Modernity as Encounter in Postcolonial Korean Music
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In this essay, I will explore the possibilities of alternative musical modernity, focusing on the contemporary Korean music from a postcolonial perspective. It is the task of exploring alternative modernity to find a flexible sense of modernity in the encounter with the other of subjectivity. The current situation of globalization provides the material basis for this task. Since the 2000s, a rapid trend of ‘fusion’ arose in the Korean national music field, and the following distinct changes were noted in years after the 2010s. Firstly, musical collaborations across institutional or national borders are frequently conducted. Secondly, a growing number of cases are taking advantage of sori elements in individualistic ways rather than nationalistic ways. Lastly, the national music (kugak) field dismantles the boundaries of musical institutions and embraces virtually all genres of music. This trends can be defined as a cultural signal of the transitional period of Korea, moving on from the stage of colonial modernity to that of global modernity. The alternative subjectivity of de-coloniality, however, cannot be constructed only with meetings and encounters that surpass the boundaries of ethnicity and nation. It also needs to encounter the past of oneself in a new way.
Abstract
In this essay, I will explore the possibilities of alternative musical modernity, focusing on the contemporary Korean music from a postcolonial perspective. It is the task of exploring alternative modernity to find a flexible sense of modernity in the encounter with the other of subjectivity. The current situation of globalization provides the material basis for this task. Since the 2000s, a rapid trend of ‘fusion’ arose in the Korean national music field, and the following distinct changes were noted in years after the 2010s. Firstly, musical collaborations across institutional or national borders are frequently conducted. Secondly, a growing number of cases are taking advantage of sori elements in individualistic ways rather than nationalistic ways. Lastly, the national music (kugak) field dismantles the boundaries of musical institutions and embraces virtually all genres of music. This trends can be defined as a cultural signal of the transitional period of Korea, moving on from the stage of colonial modernity to that of global modernity. The alternative subjectivity of de-coloniality, however, cannot be constructed only with meetings and encounters that surpass the boundaries of ethnicity and nation. It also needs to encounter the past of oneself in a new way.
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