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Copyright © and Moral Rights for This Phd Thesis Are Retained by the Author And/Or Other Copyright Owners Kwon, Hyun Seok (2014) Cultural globalization and the Korean promotion policy for music based on tradition : a study of the activation plan and its background. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20296 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. Cultural Globalization and the Korean Promotion Policy for Music Based on Tradition: A Study of the Activation Plan and Its Background Hyun Seok Kwon Thesis submitted for the degree of PhD 2014 Department of Music SOAS, University of London Declaration for SOAS PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: ____________________________ Date: _________________ ABSTRACT Policy designed to promote traditional arts has arguably been the primary recent activity within the Korean cultural field. The Activation Plan, aimed at traditional arts in the private field, is a notable programme that was conducted between 2006 and 2010. This thesis aims to illuminate why and how the Activation Plan was carried out, by exploring the background to the Activation Plan itself and by looking at case studies of two of its subsidiary projects, the 21st Century Korean Music Project, and the Traditional Arts Star Project. By limiting the consideration of the Activation Plan to its policy to promote ‘popular creative traditional music’, this study examines the historical conditions of popular hybrid music cultures for the Activation Plan and the perceptions of relevant policy makers, these being aspects that are not yet adequately discussed in existing studies about ‘world music’ in the global music industry and in studies about the contemporary Korean genre of kugak fusion. In consideration of cultural globalization, this thesis employs a cross-systematic approach that divides cultural practice into four levels of operation – individual, national, cross-national and global – and a cultural identity approach. Therefore, it identifies today’s new aim of cultural policy as the ‘cooperative conservation’ of traditional cultures. Covering the period from the early twentieth century to the present day, this thesis explores how popular music cultures on four levels have been driven by dominant cultural identities. It finds that the Activation Plan was conducted within the post people’s music culture, within a regional, Asian-centred phenomenon now known as the ‘Korean Wave’, and within the global world music culture. Ultimately, the Activation Plan was underpinned by a ‘permissive’ Korean identity which allowed for potential identities at different levels within music production, and it operated as a policy for the cooperative conservation of traditional music. ACKNOWLEDGEMENTS Firstly I must express my gratitude to my thesis committee. My primary supervisor, Professor Keith Howard, has guided me in the most useful way to complete this thesis. For the last four years he has provided me with invaluable insight into Korean music in its socio-cultural context and with warm encouragement. His support is largely responsible for this work and I really want to thank him for this. My second supervisor, Dr. Nick Gray, has helped me to understand more completely various issues of composing based on traditional music. My third supervisor, Professor Richard Widdess, has always provided generous support as research tutor. Appreciation is extended to the directors who are involved in the 21st Century Korean Music Project and the Traditional Arts Star Project. They have spared no effort to provide useful materials, and generously gave their time for interview. I acknowledge with deep gratitude GugakFM staff, Yi Yun’gyŏng, the head of programme review, Chang Suhong, a producer, and Ch’oe Yui, a former deputy manager; Pak Sŭngwŏn, a former producer of Loen Entertainment and director of Traditional Arts Star Project; and Universal Music Korea. Thanks are due to many performers and composers. They have offered me scores and photographs (as credited in the thesis), and furthermore during the interviews provided precious academic inspiration to help develop my research. I would like to express many thanks to a great composer, Yang Bang Eon; the Academy of Korean Music, the Hanullim, Ch’ŏngbae, The Kwangdae; ProjectGM/Siuroon, Pulsech’ul, Anaya, Easternox, T’ori’S, Pak Chongsŏng, AUX, Asia Music Ensemble; MIJI; and Yi Chisu, music director of the Traditional Arts Star Project. Particular thanks are due to two changgo teachers, Chang Chin’gyu, a member of Yongin Traditional Performing Arts Group, and Ch’oe Chŭnghyŏn, a founding member of the international Korean traditional percussion group Dulsori, who enriched my understanding of Korean rhythmic cycles. I would be greatly remiss not to mention Kim Youngdong, a pioneer of kugak kayo, and Ryu Hyŏngsŏn, a former music director of the 21C Korean Music Project, who contributed greatly to the development of the people’s cultural movement in Korea. Their remarks were invaluable in helping me to understand an important facet of the history of Korean popular music culture. Finally, I owe a large debt to my family. My two sisters and their families have always given me strength and determination. I really appreciate their constant support. Lastly, I cannot finish this acknowledgement without expressing my indebtedness to my mother. I cannot imagine how much self-sacrifice she has endured to support her son in carrying out this long-term research project. Without her support, this thesis was impossible from the beginning. I dedicate this work to her, with my deepest gratitude. 7 Table of Contents CHAPTER ONE: Introduction 14 Aims and Purposes 15 Popular creative traditional music and the Activation Plan as a music policy 16 Approaches 25 Interview as the main empirical approach 34 Literature Review 36 Overviews 45 CHAPTER TWO: Cultural Globalization, Identity, and Policy 49 Cultural globalization: A theoretical perspective 49 A cross-systematic approach 54 A cultural identity approach 56 Cultural policy 63 Periodization 67 Conclusion 70 CHAPTER THREE: Patriotic Popular Music Culture and Shin 72 Minyo The introduction of Western music 72 1906-1945: Imperialistic music culture within the educational system 76 1920s-1945: Patriotic popular music culture outside the educational system 81 1950s: The formation of American-style popular music culture 90 1960s: The settlement of American-style popular music culture 93 1950s-1960s: The thread of life of shin minyo 95 8 Conclusion 96 CHAPTER FOUR: The People’s Music Culture 99 Korean authoritarian regimes and two cultures amongst young people 99 1970s: The youth t’ong kit’a culture and the identity of youth 100 1970s-1980s: Culture of the people and the identity of the people 106 1970s-1980s: The madang kŭk movement 107 1980s: The norae undong (song movement) 110 1980s: The p’ungmul movement 115 The Han’guk ŭmak non (discourse of Korean music) 120 1984: The ‘Ppongtchak’ debate 124 Conclusion 128 CHAPTER FIVE: The Post people’s Music Culture 131 1987: The political turning point 132 1987-: The music culture of citizens 133 2002-: Kim Soochul and his ‘Guitar sanjo’ 140 1987-: Samullori groups of the second generation 147 1999-: Yang Bang Eon 167 1992-: The shin sedae tamnon (discourse of a new generation) 177 1998-: The cross-national Asian-centred culture of ‘Korean Wave’ 179 Global ‘world music’ culture, pop culture, parodies of ‘Gangnam Style’ and 184 discourse of world music Conclusion 206 9 CHAPTER SIX: The 21C Korean Music Project and the 209 Traditional Arts Star Project Vision 2010: The Activation plan for traditional arts 209 The national level: The Post people’s culture 212 The regional: the Asian-centred ‘Korean Wave’ 220 The global: the global world music culture 226 21C Korean Music Project 227 Traditional Arts Star Project 252 Conclusion 268 CHAPTER SEVEN: The Cultural Identities of Young 271 Musicians ProjectGM/Siuroon (KMP 21, 2007) 271 Pulsech’ul (KMP 21, 2007) 277 Anaya (KMP 21, 2008) 281 Easternox (KMP 21, 2008) 286 Tori’S (KMP 21, 2009) 289 Pak Chongsŏng (KMP 21, 2009) 296 AUX (KMP 21, 2010) 300 AME (KMP 21, 2010) 304 Yi Chisu (TASP, 2008-2010) 310 Conclusion 315 CHAPTER EIGHT: Conclusion 317 References 325 Selected Discography 361 Glossary 363 10 List of Tables 2.1 Periodization 70 5.1 ‘Uttari kut’ from ‘Kil kunak ch’il ch’ae’ to ‘Chajin karak’ 160 5.2 Radio Programmes on World Music (1998-2003) 203 6.1 Specific undertakings by policy tasks: 211 Five policy
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