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There are many different kinds of ‘arirang’ in the repertoires of Korea folk song and these ‘arirang’ songs share some similarity. For example, most of them are written in verse form and words such as ‘arirang’, ‘arari’ and ‘araseong’ are being frequently used among many of their lyric－I will apply new term ‘Arirang-sori’ to refer these songs throughout the paper.
Contrary to the fact that there are such variety of ‘arirang’ songs, I have found out that these songs in fact are formated (or newly/re-produced) under several kinds of particular culture. Many of these specific cultures also went through dynamic changes which brought additional changes in the ‘Arirang-songs’ during certain period of time. Until now, there was almost no research conducted on this particular subject despite of its significant importance, therefore I would like to focus on these issues in the paper. I will specifically research about three major types of formation and fluctuation of ‘Arirang-sori’ and its related cultural background in this paper.
First type is a folk group－or folk culture where people worked collectively. They sang song while working together, such as planting and pounding rice, floating a raft down a river and cutting grass in the field. Various ‘arirang’ songs were sung, including ‘Gin-arari’ and ‘Jajin-arari’ in Ganwon-province. I would say that this two ‘Arirang-sori’ of Gangwon-province were the very first ‘arirang’ songs that were circulated among other regions of Korean peninsula, resulting the formation of such various versions of ‘Arirang-sori,’ which are closely bordered on Gangwon province are Gyeonggi-province, east of Chungcheong-province, northen part of Gyeongsang-province and the area around. ‘Arari’ of Gangwon-province came to be called ‘Arirang.’ ‘Jeongseon-arirang’ was derived from ‘Gin-arari’ and later ‘Hanobaengnyeon’ with different refrain.
Second type of ‘Arirang-sori’ was formated under specific historical event during Joseon Dynasty. There was a shifting of one particular music culture to other onee. When the new royal palace was constructed by Prince Regent Daewongoon in Seoul, there were many labors who were called out from Gangwon-province. While these conscripted people were working together, they sang ‘Gin-arari’, one of their regional ‘arirang’ song. This song, then, transmitted to the labors with Seoul origins who were also working closely together with them and was changed into ‘Gyeonggi Gin-arirang’ of present time. Compared to its original song, the newly derived (and/or formated) ‘Gyeonggi Gin-arirang’ uses ‘gyeong-tori’ which is a musical mode origin of Seoul and Gyeonggi region. This was the very first moment when the folk music culture of particular region was shifted to a popular culture. Once ‘Gyeonggi Gin-arirang’ won popularity, many singers variated it to ‘Jajin-arirang(Gujo-arirang).’ Later ‘Arong-taryeong(Haejuarirang)’ and ‘Namdo-arirang’ were created. ‘Arong-taryeong’ was made from ‘Milyang-arirang’ and ‘Jindo-arirang’ from ‘Namdo-arirang’.
The third type is ‘Bonjo-arirang.’ Under the rule of Japanese imperialism, ‘Bonjo-arirang’ arranged from ‘Gyeonggi jajin arirang’ was used in a film which Korean film maker Woon-gyu Na produced with the anti-Japanese sentiment. This is what simply called nowadays as ‘Arirang’ which is known to world-wide as a song representing Korea. After the newest song ‘Bonjo-arirang’ won great popularity among the public, people from different regions tried to create their own ‘arirang’ songs with the use of name of each of their region and/or city. This brought the birth of various ‘Arirang-sori’, such as ‘Onseong-arirang’ and ‘Seongcheon-arirang.’ But these ‘Arirang-sori’ were only sung among the people who share the same folk tradition, therefore only survived specific regional folk songs. Most of these regional folk songs－folk ‘arirang’ songs were failed to achieve popularity unlike “Arirang” from the movie, not even within the folk/regional culture where they were born originally.
Fourth type is ‘Arirang’ in a movement to make a festival with the theme of the song. There are more and more efforts among the people of specific region/culture to promote their ‘Arirang-sori’ distinguished from others. They often draw up a project and/or festival for letting people know the originality of their own regional ‘Arirang-sori’ and its identity as a cultural assets. For example, there are ‘Arirang festival’ such as such as ‘Cheongju-arirang,’ ‘Moonkyeongarirang,’ ‘Daegu-arirang’ and ‘Seongcheon-arirang.’
So far, I have found that ‘Arirang-sori’ as a labor song sung by a folk group was popularized; it came be sung by professional singers. Later it became a popular song in mess culture; finally, there is an Arirang movement to make a festival with the theme of the song, which will greatly contribute to the grobalization of Arirang.
Contrary to the fact that there are such variety of ‘arirang’ songs, I have found out that these songs in fact are formated (or newly/re-produced) under several kinds of particular culture. Many of these specific cultures also went through dynamic changes which brought additional changes in the ‘Arirang-songs’ during certain period of time. Until now, there was almost no research conducted on this particular subject despite of its significant importance, therefore I would like to focus on these issues in the paper. I will specifically research about three major types of formation and fluctuation of ‘Arirang-sori’ and its related cultural background in this paper.
First type is a folk group－or folk culture where people worked collectively. They sang song while working together, such as planting and pounding rice, floating a raft down a river and cutting grass in the field. Various ‘arirang’ songs were sung, including ‘Gin-arari’ and ‘Jajin-arari’ in Ganwon-province. I would say that this two ‘Arirang-sori’ of Gangwon-province were the very first ‘arirang’ songs that were circulated among other regions of Korean peninsula, resulting the formation of such various versions of ‘Arirang-sori,’ which are closely bordered on Gangwon province are Gyeonggi-province, east of Chungcheong-province, northen part of Gyeongsang-province and the area around. ‘Arari’ of Gangwon-province came to be called ‘Arirang.’ ‘Jeongseon-arirang’ was derived from ‘Gin-arari’ and later ‘Hanobaengnyeon’ with different refrain.
Second type of ‘Arirang-sori’ was formated under specific historical event during Joseon Dynasty. There was a shifting of one particular music culture to other onee. When the new royal palace was constructed by Prince Regent Daewongoon in Seoul, there were many labors who were called out from Gangwon-province. While these conscripted people were working together, they sang ‘Gin-arari’, one of their regional ‘arirang’ song. This song, then, transmitted to the labors with Seoul origins who were also working closely together with them and was changed into ‘Gyeonggi Gin-arirang’ of present time. Compared to its original song, the newly derived (and/or formated) ‘Gyeonggi Gin-arirang’ uses ‘gyeong-tori’ which is a musical mode origin of Seoul and Gyeonggi region. This was the very first moment when the folk music culture of particular region was shifted to a popular culture. Once ‘Gyeonggi Gin-arirang’ won popularity, many singers variated it to ‘Jajin-arirang(Gujo-arirang).’ Later ‘Arong-taryeong(Haejuarirang)’ and ‘Namdo-arirang’ were created. ‘Arong-taryeong’ was made from ‘Milyang-arirang’ and ‘Jindo-arirang’ from ‘Namdo-arirang’.
The third type is ‘Bonjo-arirang.’ Under the rule of Japanese imperialism, ‘Bonjo-arirang’ arranged from ‘Gyeonggi jajin arirang’ was used in a film which Korean film maker Woon-gyu Na produced with the anti-Japanese sentiment. This is what simply called nowadays as ‘Arirang’ which is known to world-wide as a song representing Korea. After the newest song ‘Bonjo-arirang’ won great popularity among the public, people from different regions tried to create their own ‘arirang’ songs with the use of name of each of their region and/or city. This brought the birth of various ‘Arirang-sori’, such as ‘Onseong-arirang’ and ‘Seongcheon-arirang.’ But these ‘Arirang-sori’ were only sung among the people who share the same folk tradition, therefore only survived specific regional folk songs. Most of these regional folk songs－folk ‘arirang’ songs were failed to achieve popularity unlike “Arirang” from the movie, not even within the folk/regional culture where they were born originally.
Fourth type is ‘Arirang’ in a movement to make a festival with the theme of the song. There are more and more efforts among the people of specific region/culture to promote their ‘Arirang-sori’ distinguished from others. They often draw up a project and/or festival for letting people know the originality of their own regional ‘Arirang-sori’ and its identity as a cultural assets. For example, there are ‘Arirang festival’ such as such as ‘Cheongju-arirang,’ ‘Moonkyeongarirang,’ ‘Daegu-arirang’ and ‘Seongcheon-arirang.’
So far, I have found that ‘Arirang-sori’ as a labor song sung by a folk group was popularized; it came be sung by professional singers. Later it became a popular song in mess culture; finally, there is an Arirang movement to make a festival with the theme of the song, which will greatly contribute to the grobalization of Arirang.
#아리랑
#아리랑의 생성 문화 유형
#아리랑의 토속민요 생성 문화 유형
#아리랑의 통속민요 생성 문화유형
#아리랑의 신민요 생성 문화 유형
#아리랑의 축제민요 생성 유형
#Arirang
#Classification on the Formation culture of Arirang
#Classification of Arirang based on Formation culture of Folksong
#Classification of Arirang based on Formation culture of Tongsok Minyo(Popularity Folksong)
#Classification of Arirang based on Formation culture of Sin Minyo(New Folksong)
#Classification of Arirang based on Formation culture of Festival Folksong
목차
Ⅰ. 머리말
Ⅱ. 농민집단의 토속민요로 생성된 아리랑소리 문화유형
Ⅲ. 소리꾼집단의 통속민요로 생성된 아리랑소리 문화유형
Ⅳ. 대중음악집단의 신민요로 생성된 아리랑소리 문화유형
Ⅴ. 축제기획집단의 축제민요로 생성된 아리랑소리 문화유형
Ⅴ. 맺는말
〈참고문헌〉
참고문헌 (21)
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