한국에서의 젬베의 유입과 실천: 젬베지도자 나모리 이영용의 활동자취를 중심으로
The Influx and Practice of Jembe in Korea: Focusing on the Activities of Jembe Leader Namory Lee YungYong
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The jembe drumming practice gradually began in South Korea in the early 2000s. Jembe has been now performed in various contexts such as concerts of various kinds of music genres, music festivals, and multicultural educational sites. This paper examines the circumstances in which African jembe was introduced and popularized in Korea and the way Koreans pursue to practice jembe or African music. The first part of this paper looks at several components like the national ballets of the West African countries that during the decolonial period presented their music and dance to the world, African drummers who migrated to the Europe and the US for economic reasons since the late 1980s, the commercialization of jembe responding to the ‘world music’ industry’s emergence, and Koreans’ travelling to the West, where they were exposed to jembe drumming. The second part of this paper focus on of the first generation of Korean jembe players Namory Lee YungYong, who participated in overseas jembe masters’ workshops across the border for more than 15 years as well as organizing workshops inviting them. Without an individual who has practiced African music like him, the foundation of African music in Korea would have been difficult to stand as it is now.
Abstract
The jembe drumming practice gradually began in South Korea in the early 2000s. Jembe has been now performed in various contexts such as concerts of various kinds of music genres, music festivals, and multicultural educational sites. This paper examines the circumstances in which African jembe was introduced and popularized in Korea and the way Koreans pursue to practice jembe or African music. The first part of this paper looks at several components like the national ballets of the West African countries that during the decolonial period presented their music and dance to the world, African drummers who migrated to the Europe and the US for economic reasons since the late 1980s, the commercialization of jembe responding to the ‘world music’ industry’s emergence, and Koreans’ travelling to the West, where they were exposed to jembe drumming. The second part of this paper focus on of the first generation of Korean jembe players Namory Lee YungYong, who participated in overseas jembe masters’ workshops across the border for more than 15 years as well as organizing workshops inviting them. Without an individual who has practiced African music like him, the foundation of African music in Korea would have been difficult to stand as it is now.
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