A CASE STUDY ON THE PERCEPTION OF THE WŎNHYŎNG (ORIGINAL FORM) OF LOCAL MUSIC IN KOREA

@article{ART001348309},
author={ KWON HYUNSEOK },
title={A CASE STUDY ON THE PERCEPTION OF THE WŎNHYŎNG (ORIGINAL FORM) OF LOCAL MUSIC IN KOREA},
journal={Acta Koreana},
issn={1520-7412},
year={2009},
volume={12},
number={1},
pages={53-71},
doi={10.18399/acta.2009.12.1.003},
url={http://dx.doi.org/10.18399/acta.2009.12.1.003}

TY - JOUR
AU - KWON HYUNSEOK
TI - A CASE STUDY ON THE PERCEPTION OF THE WŎNHYŎNG (ORIGINAL FORM) OF LOCAL MUSIC IN KOREA
T2 - Acta Koreana
PY - 2009
VL - 12
IS - 1
PB - 계명대학교 한국학연구원
SP - 53-71
SN - 1520-7412
AB - The South Korean government preserves traditional arts at the national, city and provincial levels, through Munhwajae Pohobŏp (Cultural Property Preservation Law), with the aim of preserving the wŏnhyŏng (original form). Specifically, it designates the relevant properties and, for the Intangible Cultural Properties the relevant artists, as “Poyuja (Holder).” However, the government’s intention behind the cultural policy is not often realized in the actual performance context. To address this, I examine how local artists perceive the wŏnhyŏng (original form) in the case of a local art from South Kyŏngsang Province: T’ongyŏng Ogwangdae (Mask Drama of T’ongyŏng). The existing literature on cultural policy in South Korea tends to deal only with the tense relationship between the national government and local artists, focusing more on government acts than on the response of local artists. This research concentrates on illuminating how local artists perceive the original form, in comparison with the investigator(s) for designation. For the Intangible Cultural Properties, the government sets forth as a premise that it can discover “nativeness” in the sector of “folklore” from Korea. In the case of the music of the Mask Drama of T’ongyŏng, the investigators define the original form as the oldest surviving form that, in their perception, has local features. However, the local artists regard it as the original, functionally-intended form, focusing more on “functional intention” that on “physical form.” From this perspective, they show differences from the oldest surviving version in terms of tempo and rhythms. If their essentialism is involved in stronger essentialism, there will be a danger that the governments and the local artists will become estranged and the relationship between them become difficult. To prevent this danger, and to enable them to coexist, I argue that ethnomusicologists might play a positive role as mediators.
KW - Munhwajae Pohobŏp (Cultural Property Preservation Law), wŏnhyŏng (original form), T’ongyŏng Ogwangdae (Mask Drama of T’ongyŏng), kutkŏri, essentialism
DO - 10.18399/acta.2009.12.1.003
UR - http://dx.doi.org/10.18399/acta.2009.12.1.003
ER -

KWON HYUNSEOK (2009). A CASE STUDY ON THE PERCEPTION OF THE WŎNHYŎNG (ORIGINAL FORM) OF LOCAL MUSIC IN KOREA. Acta Koreana, 12( 1), 53- 71.

KWON HYUNSEOK . 2009, “A CASE STUDY ON THE PERCEPTION OF THE WŎNHYŎNG (ORIGINAL FORM) OF LOCAL MUSIC IN KOREA”, Acta Koreana, vol. 12, no. 1, pp. 53-71. Available from: doi:10.18399/acta.2009.12.1.003

KWON HYUNSEOK “A CASE STUDY ON THE PERCEPTION OF THE WŎNHYŎNG (ORIGINAL FORM) OF LOCAL MUSIC IN KOREA” Acta Koreana 12.1 pp. 53-71 (2009): 53.

KWON HYUNSEOK . A CASE STUDY ON THE PERCEPTION OF THE WŎNHYŎNG (ORIGINAL FORM) OF LOCAL MUSIC IN KOREA Acta Koreana [Internet]. 2009; 12( 1), : 53-71. Available from: doi:10.18399/acta.2009.12.1.003

KWON HYUNSEOK . “A CASE STUDY ON THE PERCEPTION OF THE WŎNHYŎNG (ORIGINAL FORM) OF LOCAL MUSIC IN KOREA” Acta Koreana 12, no.1 (2009): 53-71. doi: 10.18399/acta.2009.12.1.003

홈 권호 목록 논문 목록 논문 상세

A CASE STUDY ON THE PERCEPTION OF THE WŎNHYŎNG (ORIGINAL FORM) OF LOCAL MUSIC IN KOREA

Acta Koreana

약어 : -

2009, vol.12, no.1, pp.53 - 71

DOI : 10.18399/acta.2009.12.1.003

발행기관 : 계명대학교 한국학연구원

연구분야 : 기타인문학

KWON HYUNSEOK¹

¹University of Sheffield, UK

인용한 논문 수 : - 서지 간략 보기

초록

The South Korean government preserves traditional arts at the national, city and provincial levels, through Munhwajae Pohobŏp (Cultural Property Preservation Law), with the aim of preserving the wŏnhyŏng (original form). Specifically, it designates the relevant properties and, for the Intangible Cultural Properties the relevant artists, as “Poyuja (Holder).” However, the government’s intention behind the cultural policy is not often realized in the actual performance context. To address this, I examine how local artists perceive the wŏnhyŏng (original form) in the case of a local art from South Kyŏngsang Province: T’ongyŏng Ogwangdae (Mask Drama of T’ongyŏng). The existing literature on cultural policy in South Korea tends to deal only with the tense relationship between the national government and local artists, focusing more on government acts than on the response of local artists. This research concentrates on illuminating how local artists perceive the original form, in comparison with the investigator(s) for designation. For the Intangible Cultural Properties, the government sets forth as a premise that it can discover “nativeness” in the sector of “folklore” from Korea. In the case of the music of the Mask Drama of T’ongyŏng, the investigators define the original form as the oldest surviving form that, in their perception, has local features. However, the local artists regard it as the original, functionally-intended form, focusing more on “functional intention” that on “physical form.” From this perspective, they show differences from the oldest surviving version in terms of tempo and rhythms. If their essentialism is involved in stronger essentialism, there will be a danger that the governments and the local artists will become estranged and the relationship between them become difficult. To prevent this danger, and to enable them to coexist, I argue that ethnomusicologists might play a positive role as mediators.

키워드

Munhwajae Pohobŏp (Cultural Property Preservation Law), wŏnhyŏng (original form), T’ongyŏng Ogwangdae (Mask Drama of T’ongyŏng), kutkŏri, essentialism

참고문헌(13)

[단행본] Baumann, Max Peter / 1991 / Introduction: Towards New Directions in the Dialogue of Music Cultures In: Music in the Dialogue of Cultures: Traditional Music and Cultural Policy / Florian Noetzel Verlag : 11 ~ 14
[단행본] Castelo-Branco / 1991 / Cultural Policy and Traditional Music in Portugal since 1974 In: Music in the Dialogue of Cultures: Traditional Music and Cultural Policy / Florian Noetzel Verlag : 95 ~ 107
[단행본] Ch’oe Sangsu / 1963 / Yaryu · Kamyŏn’gŭk,” in Kyŏsangnamdoji / Kyŏngsangnamdo p’yŏnch’an wiwŏnhoe
[학술지] Herndon, Marcia / 1993 / Insiders, Outsiders: Knowing Our Limits, Limiting Our Knowing / The World of Music 35 (1) : 63 ~ 80
[단행본] Howard, Keith / 2006 / Preserving Korean Music: Intangible Cultural Properties as Icons of Identity / Ashgate Publishing Limited
[단행본] Jeon, Kyeong-wook / 2007 / Han’guk ŭi kamyŏn’gŭk (Mask Dramas of Korea) / Youlhwadang
[단행본] Song Sukha / 1933 / Ogwangdae sogo (Study on Mask Dramas in the South Kyŏngsang Province) In: Chosŏn minsok 1 / Chosŏn minsok hakhoe
[단행본] Sorensen, Clark / 1999 / National Identity and the Creation of the Category‘Peasant’ in Colonial Korea in: Gi-Wook Shin and Michael Robinson / Harvard University Asia Center : 288 ~ 310
[단행본] T’ongyŏng Ogwangdae Pojonhoe / T’ongyŏng Ogwangdae taesabon (Script of Mask Drama of T’ongyŏng) / T’ongyŏng Ogwangdae Pojonhoe
[학위논문] Yang, Jongsung / 1994 / Folklore and Cultural Politics in Korea: Intangible Cultural Properties and Living National Treasures
[단행본] Yi Tuhyŏn / 1997 / Han’guk kamyŏn’gŭk sŏn (Selection of Mask Dramas of Korea) / Kyomunsa
[단행본] Yi Tuhyŏn / 1964 / Ogwangdae (Mask Dramas in South Kyŏngsang Province) in: Munhwajae kwalliguk / Munhwajae kwalliguk
[단행본] Yi Yongsik / 2006 / Minsok, munhwa, kŭrigo ŭmak (Folklore, culture, and music) / Jipmoondang