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Out of the Shadow of Korean Colonial Experience: an Interpretation of Chongmyo- Cheryeak, the Royal Ancestral Shrine Ritual Music

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Out of the Shadow of Korean Colonial Experience: an Interpretation of Chongmyo- Cheryeak, the Royal Ancestral Shrine Ritual Music ABSTRACT Title of Document: OUT OF THE SHADOW OF KOREAN COLONIAL EXPERIENCE: AN INTERPRETATION OF CHONGMYO- CHERYEAK, THE ROYAL ANCESTRAL SHRINE RITUAL MUSIC Hye Young Lee, Ph.D., 2006 Directed By: Professor Robert C. Provine, The School of Music This study concerns the significance of performing Chongmyo-cheryeak, the Korean Royal Ancestral Shrine Ritual Music, in Korea, past and present. Based on assumptions and methodology ranging from ethnomusicology and musicology to anthropology and cultural studies, it examines how the meaning and form of indigenous ritual music have changed over the course of Korean history. It especially considers how the significance of the music has been formulated, presented, and argued in a context of nationalism and postcolonialism. Focusing particularly on the current performance of Chongmyo-cheryeak, this study finds that 1) the ritual music survives for the cultural benefit of contemporary Koreans who participate in or come to witness the performance, 2) the Korean government presents the performance of Chongmyo-cherye, including its music and dance to proclaim a Korean identity constructed as the collectivity of historicity and unique characteristics that serve to differentiate what is Korean from all else, and 3) the performance of the music is situated in postcolonial irony. The study concludes that the restoration of Chongmyo-cheryeak exemplifies that Koreans are in the process of coming out of the shadow of their colonial experience. OUT OF THE SHADOW OF KOREAN COLONIAL EXPERIENCE: AN INTERPRETATION OF CHONGMYO-CHERYEAK, THE ROYAL ANCESTRAL SHRINE RITUAL MUSIC By Hye Young Lee Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2006 Advisory Committee: Professor Robert C. Provine, Chair Dr. Jonathan Dueck Dr. Boden Sandstrom Professor Seung-Kyung Kim Professor Sung Lee © Copyright by Hye Young Lee 2006 Preface While I was visiting Korea in January of 2000, I had the opportunity of conversing with the mother of a friend of mine. When she heard that my dissertation topic would be Chongmyo-cheryeak, she asked if I knew that the National Center for Korean Traditional Performing Arts had presented the whole of Chongmyo-cheryeak last December. It was quite surprising to find someone interested in the music standing next to me. I had not known about the performance but inquired if she had seen it and how she liked it. “Yes, I saw it,” she replied. “It was very good. The rite and the ritual food were prepared and presented according to tradition. It was special that one could now closely watch the ritual procedures taking place on stage. I have pamphlets from the performance. If you would like to have one, I can give it to you.” When she brought me the pamphlet a week later, I was curious about what had made the occasion so meaningful that she kept the pamphlets. At the beginning of my fieldworkd, the more I studied the music of Chongmyo- cheryeak, the more I was perplexed. It took me almost a year to realize that the significance of the music varied, depending whom I was asking. Nevertheless, some themes, although elusive, seemed to recur. This dissertation is a result of my efforts to understand how some Koreans employ these themes to construct the meaning of the rite, its music, and its dance. I would like to express my gratitude to my advisor and the chair of the dissertation committee, Robert Provine, and the other members of the committee, Jonathan Dueck, Boden Sandstrom, Seung-kyung Kim, and Sung Lee, for their constructive feedback and encouragement. Dr. Provine has especially helped me keep a ii balance between generalizing and seeing the unique in interpreting data. I appreciated Dr. Dueck’s insightful questions and interest in my topic. I am also grateful to Carolina Robertson, my previous advisor, for asking challenging questions that helped me grow scholarly and personally. Special thanks are due to the nine Korean experts who were kind enough to share their knowledge and experience about the performance, presentation, study, and staging Chongmyo-cherye and its music and dance: Sŏng Kyŏngnin, Kim Ch’ŏnhŭng, Yi Tonggyu, Kim Yŏngsuk, Kwak T’aegyu, Kim Chŏrho, Yi Kijŏn, Song Hyejin, and Kim Kŏbu. My appreciation to my editor and friend, Teddy Primack, without whose linguistic assistance I could not have achieved the English fluency I sought in my dissertation. I owe a debt of gratitude to the late Reverend Chŏng Inbo, whose guidance led me to see the limitations and potential of knowledge. I wish to thank the Reverend P’yo Myŏnghŭi, who greatly broadened my understanding of the moral meaning of Korean Confucian sacrificial rites. I would like to express my thanks to my parents, Yi Tŏkp’yo and Kim Pyŏnggi, and my brother, Yi Ch’unghyŏn, without whose love and caring support the completion of the dissertation would not have been possible. Finally, I am grateful to God who is closest to me when times are the hardest. iii Table of Contents Preface.................................................................................................................................ii Table of Contents............................................................................................................... iv List of Tables ...................................................................................................................... v List of Photos ....................................................................................................................vii Chapter I: Introduction........................................................................................................ 1 Chapter II: Confucianism and Chongmyo-cherye ............................................................ 27 Chapter III: Chongmyo-cheryeak in Confucianism.......................................................... 44 Chapter IV: Analysis of Chongmyo-cheryeak.................................................................. 70 Chapter V: Voices of Performers and Others ................................................................ 147 Chapter VI: Findings and Conclusion............................................................................ 173 Bibliography ................................................................................................................... 184 iv List of Tables Table 1: Sejong Changgu Pattern 1… … … … … … … … … … … … … … … … … … … ..99 Table 2: Sejong Changgu Pattern 2… … … … … … … … … … … … … … …………… ..99 Table 3: Sejong Changgu Pattern 3… … … … … … … … … … … … … … … … … … … 100 Table 4: Sejong Changgu Pattern 4… … … … … … … … … … … … … … … … … … … 101 Table 5: Sejong Changgu Pattern 5… … … … … … … … … … … … … … … … … …… 102 Table 6: Sejong ChangguPattern6………………………………………………… 103 Table 7: Sejong ChangguPattern7…………………………………………… …… 103 Table 8: Sejong PakPattern1……………………………………………………….104 Table 9: Sejong PakPattern2…………………………………………………… … .104 Table 10: Sejong PakPattern3………………………………………………… … … 105 Table 11: Sejong PakPattern4………………………………………………… … … 105 Table 12: Sejong Pak Pattern 5… … … … … … … … … … … … … … … … … … … ........105 Table 13: Sejong PakPattern6……………………………………………………… 106 Table 14: The Relation of Pak Strokes to Textual Phrase in Kaean… … … … … ........107 Table 15: Sejong Changgu Pattern 1 and Pak Strokes… … … … … … … … … … … .....108 Table 16: Sejong Changgu Pattern 2 and Pak Strokes… … … … … … … … … … … … .108 Table 17: Sejong Changgu Pattern 3 and Pak Strokes… … … … … … … … … … … ......109 Table 18: Sejong Changgu Pattern 4 and Pak Strokes… … … … … … … … … … … ......109 Table 19: Sejong Changgu Pattern 5 and Pak Strokes… … … … … … … … … … … ......110 Table 20: Sejong Changgu Pattern 6 and Pak Strokes… … … … … … … … … … … ......111 Table 21: Sejong Changgu Pattern 7 and Pak Strokes… … … … … … … … … … … ......111 Table 22: Sejo GongPattern1…………………………………………………… ......118 Table 23: Sejo Gong Pattern2………………………………………………… … ......118 Table 24: Sejo Gong Pattern 3… … … … … … … … … … … … … … … … … ..……… … 118 Table 25: Sejo Gong Pattern 4… … … … … … … … … … … … … … … … … … … … … ..119 Table 26: Sejo GongPattern5………………………………………………………..119 Table 27: Sejo GongPattern6………………………………………………….… … .119 Table 28: Changgu, Pak, and Gong Strokes in Somu… … … … … … … … … … … … ...120 Table 29: Rhythm of Somu Melody… … … … … … … … … … … … … … … … … … … ..121 Table 30: Rhythm of Sunŭng Melody… … … … … … … … … … … … … … … … … … ...121 Table 31: Rhythm of Hŭimun Melody… … … … … … … … … … … … … … … … … … ..121 Table 32: Rhythm of Hyŏnmi Melody… … … … … … … … … … … … … … … … … … ..121 Table 33: Rhythm of Taeyu Melody… … … … … … … … … … … … … … … … … … … .121 Table 34: Changgu Pattern 5 in Taeak………………………… … … … … … … … … ..124 Table 35: Gong Pattern 4 in Taeak…………………………………………………… 125 Table 36: Rhythmic Changes in Tokkyŏng Melody… … … … … … … … … … … … … ..126 Table 37: Original Sejong Changgu Pattern 2… … … … … … … … … … … … … … … … 129 Table 38: Shortened Changgu Pattern 2 in Kimyŏng………………………… … … … .129 Table 39: Original Changgu Pattern 3 in Kwiin… … … … … … … … … … … … … … … .130 Table 40: Changed Changgu Pattern 3 in Kwiin… … … … … … … … … … … … … … … 130 Table 41: Changed Changgu Pattern 5 in Sŏnwi… … … … … … … … … … … … … … … 131 Table 42: Original Sejong Changgu Pattern 7… … … … … … … … … … … … … … … … 132 Table 43: Changed Changgu Pattern 7… … … … … … … … … … … … … … … … … … ...132 v Table 44: Original Pak Strokes in Kwiin…
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