http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
The Rainbow Chorus: Performing Multicultural Identity in South Korea
( Hilary Finchum-sung ) 서울대학교 규장각한국학연구원 2012 Seoul journal of Korean studies Vol.25 No.1
Put multiculturalism and Korea in the same sentence and a potential paradox materializes. Korea’s ethnic nationalism, with its espousal of one people, one blood, has driven government policies and local identity for decades. In recent years, escalating numbers of foreign workers and “marriage migrants” have led local and national governments to develop social programs designed to assimilate immigrants into Korean society as well as educate native Koreans about these foreigners. Various multicultural family centers, like the Center for a Multicultural Korea (Han’guk tamunhwa sent’o˘/ CMCK) in Seoul, have been set up around the peninsula to advance this goal. In this paper, I examine the Seoul-area Center’s spearhead program, the Rainbow Chorus, as a visible endeavor both projecting the Center’s goals as well as working within a specific Korean construal of the term “multicultural;” a construct engaging domestic socioeconomic and cultural hierarchies as well as emphasizing assimilation. The Center, choral program, and choristers represent a contemporary liminality within Korean society; one balanced between complete assimilation and the desire to nurture Korea’s burgeoning diversity through integration and education. The choristers themselves serve as symbolic icons of contemporary demographic change. Simultaneously, the Chorus embodies a potential paradigm shift, acting as a metaphor for Korea’s hoped-for trajectory: a future in which a diverse Korea maintains equal footing with global competitors. Through a heuristic case study examining the choristers’ training and performance processes as well as the Chorus’s rhetorical connections to Korea’s multiculturalism, this paper offers a perspective on the meaning of ‘multiculturalism’ for children in the South Korean context.
Everywhere and Nowhere: An Ethnomusicologist Living and Working in Korea
Hilary Vanessa Finchum-Sung 계명대학교 한국학연구원 2018 Acta Koreana Vol.21 No.2
Auto-ethnographies tracing the fieldwork encounters of anthropologists have become integral to understand the processes of the ethnographic endeavor. In ethnomusicology, ethnographic methodology remains the sine qua non distinguishing our work from that of the musicologist. The field is ubiquitous in our work as the space within which we accumulate the experiences informing our analyses. Equally ubiquitous is the assumption that the field exists outside of our ‘real lives’ (Rasmussen 2004). Yet, with transcultural professional lives becoming increasingly common, and more scholars establishing professional roots in locations formerly allocated as ‘the field,’ there exists an obvious need for a reconsideration of and new fluidity in ethnographic research. If “fieldwork is, in reality, just living” (Reed 2003), then this way of life deserves a consideration in all its complexities, diving into the interstices of personal, professional, and artistic identities. In this article, I explore the overlapping and ephemeral spaces of the ethnographic self in the Korean context. Drawing on my own experiences as a non-Korean researcher of Korean music and professor in a department of Korean music, the paper inescapably takes the form of auto-ethnography. The article uncovers the ways by which the performance-based practice of bi-musicality complicates the identity of the researcher, as the ability to perform on an instrument tied to notions notations of race-based nationalism transforms the scholar into a curiosity. Through an analysis of my own bimusical practice, I scrutinize the benefits and pitfalls of the constant presence of the foreign researcher in the Korean academic and social milieu.
Hilary V. Finchum-Sung,최지연 남도민속학회 2013 남도민속연구 Vol.26 No.-
Drawing on the success of K-Pop, Arirang is now marketed as a national brand, deeply entwined in the world music commercial mechanism. While there is no doubt that world-wide attention given to K-Pop could influence the reception of Korean traditional performing arts outside of Korea, the domestic globalization focus tends to emphasis Korean culture’s outward trajectory. Without negating the viability of Arirang’s alignment with K-Pop, in this paper I suggest we steer the conversation from one of globalization to one of a pre-existing and continual presence in the United States. Such a presence began and has been nurtured through Korean immigration to the United States, Korea/U.S. relations, and, more recently, multicultural education. In this paper, I consider the musical and educational roots of “Arirang” in the U.S. Although arguably problematic and in need of attention, these roots carry more weight than a tenuous focus on Arirang as a commercial endeavor. The paper critically examines the multicultural music curriculum in the U.S. as both a real and potential force for placing and shaping “Arirang” in the American musical imaginary. The song “Arirang” is typically taught as the example of Korean music and culture in the US multicultural music curriculum. Although a positive step towards recognizing a Korean domestic population as well as the importance of Korean music in the world today, the curriculum is riddled with problems. Through an examination of these problems, the paper uncovers the weaknesses in Korean music education in the U.S. and suggests ways the curriculum could improve. Finally, the paper suggests scholars of Korean music work towards the development of accurate and user-friendly materials with educational goals in mind. This paper begins a dialogue regarding the creation of accurate and consistent Korean music educational materials with “Arirang” at the heart of this endeavor. K-pop의 성공에 힘입어, 국가브랜드로서의 아리랑은 세계음악 시장과 깊은 관계를 가지게 되었다. K-pop으로 몰린 세계의 관심이 국외의 한국 전통공연 환영에 영향을 주었으리라는 것은 의심할 여지가 없으나, 국내에서의 세계화에 대한 논의는 한국문화의 외국 진출에 초점을 맞추는 경향을 보여준다. 그러나 아리랑에 대한 미국의 음악적, 교육적 뿌리에 대한 논의는 아리랑을 상업적으로 알리려는 노력에 초점을 맞추는 것보다 더 중요하다고 생각한다. 따라서 세계화에 대한 논의로서 과거부터 지금까지 미국 안에서 존재해 온 것으로서의 아리랑을 말하고자 하였다. 본고는 미국의 다문화 음악교육 과정을 검토하는 동시에 미국인의 음악적 상상 속에서 아리랑을 만들어내는 잠재적인 힘과 실제 아리랑이 존재하는 모습을 살펴보았다. 다문화 음악교육 과정에서의 아리랑은 한국 문화와 음악적 개념에 대한 전형적인 예로 사용되고 있음을 확인할 수 있었다. 오늘날 국내뿐 아니라 세계에서도 한국음악의 중요성에 대한 인식은 긍정적인 단계이지만, 그에 비해 교과과정은 문제점이 많다. 특히, 미국에서의 한국음악 교육에 대한 취약한 점을 지적하고 좀 더 나은 한국음악 교육을 위한 방안을 제안하였다. 마지막으로 학생과 가르치는 교사가 편하게 사용할 수 있으며 정확하고 일관성 있는 교육 자료의 개발을 제안하였다. 미국 내의 보다 나은 한국음악 교육을 위한 몇 가지 제안들은 미국 사회에서 아리랑의 장점을 정확하게 평가할 수 있는 바탕이 될 것이라 생각한다.