미국에서의 아리랑의 의미와 역할
The Meaning and Role of “Arirang” in the American Context
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K-pop의 성공에 힘입어, 국가브랜드로서의 아리랑은 세계음악 시장과 깊은 관계를 가지게 되었다. K-pop으로 몰린 세계의 관심이 국외의 한국 전통공연 환영에 영향을 주었으리라는 것은 의심할 여지가 없으나, 국내에서의 세계화에 대한 논의는 한국문화의 외국 진출에 초점을 맞추는 경향을 보여준다. 그러나 아리랑에 대한 미국의 음악적, 교육적 뿌리에 대한 논의는 아리랑을 상업적으로 알리려는 노력에 초점을 맞추는 것보다 더 중요하다고 생각한다. 따라서 세계화에 대한 논의로서 과거부터 지금까지 미국 안에서 존재해 온 것으로서의 아리랑을 말하고자 하였다. 본고는 미국의 다문화 음악교육 과정을 검토하는 동시에 미국인의 음악적 상상 속에서 아리랑을 만들어내는 잠재적인 힘과 실제 아리랑이 존재하는 모습을 살펴보았다. 다문화 음악교육 과정에서의 아리랑은 한국 문화와 음악적 개념에 대한 전형적인 예로 사용되고 있음을 확인할 수 있었다. 오늘날 국내뿐 아니라 세계에서도 한국음악의 중요성에 대한 인식은 긍정적인 단계이지만, 그에 비해 교과과정은 문제점이 많다. 특히, 미국에서의 한국음악 교육에 대한 취약한 점을 지적하고 좀 더 나은 한국음악 교육을 위한 방안을 제안하였다. 마지막으로 학생과 가르치는 교사가 편하게 사용할 수 있으며 정확하고 일관성 있는 교육 자료의 개발을 제안하였다. 미국 내의 보다 나은 한국음악 교육을 위한 몇 가지 제안들은 미국 사회에서 아리랑의 장점을 정확하게 평가할 수 있는 바탕이 될 것이라 생각한다.
Abstract
Drawing on the success of K-Pop, Arirang is now marketed as a national brand, deeply entwined in the world music commercial mechanism. While there is no doubt that world-wide attention given to K-Pop could influence the reception of Korean traditional performing arts outside of Korea, the domestic globalization focus tends to emphasis Korean culture’s outward trajectory. Without negating the viability of Arirang’s alignment with K-Pop, in this paper I suggest we steer the conversation from one of globalization to one of a pre-existing and continual presence in the United States. Such a presence began and has been nurtured through Korean immigration to the United States, Korea/U.S. relations, and, more recently, multicultural education. In this paper, I consider the musical and educational roots of “Arirang” in the U.S. Although arguably problematic and in need of attention, these roots carry more weight than a tenuous focus on Arirang as a commercial endeavor. The paper critically examines the multicultural music curriculum in the U.S. as both a real and potential force for placing and shaping “Arirang” in the American musical imaginary. The song “Arirang” is typically taught as the example of Korean music and culture in the US multicultural music curriculum. Although a positive step towards recognizing a Korean domestic population as well as the importance of Korean music in the world today, the curriculum is riddled with problems. Through an examination of these problems, the paper uncovers the weaknesses in Korean music education in the U.S. and suggests ways the curriculum could improve. Finally, the paper suggests scholars of Korean music work towards the development of accurate and user-friendly materials with educational goals in mind. This paper begins a dialogue regarding the creation of accurate and consistent Korean music educational materials with “Arirang” at the heart of this endeavor.
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