초록 열기/닫기 버튼
일본의 패전으로 <기미가요>나 군가 등이 사라지고, 그때까지 배제되었던 ‘귀축미영(鬼畜米英)’의 음악이 ‘민주화’를 추진하는 ‘점령군’의 점령정책의 청각적인 상징으로서 재빨리 부활하였다. 또한 중일전쟁 이후에 퇴폐성이나 외설성 등이 문제가 되어 엄격한 검열하에 있었던 유행가도 거의 전쟁 전과 다름없는 진용으로 부활했다. 그런데 그 음악들에 섞여 패전을 기해 국가의 혹독한 탄압을 받았던 프롤레타리아 음악운동도 부활하여 이윽고 우타고에 운동으로 개화한다. 그런데 미소냉전의 격화로 ‘점령군’의 대일 점령정책이 ‘반공기지국가화’로 전환됨에 따라 탄압에 직면한 우타고에 운동은 점령군에 의한 ‘식민지 문화’로서의 유행가 등에 대항하여 전후의 목소리를 둘러싼 항쟁을 본격화해 간다. 이 글에서는 점령군의 ‘식민지 문화’에 대항하는 것으로서 소련 사회주의 리얼리즘에 기초한 ‘선진적’ 소련 음악문화의 체현자로서 우타고에 운동 초창기 목소리의 항쟁의 중심에 있었던 구 일본군 시베리아 억류자들의 활동에 초점을 맞춰 그들이 우타고에 운동에 초래한 영향과 한계에 대해 검토했다. 시베리아 억류자들은 소련에서의 이문화 체험을 통해 전문가와 민중을 종으로 잇고 민중과 민중을 횡으로 잇는 인민적 음악문화를 우타고에 운동에 이식하는 데 결정적인 영향을 미쳤지만, 그것은 그들이 전시하 국민총동원체제의 극단적 수행자로서의 군인들이었다는 사실에 규정받은 ‘아래로부터’의 강한 국민문화에의 지향을 보이는 것이었다. 그리고 그것은 이윽고 소련의 ‘선진 문화’ 체현자로서의 그들의 존재마저도 지워 버리고 ‘같은 일본 국민’ 속에 녹여 버렸다.
With Japan’s defeat in the war, the Kimigayo (national anthem) and militarysongs quickly disappeared, and western music that had been eliminated from thepublic sphere was quickly retrieved as an auditory symbol of the “occupation forces”that were promoting “democracy.” In addition, popular songs that were strictlycensored after the Sino-Japanese War for their decadence or lewdness quickly returnedto their pre-war popularity. In addition to such music, however, the proletarianmusic movement that had been severely repressed before the war was also resurrectedand developed into the Utagoe Movement. However, as the U.S.-Soviet cold warheated up, occupation policy included transforming Japan into a “bastion ofanti-communism” and this led to new repression of the Utagoe Movement that,in turn, resulted in the Movement rapidly transforming into a post-war resistancemovement to the popular music that represented the “colonial culture” of the occupationforces. This paper explores the influence of Soviet music on the antiestablishment UtagoeMovement in Japan. Soviet music was introduced into the movement by soldiersof the Kwantung Army who had the national mobilization upon their return fromdetention camps in Siberia where they came into contact with Soviet culture. IfI jump right to the conclusion, the Utagoe Movement was a form of resistanceto the “colonial culture” of the U.S. occupation forces after the war and had a strong “from the bottom up” national cultural consciousness. This was the resultof the fact that the returning prisoners of war who were trained in military disciplinehad absorbed this musical culture based on Soviet socialist realism as a form ofbottom up totalitarianism. The all-out-war culture that continued even after theend of the Pacific War brings to light the complicated issue of identity politicsin Japanese society. The Siberian returnees played an important role in transplanting what they hadexperienced in the Soviet Union to the Utagoe Movement: a people’s music cultureformed through a vertical, or top down, linkage between professional musiciansand common people, and a horizontal connection among the common folk. However,the powerful “from the bottom up” national culture must be seen in light of thesemen’s experiences as soldiers who dutifully participated in the total mobilizationpolicy during the war. And, in the end, the existence of these men that had experiencedthe “advanced culture” of the Soviet Union was erased and they each were onceagain reabsorbed as “one of the Japanese people.”
키워드열기/닫기 버튼
Utagoe Movement, Siberian returnees, Soviet Experiences, socialist realism, all-out-war culture
