초록 열기/닫기 버튼
Minjung-Gayo has been known as protest songs produced in Korea in the process of 1980’s democratization movement. It was regarded as opposition to main stream popular music in terms of its production- and distribution-system and its ideological role in society. As a result, Minjung-Gayo has been excluded from the popular music history in Korea. It means that the popular music has been recognized as an apparatus of dominant conservative ideology. This article argues that we need a new concept of popular music, and Minjung-Gayo should be recognised as an part of it. In fact Minjung-Gayo has very same characteristics with popular music; It used same modern technology as other popular music, especially cassette tape technology, and it was sold as merchandise just like other popular music although it was sold through a network of social movement rather than commercial network. Minjung-Gayo was very profitable products because it required very low-budget and low-fidelity production system. Minjung-Gayo functioned as a way of expression in Korea by which young students and labours expressed their identity as if rock music did in the western world. So we need to throw away the existing conception of binary opposition of Minjung-Gayo vs. popular music, and also need to regard Minjung-Gayo as a part of popular music. And we should think over the progress of popular music not in the concept of Minjung-Gayo but in the context of popular music.
키워드열기/닫기 버튼
Minjung-Gayo, popular music, popular culture, subculture, ideology, identity
