Transnational Construction of Daoist Music: Creating Contexts, Constructing Identity

서지정보

· 발행기관 : 한양대학교 동아시아문화연구소
· 수록지 정보 : 동아시아문화연구 / 49호 / 257 ~ 290페이지
· 저자명 : 고은강

초록

This article is about Daoist music. If one broadly defines Daoist music as music related to Daoism, then this study can simply be perceived as an introduction to various forms of Daoist music. However, if one approaches Daoist music as music that constitutes an integral part of the ritualistic worship of Daoist deities, as most ethnomusicologists do, then this study paints a more holistic picture of Daoist music. Strictly speaking, this study focuses on five scenes of performances taken from different regions of Asia in which Daoist elements are involved. However, as the meaning of the music derived from Daoistic ingredients differs in each scene, the following question can be posed: What is Daoist music? The present study does not seek to define Daoist music, or propose objective standards for Daoist music. Rather, it seeks to foster a review of the issue of the construction of musical identity. In short, this study argues that context should be regarded as being as crucial as text when reading “music-as-text.” The meaning of music and musical identity is dependent on the context in which the music is located, as well as elements of the musical texts such as style and lyrics.
The music analyzed in this study illustrates the range of the Daoist identity today. In addition to Daoist music, various other methods can be used to create and expose the characteristics of Daoism. These include Daoist ceremonies, Daoist temples, Daoism related martial arts, various Daoist customs, and Daoism as a religion. However, the transnational aspect constitutes the most outstanding element when it comes to creating the Daoist identity. Historically, the Daoism that can be found in East Asian society today, a region which encompasses China, Korea and Japan, was trans-nationally formed beyond the borders of the state. The five performances introduced in this study also take place in different countries and regions. The analysis of the identity of Daoist music conducted herein in conjunction with these five performances reveals that this identity was not formed and then internationally spread from one country to another, but rather took shape through a transnational reciprocity which saw countries influence each other in a manner that expanded beyond boundaries. The importance of transnational reciprocity in establishing the Daoist identity will become more evident through a focus on themes related to Daoism other than music.

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