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The Global and the Vernacular

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The Global and the Vernacular THE GLOBAL AND THE VERNACULAR THE APPROPRIATION OF TRANSNATIONAL CULTURAL IMAGERY AND THE RECONSTRUCTION OF CULTURAL IDENTITIES IN THE REALM OF CONTEMPORARY KOREAN POPULAR MUSIC HYUNJU PARK Department ofMedia and Communications, Goldsmiths College, University of London Thesis submitted for the degree of Doctor of Philosophy (Ph. D. ) (C HYUNJU PARK 2003 Li'&. J ABSTRACT This thesis examines theoretical debates about cultural appropriation and postmodern plurality and hybridity in the formation of cultural identities. This is approachedhere through a case study of how the multiplicity of national and cultural identities are constructed in the processesof appropriating transnational popular musics, within the Korean context. On the basis of data obtained by interviewing contemporary musicians and young music enthusiasts,the thesis investigates the appropriation of global pop, mainly western pop music, within the non-Western context. In Part One, which encompassestheoretical and methodological frameworks, Chapters2 and 3 explore the recent discourse on cultural hybridity in post-colonial studies, and wider theories of popular music, identity and locality, from a global/transnational perspective. Methodological questions are discussedin Chapter 4. Part Two contains a case study: Chapters 5,6, and 7 present an interview-based study of the contemporary Korean popular music scene, where various musicians and young music enthusiasts consume and rework imported musics from a variety of positions. Some musicians are concerned with national cultural identity and attempt to incorporate traditional Korean elements into Western musical genres;other musicians show a large degree of cosmopolitanism; and young hip hop music fans articulate their identities, through the contrasting and differentiated consumption of transnationalmusical products. The main themes here are the formation and transformation of Korean identities in popular music in contemporary Korea. Lastly, Chapter 8 contextualisesthe argumentof the whole thesis and reviews its limitations within the context of recent debateson consumptionand new citizenship. 2 TABLE OF CONTENTS PRELIMINARIES Title page 1 Abstract 2 Table of Contents 3 Dedication 4 Acknowlegements 5 CHAPTER I INTRODUCTION 9 (A) Historical Formation of 'Koreanness' in Korean Culture' 12 (B) The Korean Appropriation of Transnational Sounds: The Multiplicity 14 and Hybridity of Korean Identities' PART ONE: THEORETICAL AND METHODOLOGICAL FRAMEWORK CHAPTER 2 THEORIZING CULTURAL IDENTITIES, LOCALITIES AND POPULAR MUSIC WITHIN A GLOBAL/TRANSNATIONAL PERSPECTIVE (A) Globalisation and Local Identities 21 (B) Debates on Cultural Hybridity in Post-Colonial Studies 27 (C) The Post-Colonial Study of Identity and Some Impediments 37 (D) Music and Identity 47 (1) Globalisation and Local Identities 51 (2) Debates on 'World Music'and Syncretism 55 (3) Transnational Popular Music and the Multiplicity of Cultural Identities 60 CHAPTER 3 MODERNITY, NATIONALISM AND NATIONAL IDENTITY IN POST-COLONIAL KOREA (A) Introduction 66 (B) Korean Culture and the World: Encounters with Modernity 67 (C) National Identity and Nationalism in Korea 71 (1) The Concepts of Nation and Identity in the Modem World 72 (2) Nationalism in the Korean Context: Some Complications 75 3 I (D)National Identity in its Global Context : The Cosmopolitan Project in Korea 81 CHAPTER 4 METHODOLOGY AND METHODS (A) Popular Music Analysis: Methodological Paradigm 90 (1) Synthesis of Sociocultural Studies of Music and Semiotic- 91 Interpretative Musicology (2) A Dialectical Communication Approach 98 (B) General Methodological Orientation 102 (1) Towards a More Concrete 'Anti-Essentialist' Thinking in a More 102 Applied Cultural Studies (2) Performativity, Reflexivity, and Local Stories 107 (C) Methods (1) The Formulation of the Research Questions (2) Case Study as a Research Strategy 117 118 (3) Data Collection - Interviews 123 (4) Data Analysis - Issues of Interpretation PART TWO VERNACULAR PRACTICES: THE KOREAN APPROPRIATION OF TRANSNATIONAL SOUNDS GENERAL INTRODUCTION 128 CHAPTER 5 INDIGENIZATION AND HYBRIDISATION IN CONTEMPORARY POPULAR MUSIC: TRADITION, MODERNITY AND IDENTITY (A) Introduction 132 (B) Debates on Korean Music and National Music: Historical Perspective 133 (C) Processes of Indigenization and Hybridisation in a Globalizing Soundscape 138 (1) Going Back to the Tradition: Hybridity and Harmony 138 (2) Where the East Meets the West: Joining the Global Interaction 144 (D)'World Music' and A New Opportunity for Promoting Indigenous 153 Musical Production (1) The Position of Korean Music in the Global Market 155 (2) Whose Hybridity? and Whose Authenticity? 161 (3) World Music and Cultural Identities 170 4 (E) Tradition, Modernity and Identity in post-colonial Korea 174 (1) Indigenization as a Fonn of Resistance and of Reflexive Modernity 175 (2) Overcoming Dualistic Analyses of Tradition/Modernity as an 180 Identity-Creating Narrative: Towards their Coexistence CHAPTER 6 COSMOPOLITANISM AND TRANSNATIONAL POPULAR MUSIC IN KOREA (A) Introduction 187 (B) The Appropriation of Foreign Sounds: Transnational Korean Popular 190 Musics and Cosmopolitan Identity (1) Where You Live Is Not as Important as What You Are 190 (2) Social Context, Authenticity and Identity 198 (3) Korean Rap and Hip Hop and Vernacular Practices 205 (4) Transnational Korean Pop: Striving for a Global Audience 216 (C) Redefining 'Koreanness' in the Global Age 224 (1) Transnational Encounters and New Notions of 'Place' 225 (2) Critical Cosmopolitanism 229 CHAPTER 7 CULTURE, MUSIC AND IDENTITY: THE CONSUMPTION OF TRANSNATIONAL POP AMONG YOUNG PEOPLE IN KOREA (A) Introduction 237 (B) Studies of Youth Culture and Popular Music from a Cultural 238 Studies Perspective (C) The New Politics of Youth Culture andYouth Music: A Korean Perspective 240 (1) The Narrative of 'Shinsedae' (the New Generation) and 'Postmodern 242 Resistance' (2) The New Politics of Music, Style and Youth: Not Yet the End of Youth 252 Culture as Resistance (D) Youth Culture, Hip Hop and Identity in the Korean Context 260 (1) Music as Cultural Practices ofYouth 260 (2) Hip Hop, Youth and New Identities in a Global Context 268 270 - Hip Hop as a 'Glocal' Culture Plural Identities Localities 276 - The Identity Politics of Hip Hop: and (E) Youth as Consumers: Transnational Popular Culture, Consumption and 280 Identities 5 CHAPTER 8 CONCLUSION (A) Summary of the Argument and Findings 287 (1) Summary of Theoretical Framework 287 (2) The Case Study of Contemporary Korean Popular Music: The Korean 290 Appropriation of Global Sounds and the Formation of 'Koreanness' (B) Concluding Remarks 295 (1) Some Limitations and Recommendations 295 (2) Researching Korean Experience of Transnational Cultural Imagery: 299 Towards a New Identity Politics REFERENCES 306 6 To my parents ACKNOWLEDGEMENTS I would like to say a very special thank you to my Ph. D supervisor, David Morley, whose highly critical and constructive comments on draft chapters of this thesis were of priceless help. Thanks also to Keith Negus and Kevin Robins who provided important guidance and encouragement. A big show of thanks is also due to those people who gave up their time to talk to me about their musics, work, ideas or musical experience in general and helped make the fieldwork for this thesis such an interesting and pleasurable experience. Especially, numerous Korean pop musicians and critics - Hahn Dae Soo, Shin Joong Hyun, Lee Gi Yong ('Huckleberry Finn'), Paik Hyun Jin ('Uuhboo Project Sound'), fans Won 11, Dalparan, and Shin Hyun Jun - and the many young music in Korea without whose generousco-operation this thesis could never have been written. A number of friends have helped me in a variety of ways during the long period in which I have been working on this thesis. Monika Metykova read through the manuscript and diagnosedwriting problems along with offering incisive comments that improved the thesis a great deal. I also needto thank my old friend Choi Ho Yeon, Kim Young Sik and Jung Ok Hee who have in one way or another given me emotional or practical help and support But my greatestdebt is to my beloved parents and family, chief supporters.I hope that their love, support and faith are imprinted on every page. Lastly, but not least, I would like to expressmy thanks to Dorian for everything. 8 CHAPTER1 INTRODUCTION Just as the globalizing process challengesthe idea that cultures exist as hermetically sealed absolute units, to the Korean people at least, the issues of self-negation and ' reconstruction within an indigenousculture become crucial. As a way of responding to the transnational connectionsof culture, Koreans,especially the younger generation,has started to accommodate global cultural forms and imagery. For example, Korean television today is saturated with variety shows devoted to Korean rap and hip-hop music and highly image-orientedand stylish foreign music videos. In this respect, there are rising concerns to do with the tension between a fixed national subjectivity and foreign cultural elements that in the end, produces a 'co-existence' among different subjectivities within the Korean society. In this thesis, I examine the localization of what Hall calls 'global postmodern culture', in other words, the emergenceof a shared transnational cultural imagery among Koreans since the 1990s, and highlight how the multiplicity and hybridity of cultural identities and Korean identities are constructed, in relation to the processesof appropriating transnationalpopular
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