인식의 ‘모빌리티’의 이론과 실제: <강남스타일>의 패러디 하위문화의 분석을 근거로
The Theory and Practice of ‘Mobility’of Perception: A Reexamination of the Parody Sub-Culture of Psy’s ‘Gangnam Style’
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‘Mobility’ is a keyword that explains the central feature of contemporary societies constructed by technological revolution. Through their smart devices, today’s digital nomads move widely and fast. They transcend offline and online sectors, establish new social relationships, and show characteristic musical behaviour, as seen in the majority of surprise events held by various smart mobs. This paper aims to illuminate how dominant cultural identities are constructed among smart mobs, through a reexamination of a sub-culture of two parodies of Psy’s‘Gangnam Style’, ‘London Style’and ‘Piano Style.’ To this end, this research employs a‘mobile system’ approach and participant observation. A mobile system approach examines how ‘mobile’ music culture is motivated by a ‘mobile’ dominant identity, focusing on ‘bi-directional’ mobility of perception and three points of destination, departure, and a stopover in the sector of perception. With a mobile system approach, this study finds two facts. First, the ‘London Style’system was operated by the identity of Londoners based on that of the parody group and the ethos of world citizens. Fundamental was a sense of belonging to the parody group. It arrived at the glocal arrival point. In this place, they generated the remake‘London Style’, using local and communal cultural materials as well as the global original work. Second, central to the ‘Piano Style’ system was the leader who displayed the identity of a diasporic Korean based on that of a pianist alongside cosmopolitan ethos. In a similar way to the case of ‘London Style’, the ‘Piano Style’ system reached the glocal position. However, it produced‘Piano style’, a creative attempt beyond a remake, utilizing mainly the leader’s excellent performing techniques. This paper argues that, focusing on how glocal locations changed within the parody sub-culture, sub-global creative musical attempts gradually arose, while‘Gangnam Style’ was globally diffused. This contrast was made by ‘bi-directional’ mobility of the perception of today’s homo mobilis.
Abstract
‘Mobility’ is a keyword that explains the central feature of contemporary societies constructed by technological revolution. Through their smart devices, today’s digital nomads move widely and fast. They transcend offline and online sectors, establish new social relationships, and show characteristic musical behaviour, as seen in the majority of surprise events held by various smart mobs. This paper aims to illuminate how dominant cultural identities are constructed among smart mobs, through a reexamination of a sub-culture of two parodies of Psy’s‘Gangnam Style’, ‘London Style’and ‘Piano Style.’ To this end, this research employs a‘mobile system’ approach and participant observation. A mobile system approach examines how ‘mobile’ music culture is motivated by a ‘mobile’ dominant identity, focusing on ‘bi-directional’ mobility of perception and three points of destination, departure, and a stopover in the sector of perception. With a mobile system approach, this study finds two facts. First, the ‘London Style’system was operated by the identity of Londoners based on that of the parody group and the ethos of world citizens. Fundamental was a sense of belonging to the parody group. It arrived at the glocal arrival point. In this place, they generated the remake‘London Style’, using local and communal cultural materials as well as the global original work. Second, central to the ‘Piano Style’ system was the leader who displayed the identity of a diasporic Korean based on that of a pianist alongside cosmopolitan ethos. In a similar way to the case of ‘London Style’, the ‘Piano Style’ system reached the glocal position. However, it produced‘Piano style’, a creative attempt beyond a remake, utilizing mainly the leader’s excellent performing techniques. This paper argues that, focusing on how glocal locations changed within the parody sub-culture, sub-global creative musical attempts gradually arose, while‘Gangnam Style’ was globally diffused. This contrast was made by ‘bi-directional’ mobility of the perception of today’s homo mobilis.
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