고려인 소인예술단의 국문노래에 나타난 전통노래 수용 양상

Abstract

Soin Art Troupes were organized in many kolkhozes which Kareiskies belonged to and worked for, the troupes participated in making and playing popular performing arts to reach their real goal, that is, a production increase. That is to say, the popular performing art was a sort of tool made use for production increase of collective production system in their society. Socialistic contents were in the lyrics, and ‘advanced mechanization of agriculture’ related directly to the policy of collectivization, praise of socialistic revolution, campaign to abolish illiteracy, etc. were its main contents. Enhancement of ruling ideology or enlightenment emphasizing loudly to protect their ruling system were the main inclination of the lyrics, and most of the refrains were also similar to catch phrases. The very something like this was the feature of Kareisky songs changed sharply from our traditional songs. The changes crystallized in Kareisky songs were from regulation about ruling system or ideology, and then physical regulation by authority of Soviet Union was a main part of it. We can find out the aesthetics applied to Soin Art Troupes in Cho, Myeong- Hee's article[“Let's reform Korean songs”]. USSR was a fateful space for Kareiskies as well as ‘a new space’ separated from their old world, Joseon. If center of power ruled the old world was capitalists, the owner of new world is proletariat class. Also, their songs having to contribute to the new order have to be based on revolutionary principles of proletariat. They thought like this. The aesthetics come to the front is the very social realism. Because social realism that we must put socialistic contents in socialistic form was only a method or direction of artistic expression which socialistic collective ideology demands, only the powerful, delightful, and progressive national form was accepted into the proletariat constructing site. The viewpoint that singing with red spirit like blood color, hot mind like sunshine, vivid words like tapping iron can be a true Kareisky song was a new direction having to be on the right track in the suzerain state of socialism, USSR. However, Soin Art Troupes executed good function showing the inseparability between art and life, on the contrary sometimes dysfunction emphasizing the subordinacy of art as a tool contributing to production increase executed. Assimilation policy led by Stalin was violent. None the less, Kareisky's maintenance of even some part of our traditional art owed to the mention ‘national form’ of social realism. Also, the fact that most of them were amateurs shows that their art was from the masses, and popular aesthetics is put in their art perfectly. The meaning of Kareisky Soin Art Troup's Korean songs' aesthetics in Central Asia is right in this fact.