Call Me Heretic: A Korean Fusion Kugak Performer’s Quest for Creative Freedom
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This paper aims to address the issues of hybridity in music, the problem of categorization, and control of artistic integrity, by examining the ways in which one performer constructs, controls, manipulates and resides within her own creative environs. The “Future Pansori” artist, Jang-goon, is carving out her own space where every varied presentation of self, accentuated by chameleon-like changes in physical and oral manifestations, serves to reinforce her sense of being through a process of melding Western jazz, rock, punk, hip-hop, reggae and electonica with Korean gugak (traditional, or literally, national music), trot, and kayo (popular genres). Although some may still deem her heretical, Jang-goon has been able to use ambiguity to her advantage; by defying categorization she has taken complete control of her creative sphere.
Abstract
This paper aims to address the issues of hybridity in music, the problem of categorization, and control of artistic integrity, by examining the ways in which one performer constructs, controls, manipulates and resides within her own creative environs. The “Future Pansori” artist, Jang-goon, is carving out her own space where every varied presentation of self, accentuated by chameleon-like changes in physical and oral manifestations, serves to reinforce her sense of being through a process of melding Western jazz, rock, punk, hip-hop, reggae and electonica with Korean gugak (traditional, or literally, national music), trot, and kayo (popular genres). Although some may still deem her heretical, Jang-goon has been able to use ambiguity to her advantage; by defying categorization she has taken complete control of her creative sphere.
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