The Sopo-ri Mother’s Singing Room and the Resurrection of Local Folk Song Tradition

서지정보

· 발행기관 : 서울대학교 동양음악연구소
· 수록지 정보 : 동양음악(구 민족음악학) / 37권 / 119 ~ 144페이지
· 저자명 : Hilary V. Finchum-Sung

초록

For many scholars of Korean music, the southwestern province of the Korean peninsula remains a bright spot for folk performance activity. Residents of Jindo are widely acknowledged to be among the most proficient performers of Korean folk traditions. Thanks to the efforts of some key individuals, a few local genres underwent a period of refinement during the latter half of the 20th century which led to these genres’ designations as intangible cultural heritage. The island of Jindo, alone, hosts four performance traditions designated as national intangible heritage with many others designated regional and/or local intangible heritage. Many residents of the island, while depending on agricultural activities to earn a livelihood, began focusing energies on learning local music traditions both as a way to cushion their incomes and vie for coveted designation as human cultural treasure. This paper focuses on the efforts of the Sopo Village eomeoni noraebang (mother’s singing room) in resurrecting and promoting folk song heritage. Instituted and curated by Han Namrye with the help of local government funding, the Sopo-ri eomeoni noraebang became both creative and social outlet for women of the village. Preceding the village’s current jeonsugwan, the noraebang served as a crucial vehicle for maintaining and teaching local folk songs as well as provided a space for the learning of professionalized genres such as pansori. The paper examines both the primary performance repertory of members as well as the tension between perceived local standards and those promulgated by the official intangible heritage system. Balanced between need to preserve a local identity and promotion of the village within a contemporary tourism-based economic climate, the noraebang vitalizes local performance tradition as it reinvents and personalizes it. The paper argues for a consideration of grassroots efforts in cultural reconstruction and preservation in addition to the political and economic incentives driving cultural production in this southwestern corner of the peninsula.

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