원문정보
초록
영어
The recent popularity of contemporary gugak (Korean traditional music) and performing arts in Britain is on the rise, and this is attributed to a combination of young Korean artists’ creativity and the aid of cultural agencies of both Korea and the U.K. with perfect timing. Along with the K-pop’s popularity, this resulted from the success of a series of the K-Music concerts (the fourth time in the 2017 season) performed by the young creative Korean performers who pursues global communications. These regular concerts initiated at the suggestion of strategic partnerships and cultural exchange between Korean and Britain by the UK government official in 2012. The year was momentous both for Korean music and Korean culture collectively called ‘Hallyu (Korean Wave)’ when Gangnam Style by Psy reached the top U.K. single chart through YouTube and the large scale of Korean festival took place in London during the London Olympic Games. These two crucial events fueled not only the spread of Hallyu, but the catalyst for major attraction of contemporary gugak in Britain. Shown in its recent concert series performed for the committed British audience, it will be a turning point in the history of Korean music. At present contemporary gugak is seen as great potential for the promotion of Korean cultural exports. This article examines the processes and background of contemporary gugak gaining the global status within the context of Britain.
목차
Introduction
I. Examining the gugak live music within the British context Britain as a global cultural and performing arts centre
Britain as the source of British folk movements: tradition and innovation
British folk song revivals in the late 1950s and in the 1990s: popularization & modernization
The Skiffle craze, the emergence of the electric guitar and folk clubs
The birth of world music in multicultural context(diaspora): folk festivals
The roles of mass media: The BBC Radios & TVs, music critics, magazines
II. Cultural policy for ‘creative industries’ in Britain
The roles of the agencies (KCC & ACE) in presenting Korean music as cultural exchange
III. The formation of Korean society in Britain
Brief background of Korean culture and music in Britain
The performance situation of Hallyu and Korean traditional music in Britain
Presenting contemporary gugak for the British audience: ‘The K-Music Series’
The geomungo as a new cultural material for experiment
Examples of musical styles of Jambinai and Black String
The birth of ‘rooted contemporary bands’
Transcendental experiences: Korean traditional instruments encounter the electric guitar
“Surreal fusion of Korean and English folk”47: Black String and Kathryn Tickell review
Some concluding points
References