김정은시기 무용연구 - 전통의 복원과 비물질무용유산을 중심으로 -

김지니 ( Kim Ji Ni ) 동국대학교 안보연구소 2021 북한학연구 Vol.17 No.2

북한에서 민족은 정치의 기본 단위이자 문화의 기본 단위이다. 민족을 기본으로 정치가 형성되고, 문화를 형성한다는 입장이다. 민족문화는 그 민족의 역사성과 문화적 정통성을 뒷받침하는 자료로 인식하였다. 북한 정권도 이런 점에서 민족문화 정책을 추진하였다. 대외적으로 외부의 문화적 침투에 맞서고, 대내적으로 민족문화의 자긍심을 심어줌으로써 김일성 민족의 선민(選民)으로서 우수성을 민족문화를 통해 보여주고자 하였다. 북한의 민족문화정책은 김정은 시대에 이르면서 이전과는 다른 방향으로 전개되고 있다. 김정은 정권에서 강조하는 변화와 맞물려 적극적인 세계화를 추진하고 있다. 북한 정권은 위기 상황에서 민족을 호명하였다. 그리고 민족적 특수성에 기대어 대외적인 위기를 넘어왔다. 그러나 김정은은 이전 정권이 민족주의를 대외적 방패로 활용하였던 것과 달리 고립과 폐쇄에서 벗어나 세계 속의 당당한 문화국가로서 민족문화정책을 추진하고 있다. 현재 김정은 정권의 문화예술정책은 민족문화 유산을 국가유산으로서 적극적인 보호와 활용에 무게를 두고 있다. 국가로서 오랜 문화의 전통성을 비물질문화유산을 통해 확인하고, 경제적인 활용도를 높여 헤리티지로서 활용하고 있다. 북한 정권 수립 이후 강조한 ‘현대적 전승’보다는 ‘민족문화의 원형’ 보전에 중점을 두고 있다. 민속무용에서도 현대성보다는 역사성에 더 무게를 두고, 원형보존, 원형계승으로 나아가고 있다. 이는 또 다른 차원의 북한 사회의 세계화, 그리고 정상국가로의 진입과 맞물려 발전할 것이다. After 2010, Kim Jong-un regime have a quite different action from the previous one in the stronger economic sanctions, The Kim Jong-un regime seek change and transformation in all areas of society. It is also true that policy changes and social systems, sometimes called innovation, have been transformed into crisis response systems whenever the North Korean regime faces a crisis. However, the separation of the Kim Jong-un regime from the Kim il-sung and Kim Jong-il is actively making efforts to become a proud and normal state in the world, free from isolation and closure, and also reflect this in their policies. In the midst of these changes, the Kim Jong-un regime is pushing for changes in cultural heritage policies as a means of globalization strategy. In particular, it is noted that the period when the immaterial cultural heritage policy is incorporated into the legal system and the period when the Kim Jong-un regime emerges as real power, are intertwined. The driving force of change can be found in the “socialist civilization”, one of the representative policies of the Kim Jong-un regime. The Kim Jong-un regime set the national goal of building a socialist civilized country, and induces them to gather in all areas of society, including economy, education, health, sports, social culture, and arts, with the goal of building a socialist civilized country. Among these, non-material cultural heritage promotes internal convergence by emphasizing the excellence of the country As a normal country, it promotes the image of the country both internally and externally, Under the economic benefits through tourism,service trade, the Kim Jong-un regime has revised at a three times, been raising its status among the major policies of the Kim Jong-un regime. As North Korea’s immaterial cultural heritage, folk dance is uniquely linked among various immaterial cultural heritages specified by the law such as national games, national customs, holiday events, various ceremonies, and stage arts. It is also linked to other genres, such as folk songs, traditional music, and costumes. The characteristics acquired through policy in North Korea’s political society reflect the wide range of traditional cultures and historical layers and status of national culture, as well as the politics and society of the North Korean regime of the time.

일반 논문 : 북한 정권초기 문화 권력의 대중지배 전략 연구

김지니 ( Ji Ni Kim ) 단국대학교 한국문화기술연구소 2008 한국문화기술 Vol.6 No.-

The research sees how did North Korea apply a culture and art, prepare what kind of policy and a system and operate, in order to educate north korea people, there is a goal which analyzes. The art for an art becomes fixed at last on 19th century latter halves. Until before the art religious, in compliance with a political goal for a proposal act and a purpose, or with political propaganda was created and was applied. Capitalism, the democratic nations entered and contemporary history circuit they guaranteed the freedom of infinity in art and the artist. Opposes hereupon, communism, the socialist states‘Art’and‘Artist’Even that must be provided, for the purpose which is ultimate and according to principle and rule of the nation. The society which is North Korea as well‘ The art’for an art ; Does not recognize.In North Korea‘Art’Comes true the silver political community and a politic subject with the tool for being recognized and being applied. From this research analyzes popular dominative strategy of cultural power in North Korea political power early stage. This research restricts in the timely object of the research which sees until the before middle of 1960’s. Until before middle of 1960’s the common people artistic organization, the artistic group, atristic spatial which is maintained, operated and completed. Even to 1960’s after that‘Artistic popularization’The popular dominative strategy of North Korea which leads a policy was continued. but, new organization and the group and space did not increase and were not magnified. The research which sees‘the poilcy of Artistic popularization’is how to lead and what kind of strategic organization and the group, space are propelled, and where the North Korea popular dominative strategy should have been come true bitterly . This research sees how did it applied effectively in politic realization, social change and crisis of north korea under the popular dominative strategy of North Korea.

해방 후 남북 문화정책 연구 : 국립극장을 중심으로

김지니(Kim, Ji Ni) 건국대학교 인문학연구원 2020 통일인문학 Vol.84 No.-

전통사회에서 근대사회로 접어들면서 극장은 대중들에게 종전에는 볼 수 없었던 새로운 경험의 공간이자 변화하는 시대상을 반영하는 변화의 공간이었다. 동시에 식민지 시대에는 문화의 공간이면서 저항의 공간, 반대로 통제의 공간이었다. 미·소군정에 의한 신탁통치의 시기에는 새로운 제도와 체제가 실현되고 또는 기대가 좌절되는 공간이기도 하였다. 남북한이 각각의 정부를 수립하면서 극장은 서로 다른 체제하에서 또 다른 모습으로 변화·발전되고 서로 다른 목적을 위해 기능하고 역할 하였다. 당시 극장은 오늘날과 다를 바 없이 사전적 의미와는 달리 포괄적 개념으로 대중들에게 명명되었다. 극을 공연하는 공간, 음악을 공연하는 공간, 무용, 연희, 놀음이 공연되는 공간임과 동시에 영화관을 지칭하는 용어이기도 했다. 시대에 따라 기능과 역할의 범위가 축소·확대되기는 하였지만 앞에서 언급한 공간적 기능과 역할 이외에도 강연장, 집회장으로서 활용되었다. 식민지 시기와 같은 특정한 시기에는 조선인들의 회합과 저항의 장소이자 결속과 의지를 확인하는 심리적 공간이자 도모의 공간이기도 하였다. 해방 후 남한에서는 자본주의 체제하에서 철저한 상업적 공간이자 대중의 욕구가 분출되고 수용되는 공간으로 강조되었다. 북한에서는 공공적·도덕적·교육적 공간으로 강조되었다. 남한과 북한의 국립극장 설립의 배경과 과정은 당시 남북한의 문화정책의 차이와 남북한 지도부들이 문화예술을 바라보는 시각의 차이를 짐작케 한다. 남한에서는 해방직후 미군정하에서 국립극장 설립이 차일피일 미루어졌다. 극장의 국유화가 무산된 것과 연결선 상에 있다. 남한 정권 수립이후에도 국립극장 설립이 완성되기까지는 2년이 더 지체되었다. 북한에서는 해방직후 조기에 극장의 국유화가 완성되었다. 국립극장 역시 북한은 남한보다 3년이나 일찍 설립되었다. 국립극장은 극장 본연의 기능과 역할 뿐만 아니라 ‘국립’이 갖는 상징적 의미가 크다. 따라서 북한의 국립극장 조기 설립은 북한의 문화 정책적 의지가 남한과 본질적으로 달랐다고 평가할 수 있다. As it society moved from traditional to modern, the theater was a space for new experiences that the public could not see before and a space for change reflecting the changing times. At the same time, in the colonial era, it was a space for culture, resistance, control, and where new institutions and systems were realized or expectations were frustrated during the period of trusteeship by the US and Soviet governments. As the two Koreas established their respective governments, theaters were transformed and developed into different forms under different regimes and functioned and served for different purposes. At that time, theaters were perceived by the public as a comprehensive concept, unlike the dictionary meaning. The theater was a space for performing plays and music, a space for dance, entertainment, and play, and a theater. It was not different from today. Although the range of functions and roles has been reduced or expanded according to the times, it has been used as a lecture hall and assembly hall in addition to the spatial functions and roles mentioned above. In certain periods such as the colonial period, it was a place of meeting and resistance of the Koreans, a psychological space to confirm solidarity and will, as well as a space of promotion. After liberation, in South Korea, under the capitalist system, it was emphasized as a thorough commercial space as well as a space where public desires were ejected and accepted. In North Korea, it was emphasized as a public, moral, and educational space. The background and process of the establishment of the National Theater between South and North Korea suggests the difference in cultural policy between the two Koreas at the time and the difference in the perspective of the leaders of the two Koreas on culture and the arts. In South Korea, the establishment of the national theater under the US military government was delayed immediately after liberation. It is on the line that the nationalization of the theater has been destroyed. Even after the establishment of the South Korean regime, it took another two years to complete the establishment of the National Theater. In North Korea, the nationalization of theaters was completed early after liberation. The National Theater was also established three years earlier than South Korea. The National Theater has a large symbolic meaning of "national" as well as the original function and role of the theater. Therefore, it can be evaluated that North Korea"s early establishment of the national theater was essentially different from that of South Korea in North Korea"s cultural policy.

북한식 종합공연예술의 정착과 전개

김지니(Kim, Ji-Ni) 북한대학원대학교 2008 현대북한연구 Vol.11 No.2