싱가포르 민족 악기(들)의 사회 문화적 의미: 디아스포라와 정체성의 재구성
Socio-cultural Meaning of Ethnic Instruments in Contemporary Singapore
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Singapore is a multi-ethnic, multi-cultural nation consisting of immigrants from a variety of ethnic backgrounds such as China, India, and Malay. Nurturing multi-cultural environment has been the primary means for unification in Singapore since independence from the Malay Federation in 1965. Traditional music and culture of Chinese, Indians, and Malays, major three ethnic groups which make up Singapore, has been considered a part of "Singaporean multiculturalism" and that which represents its unique national identity. At present Singapore the traditional musical instruments from each ethnic community can be commonly observed in a variety of social and cultural contexts. They are used in schools, in mass media, and as a part of national ceremonies and festivals as representative symbols for Singaporean identity. Present study focuses on three case studies, more specifically, three traditional style orchestras; Singapore Chinese Orchestra, Okestra Malayu Singapura, and Singapore Indian Orchestra and Choir. The aim is to understand the contemporary symbolism and social meaning attached to each, which is seen as representing a particular ethnic color within a multi-ethnic nation. In this paper, three aspects are discussed; "multi-cultural symbols," "representation of diaspora-identity," and "microcosmic symbol within Singaporean society." Traditional musical instruments found within the context of Singaporean social and cultural history are effective, cooperative, and symbolic media for carrying out Singaporean national policy for multiculturalism. But they are also cultural emblems which represent ethnic solidarity, bonding, and characterization. Their modernized meaning lie in their symbolism for the diaspora-identity heterogeneous in nature. Meanwhile, while traditional instruments one the one hand function as symbols of ethnic quota in accordance with the government's multi-cultural policies, they also suggest inequal distribution of power among ethic groups within Singapore, as micro cosmos which reflect the entire society. Thus, traditional music is a process and the means for creating modern society. As a modern and strategical resource in relation to political and economical situations, they are continuously transformed, reconstructed, and reproduced through the process of intentional selection. Heterogeneous diaspora-identity is especially being produced and consumed in Singapore in a post-colonial space. Here, traditional and ethnic musical instruments offer a site for negotiating identities and for giving meaning. Therefore these musical instruments function as a window which offers understanding of a culture (DeVale and Dibia 1991:46) and a site for creating meaning (Qureshi 2000:810; Qureshi 1997, 2000; Johnson 1993, 1995, 1997; Montagu 2003; Dawe 2001; DeVale 1988; Doubleday 1999).
Abstract
Singapore is a multi-ethnic, multi-cultural nation consisting of immigrants from a variety of ethnic backgrounds such as China, India, and Malay. Nurturing multi-cultural environment has been the primary means for unification in Singapore since independence from the Malay Federation in 1965. Traditional music and culture of Chinese, Indians, and Malays, major three ethnic groups which make up Singapore, has been considered a part of "Singaporean multiculturalism" and that which represents its unique national identity. At present Singapore the traditional musical instruments from each ethnic community can be commonly observed in a variety of social and cultural contexts. They are used in schools, in mass media, and as a part of national ceremonies and festivals as representative symbols for Singaporean identity. Present study focuses on three case studies, more specifically, three traditional style orchestras; Singapore Chinese Orchestra, Okestra Malayu Singapura, and Singapore Indian Orchestra and Choir. The aim is to understand the contemporary symbolism and social meaning attached to each, which is seen as representing a particular ethnic color within a multi-ethnic nation. In this paper, three aspects are discussed; "multi-cultural symbols," "representation of diaspora-identity," and "microcosmic symbol within Singaporean society." Traditional musical instruments found within the context of Singaporean social and cultural history are effective, cooperative, and symbolic media for carrying out Singaporean national policy for multiculturalism. But they are also cultural emblems which represent ethnic solidarity, bonding, and characterization. Their modernized meaning lie in their symbolism for the diaspora-identity heterogeneous in nature. Meanwhile, while traditional instruments one the one hand function as symbols of ethnic quota in accordance with the government's multi-cultural policies, they also suggest inequal distribution of power among ethic groups within Singapore, as micro cosmos which reflect the entire society. Thus, traditional music is a process and the means for creating modern society. As a modern and strategical resource in relation to political and economical situations, they are continuously transformed, reconstructed, and reproduced through the process of intentional selection. Heterogeneous diaspora-identity is especially being produced and consumed in Singapore in a post-colonial space. Here, traditional and ethnic musical instruments offer a site for negotiating identities and for giving meaning. Therefore these musical instruments function as a window which offers understanding of a culture (DeVale and Dibia 1991:46) and a site for creating meaning (Qureshi 2000:810; Qureshi 1997, 2000; Johnson 1993, 1995, 1997; Montagu 2003; Dawe 2001; DeVale 1988; Doubleday 1999).
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