1950년대 민족주의 담론과 전통음악 -제1공화국 시기를 중심으로-

Abstract

During the First Republic, a period when the liberation, war, and reconstruction of the nation took place in a short period of time, the nation strived continuously to seek its authenticity and legitimacy. On these basis of the country, the traditional music arts had symbolic significance that must be acquired in terms of the national culture. This can be seen as a way of attaching the traditional music to the state institute and maintaining transmission system at an institutional level. In such process, the present National Gugak [Kugak] Center called Kungnip Kugagwŏn 国立国楽院 (formerly known as Kuwanggung aakpu 旧王宮雅楽部), which was established as a national institute, was mobilized for various national events and was making a move toward a 'New Gugak [Kugak]' 新国楽 in a relatively stable transmission system compared to other related private institutions. It is found that the 'New Gugak [Kugak]' driven by the present National Gugak [Kugak] Center was led by Kim Ki-su 金琪洙 and its overall contents were mainly about anti-communist and nationalism that matched the national tone of the 1950s. In contradistinction to the internal activities, however, the culture and arts of the country were focused on idolizing then-President Syngman Rhee [Yi Sŭng-man 李承晩] and intensifying the atmosphere of wartime showing that the scope of its use was very small. In addition, unlike the purpose of its establishment which was to preserve the traditional music as a national organization, it was found that there were no sufficient support from the government. Eventually, it has shown that the government had just borrowed the traditional music as one of methods to acquire the tradition of the nation without having understanding of the traditional music nor plan to preserve and utilize the art.