본문 바로가기
KERD
논문KCI 등재

미주 한인사회 첫 남성 전통악기연주단 남풍사의 출현 배경과 활동 분석 (1920∼50년대)

An Analysis of the First Korean Traditional Musician Group in the United States(1920∼50s)

최희영
규장각한국학연구원 (Kyujanggak Institute for Korean Studies)|2022.03|한국문화|제97호|pp. 479-505|DOI 10.22943/han.2022..97.013

0

조회

0

다운로드

1

인용

0

참고문헌

키워드

다문화주의multiculturalism전통공연예술traditional performing arts디아스포라 음악남풍사20세기 하와이형제클럽한라함무용연구소Namp’ungsadiasporic music20th-century Hawai‘iHyung Jay ClubHalla Huhm Dance Studio
주제분류기타인문학

초록

This paper examines activities of the first Korean male musicians performing traditional Korean music in the United States to expand the previous discourse of the Namp'ungsa. The Namp’ungsa, established in Hawai‘i in 1922, has been known for its short existence due to the Korean society’s lack of interest in musical activities. Moreover, previous studies discussing the performing arts of the Koreans in Hawaiʻi during the twentieth century have been focused on the Hyung Jay Club (1927∼1940s) and the Halla Huhm Dance Studio (1950∼), all of which were established and dominated by females. Based on analysis of local newspapers and archival resources collected from the Honolulu Museum of Art, the Bernice Pauahi Bishop Museum, and the University of Hawaiʻi at Manoa Center for Korean Studies, I found that the former Namp'ungsa members continued to participate in musical activities until the 1950s. The Korean male musicians played traditional percussion and wind instruments to accompany diverse performances ranging from traditional Korean dances like Monk's Dance (Sŭngmu), a short dramatic play reenacting Korean wedding ceremony, and English-language musical plays adapted from Korean folk tales. Some of the musicians―in terms of their instrumentation, performing styles, and costumes―are assumed to have worked as samhyŏn-yukkak or p'ungmul musicians before leaving for Hawaiʻi to be plantation workers between 1903 and 1905. The middle-aged Korean male musicians, in collaboration with 1st and 2nd generation Korean females of the Hyung Jay Club and the Halla Huhm Dance Studio, played an important role in preserving the Korean diaspora’s ethnic identity and introducing diverse Korean culture to multi-ethnic, multi-racial local residents in Hawaiʻi.

Abstract

This paper examines activities of the first Korean male musicians performing traditional Korean music in the United States to expand the previous discourse of the Namp'ungsa. The Namp’ungsa, established in Hawai‘i in 1922, has been known for its short existence due to the Korean society’s lack of interest in musical activities. Moreover, previous studies discussing the performing arts of the Koreans in Hawaiʻi during the twentieth century have been focused on the Hyung Jay Club (1927∼1940s) and the Halla Huhm Dance Studio (1950∼), all of which were established and dominated by females. Based on analysis of local newspapers and archival resources collected from the Honolulu Museum of Art, the Bernice Pauahi Bishop Museum, and the University of Hawaiʻi at Manoa Center for Korean Studies, I found that the former Namp'ungsa members continued to participate in musical activities until the 1950s. The Korean male musicians played traditional percussion and wind instruments to accompany diverse performances ranging from traditional Korean dances like Monk's Dance (Sŭngmu), a short dramatic play reenacting Korean wedding ceremony, and English-language musical plays adapted from Korean folk tales. Some of the musicians―in terms of their instrumentation, performing styles, and costumes―are assumed to have worked as samhyŏn-yukkak or p'ungmul musicians before leaving for Hawaiʻi to be plantation workers between 1903 and 1905. The middle-aged Korean male musicians, in collaboration with 1st and 2nd generation Korean females of the Hyung Jay Club and the Halla Huhm Dance Studio, played an important role in preserving the Korean diaspora’s ethnic identity and introducing diverse Korean culture to multi-ethnic, multi-racial local residents in Hawaiʻi.

참고문헌 (49)

  1. Warren Y. Kim, "Koreans in America", pp.45~ (1971), Po Chin Chai
  2. Peggy Myo-Young Choy, "Anatomy of a Dancer: Place, Lineage and Liberation", Amerasia Journal, 26(2) (2000)
  3. Judy Van Zile, "From the Land of Hibiscus: Koreans in Hawaii" (2007), University of Hawai‘i Press
  4. 이리카, "하와이에서 한인(韓人) 전통의 창출:태평양전쟁 전 하와이 이민 한인 여성의 민족 관계와 근대화", 여성과 역사, (26), pp.27~80 (2017), 한국여성사학회[DOI]
  5. Wook-dong Kim, "Global Perspectives on Korean Literature" (2019), Palgrave MacMillan
  6. Heeyoung Choi, "Multicultural Musicscape for National Pride: Performing Arts of East-Asian Diasporas in Hawai‘i before WWII", Asian Culture and History, 12(1) (2020)
  7. R. Anderson Sutton, "Korean Music in Hawaii", Asian Music, 19(1) (1987)
  8. Wayne Patterson, "The Ilse: First-generation Korean Immigrants in Hawai‘i, 1903-1973" (2000), University of Hawaii Press
  9. 최희영, "20세기 초 하와이 이민사회의 「혹부리 영감」 각색공연 고찰", 한국학, 44(1), pp.7~41 (2021), 한국학중앙연구원[DOI]
  10. 최희영, "정착형 식민주의 관점에서 바라본 하와이 한인사회의 첫 영어 연극 분석", 한국예술연구, (32), pp.99~121 (2021), 한국예술연구소[DOI]
  11. 최희영, "전수산의 공연 활동에 구현된 20세기 초 한인 디아스포라 근대 여성의 표상", 한국문화, (95), pp.207~228 (2021), 규장각한국학연구원[DOI]
  12. Heeyoung Choi, "Curating Koreanness: Musical Activities of Korean Elite Women in Hawaiʻi during the Japanese Colonial Period, 1910-1945", Women and Music, 25 (2021)
  13. 신운용, "대한인국민회의 ‘한민족 공동체’ 인식 -『국민보』의 단군론을 중심으로 -", 숭실사학, (42), pp.215~233 (2019), 숭실사학회[DOI]
  14. 홍선표, "1910년대 후반 하와이 韓人社會의 動向과 大韓人國民會의 活動", 한국독립운동사연구, 8 (1994)
  15. Duk Hee Lee Murabayashi, "Korean Passengers Arriving at Honolulu, 1903-1905", University of Hawaii, ~ (2001)
  16. "Korean Girls Club to Present Play Depicting Home Life, Jan. 14", The Honolulu Advertiser, ~ (1928)
  17. "Korean Girl’s Staging Play", Honolulu Star-Bulletin, ~ (1934)
  18. "Kil Sung Hur Presents ‘Pear Blossom’", Hawaii Tribune-Herald, ~ (1938)
  19. "Life of Korean Girl Will Be Seen in Play", Hawaii Tribune-Herald, ~ (1938)
  20. "Korean Play Enjoyed Here", Hawaii Tribune-Herald, ~ (1938)
  21. George R. Ellis, "Honolulu Academy of Arts, Selected Works", pp.10~ (1990), Honolulu Academy of Arts
  22. 조규익, "홍길동 이야기와 로터스 버드" (2004), 월인
  23. 전영지, "하와이 한인 이주민의 『홍길동전』 각색·공연 연구", 한국예술연구, (15), pp.91~115 (2017), 한국예술연구소[DOI]
  24. "Korean Drama Is Presented", Honolulu Star-Bulletin, ~ (1932)
  25. "Korean Show To Be Held on Sunday", Honolulu Star-Bulletin, ~ (1942)
  26. "Korean Dancer Halla Huhm Goes to Tokyo", Honolulu Star-Bulletin, ~ (1958)
  27. 유미희, "미국 서부 지역의 무형문화유산 한국춤전승에 관한 연구", 공연문화연구, (30), pp.357~394 (2015), 한국공연문화학회[DOI]
  28. 유화정, "미국 하와이 주 한라함 무용연구소의 춤문화 연구", 한국무용학회지, 19(2), pp.37~45 (2019), 한국무용학회[DOI]
  29. 김효진, "배구자의 예술활동과 근대공연예술사적 업적연구", 예술전문사, pp.2016
  30. Ann Kikuyo Nishiguchi, "Korean Dance in Hawaii: A Study of the Halla Pai Huhm Korean Dance Studio", M.A, pp.1982
  31. "War Bride to Perform in Roll Call of the World", Honolulu Star-Bulletin, ~ (1954)
  32. "Large Crowd Attends Benefit Show for Korean War Orphans", Honolulu Star-Bulletin, ~ (1953)
  33. "Traditional Korean Dance Dramas To Be Presented by Halla Huhm", Honolulu Star-Bulletin, ~ (1953)
  34. "Korean Dancers", The Honolulu Advertiser, ~ (1953)
  35. "Korean Dancer Enthralls Art Academy Audience", The Honolulu Advertiser, ~ (1955)
  36. "Island Koreans To Honor Quinn", Honolulu Star-Bulletin, ~ (1958)
  37. "“Korean Night” 공연 소책자, 한라함 컬렉션, Programs 1953-1958", Box 2, 1957
  38. "Posed Beauty", Honolulu Star-Bulletin, ~ (1957)
  39. 이보형, "삼현육각" (1984), 문화재관리국
  40. 노동은, "한국근대음악사 1" (1995), 한길사
  41. 황미연, "조선시대 회화에 나타난 삼현육각", 한국음악사학보, (30), pp.753~774 (2003), 한국음악사학회
  42. 김묘신, "해외 한인공동체의 문화적 정체성 읽기 –하와이 한인농악단 활동을 중심으로", 공연문화연구, (42), pp.321~359 (2021), 한국공연문화학회[DOI]
  43. "Pyung Kiu Kim Celebrates Sixty-First Birthday With Ancient Korean Ceremony", The Honolulu Advertiser, ~ (1927)
  44. "Racial Pageant Marks Fete for Zonta Day Here", The Honolulu Advertiser, ~ (1935)
  45. "Korean Spring Play Pleases", Honolulu Star-Bulletin, ~ (1936)
  46. "Korean Show in Frear Gardens", Honolulu Star-Bulletin, ~ (1942)
  47. "Much Interest In Fantasy By Korean Players", Honolulu Star-Bulletin, ~ (1936)
  48. Edgar Knowlton, "Pacific Panorama Is Varied, Delightful", 한라함 컬렉션, Newspapers: English, Box 3
  49. 김영욱, "문화원형을 통한 문화콘텐츠 개발 사례와 공연예술산업 발전 가능성에 관한 연구", 석사, 예술경영, pp.2010

관련 논문AI추천

전수산의 공연 활동에 구현된 20세기 초 한인 디아스포라 근대 여성의 표상최희영규장각한국학연구원 · 한국문화2021 · 제95호Political Reconciliation through the Performing Arts: Selected Activities of Koreans in Early Twentieth-century Hawai‘i최희영한국학중앙연구원 · The Review of Korean Studies2021 · 제24권 제1호하와이에서 한인(韓人) 전통의 창출:태평양전쟁 전 하와이 이민 한인 여성의 민족 관계와 근대화이리카한국여성사학회 · 여성과 역사2017 · 제26호해외 한인공동체의 문화적 정체성 읽기 –하와이 한인농악단 활동을 중심으로김묘신한국공연문화학회 · 공연문화연구2021 · 제42호Beyond Nostalgia: “Arirang” in Early Twentieth-Century Hawai‘i최희영세계음악학회 · 음악과 문화2020 · 제43호태평양 전쟁기(1941~1945) 하와이 한인의 조국 독립을 위한 공연 활동최희영한국독립운동사연구소 · 한국독립운동사연구2024 · 제88호

이 간행물의 다른 논문 (12건)

1920년대 평양부협의회 선거와 조선인 지역유력자의 ‘혈연-공간적’ 변동주동빈pp. 3-471928년 식민지 조선 ‘병비충실’ 운동의 추이와 성격이민성pp. 49-831920~30년대 인천부 ‘공설공용전’ 급수운영과 지역사회의 대응박정민pp. 85-134조선간이생명보험의 재정구조와 적립금 운용(1929-1937)구병준pp. 135-166총동원체제기(1938-45년) 조선총독부의 노무자주택정책 운영과 사택의 분배체계 - 일본질소비료(주) 계열사를 중심으로 -이명학pp. 167-196
원문 보기