디아스포라의 연행적 가시화와 음악의 표상: 제주 4·3 전야제 사례
Performative Articulation of Diaspora and Musical Register: A Case Study on the Jeju 4·3 Eve’s Commemoration Ceremony
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This study examines how “4·3 diaspora” as a form of identity related to the traumatic history of massacre and dispersion became articulated through the performative event of the 76th 4·3 Eve’s Commemoration Ceremony held in Jeju in 2024, through the lenses of performative and musical anthropology. While previous 4·3 commemorative events held in Jeju have generally focused on bringing the silenced past into the present and uttering about it, the 76th 4·3 Eve’s commemoration ceremony introduced the notion of diaspora into the title, defining itself as a project of spatial expansion of discussion on the historical event. Jeju Islander victims and their relatives, stowaways, those who moved to Japan after the 4·3 tragedy, and mainlanders who have suffered and/or learnt about similar social traumas respectively present their artistic creations on the ceremonial stage. Through the performance event, a new form of collective identity emerges as a (not-yet unified) form of “diaspora” - people who are connected together to the history of forced dispersion due to social disasters. Multiple actors, including directors, composers and performers who have developed their own artistic languages for identity-articulation, have different views on various aesthetic and musical registers (such as genre registers including folk, popular, and traditional music) and semiotically-attached cultural and aesthetic meanings to them, and reflect their differentiated views in their artworks. These differences together contribute to the articulation of 4·3 diaspora in a specific way. While academic discussions on diasporic art have been mainly concerned with the construction or reinforcement of the identity of diasporic groups residing “outside the motherland” (from the perspective of nation-state), this performative event case provides an ethnographic example of conceptual articulation of diaspora through performances designed by summoning diaspora artists and their texts onto the commemorative stage of “diasporic homeland.”
Abstract
This study examines how “4·3 diaspora” as a form of identity related to the traumatic history of massacre and dispersion became articulated through the performative event of the 76th 4·3 Eve’s Commemoration Ceremony held in Jeju in 2024, through the lenses of performative and musical anthropology. While previous 4·3 commemorative events held in Jeju have generally focused on bringing the silenced past into the present and uttering about it, the 76th 4·3 Eve’s commemoration ceremony introduced the notion of diaspora into the title, defining itself as a project of spatial expansion of discussion on the historical event. Jeju Islander victims and their relatives, stowaways, those who moved to Japan after the 4·3 tragedy, and mainlanders who have suffered and/or learnt about similar social traumas respectively present their artistic creations on the ceremonial stage. Through the performance event, a new form of collective identity emerges as a (not-yet unified) form of “diaspora” - people who are connected together to the history of forced dispersion due to social disasters. Multiple actors, including directors, composers and performers who have developed their own artistic languages for identity-articulation, have different views on various aesthetic and musical registers (such as genre registers including folk, popular, and traditional music) and semiotically-attached cultural and aesthetic meanings to them, and reflect their differentiated views in their artworks. These differences together contribute to the articulation of 4·3 diaspora in a specific way. While academic discussions on diasporic art have been mainly concerned with the construction or reinforcement of the identity of diasporic groups residing “outside the motherland” (from the perspective of nation-state), this performative event case provides an ethnographic example of conceptual articulation of diaspora through performances designed by summoning diaspora artists and their texts onto the commemorative stage of “diasporic homeland.”
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