Abstract

Typically, the attributes of Kitsch have been represented negatively with the association of being inauthentic, rough, vulgar, deceptive, and sentimental. Theological Aesthetics that encompass both theology and aesthetics express the beauty of God in a more diverse and distinct way through sensory knowledge, beauty, and art.<BR> Kitsch used in a good way within the context of the theological aesthetics’ threefold system have many similarities to the Contrafacta, a method to indigenize Korean hymns.<BR> In particular, between the characteristics of our own folk songs and kitsch used in a good way in theological aesthetics are interlocked and have overlapping similarities.<BR> Most of all, the most distinctive feature of all is the common emotion which is attributable to universality. Namely, “ordinary people”, “popular appeal”, “universal sentiments”, “familiar themes” and “counterwork to the art of elite consciousness” are interlocked with Characteristic of Korean folk song like ‘heung’, ‘han’ and ‘musim’.<BR> Therefore, just as kitsch is used in a good way, the Contrafacta of Korean hymns also ought to be used in a good way again with the consciousness of God’s presence.<BR> In this regard, The aim of this study is a search for finding the direction of Korean hymns through the example of the Contrafacta of folk songs. In simplest terms, Contrafacta in regards to folk songs is to change the lyrics of existing folk songs into a hymn. Arirang is a great example of Contrafacta to a folk song that is similar to Kitsch used in theological aesthetics. Like Kitsch, Arirang is possibly known as the most national, ethnical, popular and universal folk song among the Korean traditional songs; consequently, it was best suited as a Contrafacta hymns.<BR> Moreover, The Arirang hymns are so beautiful like the beauty of God’s glory: Soli Deo Gloria.

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