한국대중음악장의 탈서구적 주체와 “월드뮤직”의 실천적 수행
Post-Western Subjects and the Performative Practice of “World Music” in Korean Popular Music
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“World Music”—the transnational production and consumption of “local music”—has grown along with the development of twentieth-century popular music and deepened with twenty-first-century globalization. Since its introduction as a marketing term during the 1980s, “World Music” has consistently been criticized. After a long period of objections, the Grammy Awards and major music industries in the West changed their terminology to “Global Music” in 2020. Meanwhile, over the last thirty years, “World Music” also relocated to other parts of the globe, culturally translated and practiced within local musical landscapes, with new subjects, mediators, and desires. Since its relocation to South Korea in the early 2000s, the practices of Korean World Music have shown major differences from the practice in the West. World Music has been practiced and consumed in various contexts including gugak, music education, and music festivals in Korea, while this paper focuses on its practice in the Korean popular music scene. In particular, this paper pays attention to the emergence of a very few pop musicians who select “non-Western” music as their musical property, based on their inclination against the dominant popular music industry of Korea. I call them “Post-Western Subjects,” and this paper highlights Korean world music artist Hareem and alternative rock musician Sung Kiwan, migrant artist Amidou Diabate and their multinational group AASSA (AfroAsianSSoundAcr) and TRES BONBON. These musicians’ performative practices in Korean world music have aroused their awareness of contradiction and inequality in the Western-centered, business-minded Korean popular music industry. For them, world music is another way of making their voices heard in Korean society and they have expanded their musical boundaries from popular music to various other music scenes in Korea. Thus, their music cannot indicate a genre, but rather directions and attitudes, and both emphasized that their practice of world music is “to share not to possess.” Over the last 100 years of Korean history toward modernization, music practice has been conflicted, distorted, and disrupted based on imperialistic modernity. The appearance of “Post-Western Subjects” and their performative practice of world music in the Korean popular music scene starkly illuminates the landscape of twenty-first century Korean music culture, while at the same time, becoming a site to expose conflict, collision, ambiguity, and coexistence between Local and Global.
Abstract
“World Music”—the transnational production and consumption of “local music”—has grown along with the development of twentieth-century popular music and deepened with twenty-first-century globalization. Since its introduction as a marketing term during the 1980s, “World Music” has consistently been criticized. After a long period of objections, the Grammy Awards and major music industries in the West changed their terminology to “Global Music” in 2020. Meanwhile, over the last thirty years, “World Music” also relocated to other parts of the globe, culturally translated and practiced within local musical landscapes, with new subjects, mediators, and desires. Since its relocation to South Korea in the early 2000s, the practices of Korean World Music have shown major differences from the practice in the West. World Music has been practiced and consumed in various contexts including gugak, music education, and music festivals in Korea, while this paper focuses on its practice in the Korean popular music scene. In particular, this paper pays attention to the emergence of a very few pop musicians who select “non-Western” music as their musical property, based on their inclination against the dominant popular music industry of Korea. I call them “Post-Western Subjects,” and this paper highlights Korean world music artist Hareem and alternative rock musician Sung Kiwan, migrant artist Amidou Diabate and their multinational group AASSA (AfroAsianSSoundAcr) and TRES BONBON. These musicians’ performative practices in Korean world music have aroused their awareness of contradiction and inequality in the Western-centered, business-minded Korean popular music industry. For them, world music is another way of making their voices heard in Korean society and they have expanded their musical boundaries from popular music to various other music scenes in Korea. Thus, their music cannot indicate a genre, but rather directions and attitudes, and both emphasized that their practice of world music is “to share not to possess.” Over the last 100 years of Korean history toward modernization, music practice has been conflicted, distorted, and disrupted based on imperialistic modernity. The appearance of “Post-Western Subjects” and their performative practice of world music in the Korean popular music scene starkly illuminates the landscape of twenty-first century Korean music culture, while at the same time, becoming a site to expose conflict, collision, ambiguity, and coexistence between Local and Global.
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