์ํ ๊ณต์ฐ์ ์์ญ ์์์ ๊ตญ์
ํ์ฃผ๊ณก์ ๊ณต์ฐ์ ์ธ ๋ถ๋ถ ๊ทธ๋ฆฌ๊ณ ๊ฐ๋ฐ์ ์ธ ๋ถ๋ถ์์ ๋ง์ ์ธ์ ์ ๋ฐ์ง ๋ชปํ์๋ค. ํ์ง๋ง, ์ต๊ทผ 21์ธ๊ธฐ์ ๋ค์ด ๋ง์ ๊ณต์ฐ์์ ์๊ธ, ์ํฉ, ํด๊ธ ๊ฐ์ด ํฐ ์กฐ๋ช
์ ๋ฐ์ง ๋ชปํ๊ณ , ์ฃผ๋ก ๋
์ฃผ์
๊ธฐ๋ก ์ฌ์ฉ๋์๋ ์
๊ธฐ๋ค์ด ์๋ก ์
๊ธฐ๋ก์ ํฐ ์กฐ์์ ๋ฐ๊ณ ์๋ค. ๊ทธ๋ฌ๋ฏ๋ก ๋๋ ์
๊ธฐ์ ์ ํ๊ณผ ๋ณดํต์ ๊ณต์ฐ ๊ด๋ก์ ๊ฒฝ๊ณ์์ ๋์ด๋ ์๋ก์ด ๊ธฐ์ ์ ๋ํ์ฌ ๋ ๊ฐ์ ์ค์ฌ์ ์ธ ์์ญ์์ ํ์ฃผ๊ณก์ด ๊ธฐ์ฌํ๊ณ ์๋ค๊ณ ์๊ฐํ๋ค. ์ด์ ๊ฐ์ ์ฃผ์ฅ์ ๋ฐํ์ผ๋ก ๋ณธ ๊ธ์์๋ ์ง๋ ์ธ๊ธฐ ๋์ ๋ง๋ค์ด์ง ํ์ฃผ๊ณก์ ๋ํ ๊ฐ์์ ๋ํ ๋ด์ฉ์ ๋ด์ ๊ฒ์ด๋ค. ๊ทธ๋ฆฌ๊ณ ํนํ๋ ๊ตญ์
ํ์ฃผ๊ณก์ ํตํด ์
๊ธฐ์ ์๋ก์ด ์ฐ์ฃผ๊ธฐ๋ฒ๊ณผ ๊ธฐ์ ์ ๊ฐ๋ฅ์ฑ์ ๋ํด ์ค๋ช
ํ๊ณ ์ ํ๋ค.
In Korea's post-liberation era music of court and folk traditions faced transformations aimed at both protecting old music performance styles and creating new ones. For the purposes of this paper, I will focus on the latter of these changes through an exploration of the contemporary kugak concerto. The kugak concerto represents an under-appreciated yet significant realm in which developments in performance practice can be seen. In many cases, instruments not widely appreciated as featured or solo instruments-such as yanggum, saenghwang, and haegum-have become quite visible as solo instruments in the twenty-first century. I contend that instrumental choices and new techniques stretching the boundaries of standard performance practice are two central areas in which the concerto has contributed. In this paper, I provide an overview of the concertos that have been created and performed over the last century. And, in particular, I will discuss new uses for instruments and new performance techniques which can be seen as a corollary of the kugak concerto
Artistic Habitus in an Intercultural World: A Tale of Two Artists
no abstract
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JSTOR link to article (restricted access) https://www.jstor.org/stable/4484196
Breaking the Trend: Composing Korean Music for Korean Instruments
OAIID:RECH_ACHV_DSTSH_NO:A201621258RECH_ACHV_FG:RR00200003ADJUST_YN:EMP_ID:A078047CITE_RATE:FILENAME:ICA Paper--Hilary Finchum-Sung.docxDEPT_NM:๊ตญ์
๊ณผEMAIL:[email protected]_YN:FILEURL:https://srnd.snu.ac.kr/eXrepEIR/fws/file/7624ad4a-e3ec-4dd1-bfe1-f976e40088d8/linkCONFIRM:
The Sonic Habitus of Silk and Wood: Gugak's 21st Century Terrain
Transformations in Korean traditional musics social and cultural capital echo the Republic of Koreas breathtakingly rapid contemporary developments. Mid-20th century, the countrys traditional music faced a conundrum: selective resuscitation within a restrictive space of tradition. Since then, many musicians and composers have extended the boundaries of tradition, manipulating the success of cultural trends to build new platforms for gugak in contemporary Korea. Yet, gugak remains subject to long-standing cultural prejudice, placing it in an underdog position within the music market. Underscoring gugaks contributions to a core Korean aesthetic serves as one apparatus in fighting such prejudice. This aesthetic celebrates nature and collective emotion, as well as gugaks precious fragility in the contemporary music market.
Inspired by the researchers ongoing research on conceptual and visual communication in performance, the paper considers use of physical space as a mark of distinction and status in Korean traditional music performance. The paper examines the restoration of acoustic space in contemporary performance, from the concert stage to the refurbished hanok, as crucial to gugaks developing 21st century sonic identity. Far from an unbiased and detached physical realm, the acoustic space becomes meaningful in the act of performance just as it lends meaning to a musical event. Debates regarding amplification, or absence thereof, in addition to ideal stage materials and design, relate closely to contemporary ideals of gugaks authentic sound. The act of performance draws performers and audience alike into an interpretive performance space, reinforcing the moments contributions to a Korean socio-historic sonic experience.OAIID:RECH_ACHV_DSTSH_NO:A201621249RECH_ACHV_FG:RR00200003ADJUST_YN:EMP_ID:A078047CITE_RATE:FILENAME:Paper_The Sonic Habitus of Silk and Wood_Finchum-Sung.docxDEPT_NM:๊ตญ์
๊ณผEMAIL:[email protected]_YN:FILEURL:https://srnd.snu.ac.kr/eXrepEIR/fws/file/5cfe21bd-9ee8-4bc9-bd07-37ad3c6b524b/linkCONFIRM:
Relational Epistemology of the Island: Music Sustainability and Interrelations on Chindo
OAIID:RECH_ACHV_DSTSH_NO:A201618764RECH_ACHV_FG:RR00200003ADJUST_YN:EMP_ID:A078047CITE_RATE:FILENAME:Presentation Final_SEM 2016 paper_Relational Epistemology of the Island.docxDEPT_NM:๊ตญ์
๊ณผEMAIL:[email protected]_YN:FILEURL:https://srnd.snu.ac.kr/eXrepEIR/fws/file/2a75fd1a-e84f-4360-9d34-a0b5fd8c0ab0/linkCONFIRM: