국악의 세계화 담론과 월드뮤직화
Discourses of Globalization and World Music-ization of Korean Music in Contemporary South Korea
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Using theories of cultural globalization and glocalization by Robertson and Appadurai as a point of departure, this paper investigates how the discourses of globalization and world music-ization of the Korean traditional music constructed and practiced among Korean musicians. The paper first provides theoretical accounts on cultural globalization, glocalization, and it investigates the general relationship between globalization and the world music. The main body of the paper examines a historical overview of discourses among Korean traditional musicians, aspects, backgrounds, the process of constructing world music-ization, and the meaning of globalization of Korean traditional music. The construction and development of discourses of globalization and world music-ization within the field of Korean traditional music is strongly associated with old discourses including modernization and popularization of traditional music. At the same time, musicians's awareness of social reality experienced through their own success in overseas performances, reports on recent success of new category of world music, recent development and changes of cultural production system, helped to increase of needs to construct new discourses. For the Korean musicians, globalization of Korean music is the way of achieving cultural superiority and identity, the future of Korean traditional music, and a means of useful marketing strategy as a global cultural commodity. But at the same time, this is criticized as powerless subordination to globalization. The most important point of globalization discourse among Korean musicians is a strong sense of cultural ethnie nationalism. In this sense, cultural nationalism is a very useful tool. In the case of Korean traditional music, cultural nationalism is a subjective discourse as opposed to globalization and alternative strategy to achieve modern value as opposed to anti-globalization. With the discourse of globalization, Korean musicians have an opportunity to reveal and emphasize local identity through "glocalization" and "displacement" of local identity. In this sense, contemporary Korean traditional music has become the sphere where glocalization is practiced.
Abstract
Using theories of cultural globalization and glocalization by Robertson and Appadurai as a point of departure, this paper investigates how the discourses of globalization and world music-ization of the Korean traditional music constructed and practiced among Korean musicians. The paper first provides theoretical accounts on cultural globalization, glocalization, and it investigates the general relationship between globalization and the world music. The main body of the paper examines a historical overview of discourses among Korean traditional musicians, aspects, backgrounds, the process of constructing world music-ization, and the meaning of globalization of Korean traditional music. The construction and development of discourses of globalization and world music-ization within the field of Korean traditional music is strongly associated with old discourses including modernization and popularization of traditional music. At the same time, musicians's awareness of social reality experienced through their own success in overseas performances, reports on recent success of new category of world music, recent development and changes of cultural production system, helped to increase of needs to construct new discourses. For the Korean musicians, globalization of Korean music is the way of achieving cultural superiority and identity, the future of Korean traditional music, and a means of useful marketing strategy as a global cultural commodity. But at the same time, this is criticized as powerless subordination to globalization. The most important point of globalization discourse among Korean musicians is a strong sense of cultural ethnie nationalism. In this sense, cultural nationalism is a very useful tool. In the case of Korean traditional music, cultural nationalism is a subjective discourse as opposed to globalization and alternative strategy to achieve modern value as opposed to anti-globalization. With the discourse of globalization, Korean musicians have an opportunity to reveal and emphasize local identity through "glocalization" and "displacement" of local identity. In this sense, contemporary Korean traditional music has become the sphere where glocalization is practiced.
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