1980년대 이후 국악찬양의 전개: 다양한 연행형식을 통한 ‘한국적’ 정체성 만들기
The Development of Gugak Chanyang since the 1980s: Making "Korean" Identity in Various Performative Contexts
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This paper examines gugak chanyang, a musical phenomenon related to the Koreanization of Protestant church music in South Korea, especially that utilizing Korean traditional music. With the substantial Westernization of the overall musical circumstance in Korean society since the introduction of Western music at the end of the 19th century, along with the inflow of Protestantism, the church has rejected Korean traditional music for use in services because of its relation to indigenous religions and its low social image that had been deliberately built up during Japanese colonial rule. For over a century, Western music has been considered to be "authentic"music in the Korean church, presenting Korean Protestant identity. Despite the fact that there have been continuing efforts to utilize Korean traditional music as church music from the beginnings of church history in Korea, it was not until the 1980s that notable and persistent attempts at gugak chanyang appeared and continued to develop. This paper explores the three performative contexts of gugak chanyang: presentational, quasi-presentational/participant, and worship. I suggest that three different stages of “Korean” identity are manifested in these three contexts. Drawing on Christopher Small's ideas, I interpret these musical contexts as, respectively: an “act of exploration of identity (‘to try on identities to see who we think we are;)" conducted in the presentational context; an “act of affirmation of community (‘this is who we are’)" conducted in the quasi-presentational/participant context; and an “act of celebration (‘to rejoice in the knowledge of an identity not only possessed but also shared with others’)" presented in the worship context. By examining leading figures, ensembles, and churches related to gugak chanyang, I investigate how each performative context was formed and how it promoted "Korean" identity for Korean Protestants.
Abstract
This paper examines gugak chanyang, a musical phenomenon related to the Koreanization of Protestant church music in South Korea, especially that utilizing Korean traditional music. With the substantial Westernization of the overall musical circumstance in Korean society since the introduction of Western music at the end of the 19th century, along with the inflow of Protestantism, the church has rejected Korean traditional music for use in services because of its relation to indigenous religions and its low social image that had been deliberately built up during Japanese colonial rule. For over a century, Western music has been considered to be "authentic"music in the Korean church, presenting Korean Protestant identity. Despite the fact that there have been continuing efforts to utilize Korean traditional music as church music from the beginnings of church history in Korea, it was not until the 1980s that notable and persistent attempts at gugak chanyang appeared and continued to develop. This paper explores the three performative contexts of gugak chanyang: presentational, quasi-presentational/participant, and worship. I suggest that three different stages of “Korean” identity are manifested in these three contexts. Drawing on Christopher Small's ideas, I interpret these musical contexts as, respectively: an “act of exploration of identity (‘to try on identities to see who we think we are;)" conducted in the presentational context; an “act of affirmation of community (‘this is who we are’)" conducted in the quasi-presentational/participant context; and an “act of celebration (‘to rejoice in the knowledge of an identity not only possessed but also shared with others’)" presented in the worship context. By examining leading figures, ensembles, and churches related to gugak chanyang, I investigate how each performative context was formed and how it promoted "Korean" identity for Korean Protestants.
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