현대 대중음악 콘서트에서 전통 굿문화의 발현 양상-전통과 현대의 관계에 대한 교육적 관점과 관련하여-

Abstract

This study asserts that the Korean pop culture phenomenon, known as the Korean Wave, aligns with Korea’s traditional Gut culture in its inherent essence. I examined the Shinmyeongpuri in Gut culture during popular art concert events, including K-pop, through which meaningful qualitative connections were identified. The audience in Gut and concerts transcends the role of a simple object or passive recipient; instead, they act as active participants in the preliminary preparation process, becoming subjects of the event. Participants in the Gut experience individual and direct communication, establishing unity with God or the artist, resulting in connection and unity among all participants. The audience’s participatory approach effectively brings about a “personal community.”Shinmyeongpuri is a process in which the inherent spirit within the body surges outward and moves. When participants energetically move their bodies in alignment with the energy of their hearts, the spirit comes alive. The mechanism of Shinmyeongpuri, worthy of being called the ultimate fusion of matter (物) and spirit (神), can be seen in the basic structure of myths, including creation myths. This Shinmyeongpuri method is implemented in contemporary popular music concerts through collective gestures and mass singing. The concert scene, in which the body and mind merge to unfold a dynamic energy, holds significance as a new and grand stage for Shinmyeongpuri. The spread of Korean Shinmyeongpuri culture overseas can be attributed to its connection with the existential archetype of humanity. In Gut ceremonies, money and material abundance overflow. The participants’ willingly acknowledging merit can be understood as a manifestation of the union of the material and the spiritual, constituting an integral part of Shinmyeongpuri. The circulation of money in Gut creates freedom for individuals and connects them as one. The essence of acknowledgment lies in becoming free of money by dedicating it. This cultural tradition is also observed in contemporary popular music performances. The act of the audience of “Show Me the Money” live performances virtually paying money to artists is a modern reproduction reminiscent of traditional Gut ceremonies. The flex culture in hip-hop is a clue to interpreting Shinmyeong expressions through the material. The individual and collective expressions of Shinmyeongpuri in Gut and concerts can serve as an educationally meaningful topic. It is well-suited to explorations and discussions related to the educational challenges of the inner connection between tradition and modernity. In particular, reconciling the different worldviews and sensibilities of educators and learners based on generational differences can contribute to the manifestation of “mutual cultural literacy.” I hope that the shortcomings of this discussion as a problematizing discourse can be filled with rich content through on-site educational activities.