향가 대중화 현재화의 양상과 방향 탐색

Abstract

I am skeptical whether hyangga, sometimes called the “Silla songs,” can ever be popularized for the general public to enjoy, but looking at the numerous hyangga albums being released and hyangga performances created by diverse art-related organizations, including the National Gugak Center, Gyeongju Chamber Orchestra, Munhwa Broadcasting Corporation, and Seoul Performing Arts Company, as well as local governments of Gyeongju, Samcheok, and Ulsan, it is evident that there have been constant efforts to popularize hyangga. One regrettable aspect is that there is no specific album or performance that remains in the mind. Heonhwaga by Old Man Gyeonwoo was introduced in the novel Eungyo, and the same title film portrayed it. However, considering the film a killer content of hyangga, the cumulative audience of 1.34 million is disappointing. Therefore, as a way of popularizing hyangga, I have emphasized the need to transform the cultural heritage of hyangga into a tourism resource, enable a simultaneous study of understanding and history of hyangga, and restore and reproduce hyangga singing for art tourism. Secondary education on hyangga should enhance realistic experiences through albums, videos, and other auxiliary materials. Hyangga- related characters and emojis can be good tools to enhance public awareness. Or, a hyangga museum can be established for the creative storytelling of hyangga. Although hyanggas were written in a completely different generation, what they intend to say, that is, well-being, religious aspirations, reverence, and remembrance are not so different from what we hope for today. Discussions should start with these kinds of commonalities. The future of hyangga should not be just about interpreting the songs in modern language and exhibiting them for educational purposes; it should serve as a way of recalling history and expanding literary imagination. Well-made works that properly represent original hyangga should be selected through a hyangga archive to introduce to the public. Under the leadership of the National Gugak Center and other gugak performers including Moon Suk-hee and Yoon So-hee, new forms of performances should be made with popular artists, such as Song Ga-in, Jo Su-mi, Yoon Se-yeon, and Choi Ye-rim, to draw the attention of the public. The future of hyangga should be more than replicating and passing on the traditions; it should encompass the interests of all generations to create cultural products that will lead hyangga to become a global content.