북한 가야금병창 공연활동에 관한 고찰

Abstract

The purpose of this study is to examine the characteristics of the performance activities of the Gayageum Byeongchang in North Korea from the late 1990s to the present. The information is based on the Joseon Munhak Yesul Nyeongam (The Chosun Literature Art Yearbook), a series of publications that record the whole of activities and achievements of the arts in North Korea. As a result of the study, it is possible to examine the commonalities and differences in performance activities by broadly dividing them into performance classes, events, and themes. As for the performing class, it can be divided into professional art groups and smaller local art groups. Although the professional groups are represented by the likes such as the North Korean People’s Army Orchestra, and the local groups by students and female organizations, the frequency of the activities was found to be equal to each other. The events performed by both professional and local art groups were divided into a mixture of Gayageum Byeongchang, Gayageum Dok Byeongchang, and Gayageum Byeongchang, with Gayageum Byeongchang activities being the largest among them. In particular, the rampant use of electronic music was drastically reduced during this period while the use of ethnic instruments was encouraged in professional art organizations. As a result, the activities of Gayageum Byeongchang, which had been actively using electronic instruments since the 1980s, decreased significantly. The songs that are performed are also different between professional art organizations and local art groups. In sharing common themes of ideological liberal arts teachings and mass propaganda, the performances of local art groups also vary in theme related to each social class within the art groups. Through this study, it can be seen that North Korea’s Gayageum Byeongchang has changed from professional-oriented performances to developing and expanding into smaller local art groups and activities, thereby gaining popularity and universality.