神我爲, For Us and the Gods: The Shifting Language of Gukak in the 20th Century
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When Christian missionaries arrived on the Korean peninsula at the end of the 19th century, they brought with them a system of universal classroom education that prior to that time had been the domain of only the highest classes. The newcomers’ music curriculum centered on religious hymns, with Korea’s two streams of national music—the court traditions often affiliated with neo-Confucian ritual ceremonies and ‘folk’ traditions affiliated in part with shamanic and Buddhist rituals—disfavored as expressions of paganism. Soon, the Korean word for ‘music,’ eumak, came to exclude indigenous forms, sending the term ‘Korean music’ off on its emigration to the now ghettoized realm of gukak, or ‘national music.’ Today in Korea, ‘music’—that is, the Western classical repertoire still strongly associated with Christian education—has become a symbol not only of high class but of the urban global class. Even the International Jeonju Sori Festival, center of Korean Heritage and traditional music, ended its opening ceremonies in September 2016 with an international children’s choir (Taiwanese children in aboriginal costume; Korean children in white blazers and patent leather shoes) singing “Amazing Grace” mixed together with “Bonjo Arirang.” As we witnessed in dissidents’ recent amplification of Park Geun-hye’s purported connections with a shamanic cult, there is much to be lost in being connected with the old belief systems. In response to the stigmatizing of the indigenous, the vernacular used to describe pre-Christian traditional music often downplays its ritual past. This paper examines the historical and linguistic dynamics surrounding one example: the once “Intangible Cultural Asset” sinawi, an ensemble ‘folk’ genre that in the 20th century has changed its name in Korean from sin-a-wi, a shamanic ritual for “us and the gods,” back to the pure Korean si-na-wi, a name that linguistically shed the genre’s shamanic skin to fit into a more “modern” world view.
Abstract
When Christian missionaries arrived on the Korean peninsula at the end of the 19th century, they brought with them a system of universal classroom education that prior to that time had been the domain of only the highest classes. The newcomers’ music curriculum centered on religious hymns, with Korea’s two streams of national music—the court traditions often affiliated with neo-Confucian ritual ceremonies and ‘folk’ traditions affiliated in part with shamanic and Buddhist rituals—disfavored as expressions of paganism. Soon, the Korean word for ‘music,’ eumak, came to exclude indigenous forms, sending the term ‘Korean music’ off on its emigration to the now ghettoized realm of gukak, or ‘national music.’ Today in Korea, ‘music’—that is, the Western classical repertoire still strongly associated with Christian education—has become a symbol not only of high class but of the urban global class. Even the International Jeonju Sori Festival, center of Korean Heritage and traditional music, ended its opening ceremonies in September 2016 with an international children’s choir (Taiwanese children in aboriginal costume; Korean children in white blazers and patent leather shoes) singing “Amazing Grace” mixed together with “Bonjo Arirang.” As we witnessed in dissidents’ recent amplification of Park Geun-hye’s purported connections with a shamanic cult, there is much to be lost in being connected with the old belief systems. In response to the stigmatizing of the indigenous, the vernacular used to describe pre-Christian traditional music often downplays its ritual past. This paper examines the historical and linguistic dynamics surrounding one example: the once “Intangible Cultural Asset” sinawi, an ensemble ‘folk’ genre that in the 20th century has changed its name in Korean from sin-a-wi, a shamanic ritual for “us and the gods,” back to the pure Korean si-na-wi, a name that linguistically shed the genre’s shamanic skin to fit into a more “modern” world view.
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