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Poetics and Politics of Korean Oral Tradition in a Cross-cultural Context
Chan E. Park
The World of Music
Vol. 45, No. 3, Cross-Cultural Aesthetics (2003), pp. 91-103
Published by: VWB - Verlag für Wissenschaft und Bildung
Stable URL: http://www.jstor.org/stable/41699525
Page Count: 13
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A discussion of cross-cultural aesthetics is instantly embedded in the discussion of geopolitical strategies of cultural hybridization. All forms of contemporary music in the world have intercultural roots, and the traffic of influence can be metaphorically referred to as the flow of water from high to low position, from center to margin, and vice versa. Korea adopted as her main intercultural partner Western music, ranging from classical to gospel, folk, pop, ballad, jazz, rock, blues, rap. P'ansori is a storysinging art that emerged from the repertoire of the outcast kwangdae singers during the mid-Choson era and evolved into Korea's Intangible Cultural Asset No. 5 in the twentieth century—it is an intriguing matrix of societal and aesthetic crossings, contradictions, engagements, disengagements, tale, and telling. Every cross-cultural act breaks new ground, forging a new connection, a new hybridity, a new aesthetics, and it would be presumptuous to define cross-cultural aesthetics infixed terms. My performance of the Tale of Hungbo, a cross-cultural p'ansori narrating the travails and triumphs of the Korean-American journey, sums up the key issues linking hybridity and cross-cultural aesthetics.
The World of Music © 2003 VWB - Verlag für Wissenschaft und Bildung