80년대 지역무크지와 지역문화 운동의 특성과 의의: 『마산문화』의 지역 정체성 구축방법을 중심으로

Abstract

The Mook Movement may be described as the phenomenon of “Cultural Movement” active in the 1980s. This cultural movement was “people's cultural movement,”and this people's cultural movement was carried out in various aspects ias art, music, play, Hence, it is worthwhile to peruse not only diversity of movement genres but also local diversity of each local. The purpose of this paper is to find the direction and significance of the local culture movement of the 1980s through the practice of making Masan's regional identity through 『Masan Culture』 the local Mook magazine from Masan. First, through 『Masan Culture』, progressive intellectuals of Masan asserts the literature identity of Masan not as 「Gagopa」 by Lee Eun-sang depicting “hometown” and “dream” but as 「Doksudae」 by Lee Seon- gwan. They pursue literature not of conventional local literature and art-for-art literature by the center but of embodying people's life and looking at the reality. Moreover, their pursuing literature had to be able to draw the identity of Masan to be present. This is shown in other poems on 『Masan Culture』. As a method to talk about the local identity, 『Masan Culture』 selects writing of history. Through historical description of Masan, Masan Culture commemorates the 3·15 Resistance, the driving force of 4·19 Resistance politically, defines Masan as the “holy ground of liberty and democracy,” and establishes the identity of the base of modern industry in Korea centered on the Masan Free Export Zone and of the base of labor movement against labor exploitation. New definition of regional culture and statement of history to establish the regional identity of Masan through 『Masan Culture』 were the local culture movement of the 1980s, and these were a part of methodologies against the power at the time.