포스트 사회주의 동유럽의 새로운 집시 대중문화: 그 가능성과 한계 (Post-Socialist Eastern Europe and New Gypsy Counterculture)

서지정보

· 발행기관 : 문화사학회
· 수록지 정보 : 역사와 문화 / 19호 / 160 ~ 184페이지
· 저자명 : 오승은

초록

This article attempts to introduce a newcounterculture led byGypsymusicians and artists in Eastern Europe. In their long history of migration into Europe, the Gypsy population have been notoriously subjected to discrimination and oppression by their host nations in the region. However, Romani musicians have stood as exception to such discriminatory practices committed against their brethren. Gypsy musicians,possessing god-given artistic talent, have made extraordinary contribution to the development of folk and other forms ofmusic in Eastern Europe. Themusical talent as such has afforded themprivilege and relative economicwealthwhichmany of their Gypsy brethren could not even think of. Yet the majority of Gypsymusicians have not spoken out for the discriminated Gypsy population. They have turned out to be conformist to the Eastern European regimes.
This long-kept political silence is broken by a group of new generation Gypsy musicians. In the new environment of post-socialism, young Gypsy musicians actively adopt American black music such as hip hop and rap. Though this counterculturemusic, they set out to vent out their anger to and dissatisfaction against political elites and their host nations. The new trend of counterculture is well articulated in the Hungarian animationmovie titled 0yócker(English title theDistrict).
Set in the 8th district of Budapestwhere a large group ofminorities includingGypsy,Chinese and Arabs, the movie criticizes not only nationalist Hungarian politicians and mainstream culture but also hegemonic American politics and global multinationals such as McDonald.
Despite its meaningful start, it is still too early to predict the future of Gypsy counterculture launched by the newgeneration of Gypsy artists whomadeNyócker.
TheGypsy artists are required tomake sustained andmore systematic efforts to break open the exclusive and ego centric nationalismquite rampant in post-socialist Eastern Europe.At the same time, they should be able to take control over, rather than being overtaken by, the global media corporations and transnational capitalism which actively support Gypsy counterculture in their pursuit of newtalents and commercial products. It remains to be seen howGypsy counterculturewill be able to tackle these daunting tasks.

영어초록

This article attempts to introduce a newcounterculture led byGypsymusicians and artists in Eastern Europe. In their long history of migration into Europe, the Gypsy population have been notoriously subjected to discrimination and oppression by their host nations in the region. However, Romani musicians have stood as exception to such discriminatory practices committed against their brethren. Gypsy musicians,possessing god-given artistic talent, have made extraordinary contribution to the development of folk and other forms ofmusic in Eastern Europe. Themusical talent as such has afforded themprivilege and relative economicwealthwhichmany of their Gypsy brethren could not even think of. Yet the majority of Gypsymusicians have not spoken out for the discriminated Gypsy population. They have turned out to be conformist to the Eastern European regimes.
This long-kept political silence is broken by a group of new generation Gypsy musicians. In the new environment of post-socialism, young Gypsy musicians actively adopt American black music such as hip hop and rap. Though this counterculturemusic, they set out to vent out their anger to and dissatisfaction against political elites and their host nations. The new trend of counterculture is well articulated in the Hungarian animationmovie titled 0yócker(English title theDistrict).
Set in the 8th district of Budapestwhere a large group ofminorities includingGypsy,Chinese and Arabs, the movie criticizes not only nationalist Hungarian politicians and mainstream culture but also hegemonic American politics and global multinationals such as McDonald.
Despite its meaningful start, it is still too early to predict the future of Gypsy counterculture launched by the newgeneration of Gypsy artists whomadeNyócker.
TheGypsy artists are required tomake sustained andmore systematic efforts to break open the exclusive and ego centric nationalismquite rampant in post-socialist Eastern Europe.At the same time, they should be able to take control over, rather than being overtaken by, the global media corporations and transnational capitalism which actively support Gypsy counterculture in their pursuit of newtalents and commercial products. It remains to be seen howGypsy counterculturewill be able to tackle these daunting tasks.

참고자료

· 없음