한국타악문화에서 드러나는 ‘남성성,’ 그 젠더화된 개념과 연행
The “Masculine” Qualities of Korean Drumming: Focusing on Gendered Conceptions and Practices
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Korean drumming, one of the most popular musical practices in South Korea, currently exists in a state of contradiction as drumming, historically performed by men, is increasingly practiced by women. Women drummers who enter this male-dominated realm confront the “masculinization” of the practice, which is naturalized and normalized through the field’s discourse and performance. Based on the hypothesis that the supposed “masculinity” in drumming are constructed within the historical context of Confucianism, military culture, and so on, I approach Korean drumming as a site in which gender conceptions are internalized, embodied, reinforced, or challenged by performers. This study focuses on the way in which Korean drumming is constructed as “masculine,” by examining gendered practices and conceptions of contemporary Korean traditional drum performers, predominantly professional female drummers. It draws on different levels of the “masculine” qualities of Korean drumming: symbolic associations of “yang” with “masculinity,” the relationship of physical strength and “masculinity,” and the organizational culture of Korean drumming field influenced by military culture. It demonstrates not only that percussion instruments in general have been perceived as associated with “yang” and thus “strength,” both invoking and reinforcing a supposition that women cannot physically handle the demands of drumming. But it also shows that the hegemonic military culture of late twentieth-century Korea influenced the construction of the drumming field as “masculine”—aggressive, male-centered, and characterized by the hierarchical and domineering atmosphere of military discipline. These “masculine” qualities in the performance and organizational culture seemed to still be dominant and self-perpetuating in the drumming field, even if organizational culture has been changing following Korean culture’s current emphasis on gender equality. To survive in this field, women drummers engage with the “masculinity” of that practice. My exploration of Korean drumming, a historically male musical domain increasingly populated by women, may shed light on similar processes both in historical male realms of other regions.
Abstract
Korean drumming, one of the most popular musical practices in South Korea, currently exists in a state of contradiction as drumming, historically performed by men, is increasingly practiced by women. Women drummers who enter this male-dominated realm confront the “masculinization” of the practice, which is naturalized and normalized through the field’s discourse and performance. Based on the hypothesis that the supposed “masculinity” in drumming are constructed within the historical context of Confucianism, military culture, and so on, I approach Korean drumming as a site in which gender conceptions are internalized, embodied, reinforced, or challenged by performers. This study focuses on the way in which Korean drumming is constructed as “masculine,” by examining gendered practices and conceptions of contemporary Korean traditional drum performers, predominantly professional female drummers. It draws on different levels of the “masculine” qualities of Korean drumming: symbolic associations of “yang” with “masculinity,” the relationship of physical strength and “masculinity,” and the organizational culture of Korean drumming field influenced by military culture. It demonstrates not only that percussion instruments in general have been perceived as associated with “yang” and thus “strength,” both invoking and reinforcing a supposition that women cannot physically handle the demands of drumming. But it also shows that the hegemonic military culture of late twentieth-century Korea influenced the construction of the drumming field as “masculine”—aggressive, male-centered, and characterized by the hierarchical and domineering atmosphere of military discipline. These “masculine” qualities in the performance and organizational culture seemed to still be dominant and self-perpetuating in the drumming field, even if organizational culture has been changing following Korean culture’s current emphasis on gender equality. To survive in this field, women drummers engage with the “masculinity” of that practice. My exploration of Korean drumming, a historically male musical domain increasingly populated by women, may shed light on similar processes both in historical male realms of other regions.
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