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미주 한인사회 첫 남성 전통악기연주단 남풍사의 출현 배경과 활동 분석 (1920∼50년대)

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한국문화, Vol.97 No., pp. 479-505
남풍사, 디아스포라 음악, 20세기 하와이, 전통공연예술, 형제클럽,한라함무용연구소, 다문화주의,
Namp’ungsa, diasporic music, 20th-century Hawai‘i, traditional
performing arts, Hyung Jay Club, Halla Huhm Dance Studio, multiculturalism
This paper examines activities of the first Korean male musicians performing
traditional Korean music in the United States to expand the previous discourse of the
Namp'ungsa. The Nampungsa, established in Hawaii in 1922, has been known for its
short existence due to the Korean societys lack of interest in musical activities.
Moreover, previous studies discussing the performing arts of the Koreans in Hawaiʻi
during the twentieth century have been focused on the Hyung Jay Club (1927∼1940s)
and the Halla Huhm Dance Studio (1950∼), all of which were established and
dominated by females. Based on analysis of local newspapers and archival resources
collected from the Honolulu Museum of Art, the Bernice Pauahi Bishop Museum, and
the University of Hawaiʻi at Manoa Center for Korean Studies, I found that the former
Namp'ungsa members continued to participate in musical activities until the 1950s.
The Korean male musicians played traditional percussion and wind instruments to
accompany diverse performances ranging from traditional Korean dances like Monk's
Dance (Sŭngmu), a short dramatic play reenacting Korean wedding ceremony, and
English-language musical plays adapted from Korean folk tales. Some of the musicians―
in terms of their instrumentation, performing styles, and costumes―are assumed to have
worked as samhyŏn-yukkak or p'ungmul musicians before leaving for Hawaiʻi to be
plantation workers between 1903 and 1905. The middle-aged Korean male musicians, in
collaboration with 1st and 2nd generation Korean females of the Hyung Jay Club and
the Halla Huhm Dance Studio, played an important role in preserving the Korean
diasporas ethnic identity and introducing diverse Korean culture to multi-ethnic,
multi-racial local residents in Hawaiʻi.
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