FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2997184630> ?p ?o ?g. }

• W2997184630 abstract "Book Review Broken Voices: Postcolonial Entanglements and the Preservation of Korea’s Central Folksong Traditions, by Roald Maliangkay. Honolulu: University of Hawai‘i Press, 2017. 264 pages. ISBN: 9780824866655. $64.00. This book, the first English-language monograph on Korean folksong, is a wonderfully rich and detailed analysis of the effects of Japanese colonialism on three folksong genres: Sŏnsori santaryŏng, Kyŏnggi minyo, and Sŏdo sori. By tracing the way these three genres have developed during and after the Japanese colonial period, Maliangkay draws a clear picture of South Korea’s policies for the preservation of intangible cultural heritage, and the opportunities and tensions arising as a result. The basic premise for Maliangkay’s argument is outlined in the Introduction and in Chapter 1, in which he highlights Japanese influence on the development of Korean cultural policy, in particular on the Intangible Cultural Property (ICP) system, and makes his case for the importance of a sustainable approach in preservation efforts by adapting to the changing makeup of society. He also emphasizes the importance of intangible heritage for national image, which provides the background for much of his following discussion. Chapter 2 lays the foundation for the reader’s understanding of Korean folksong, comprising an introduction to the student make-up, Korean Studies © 2019 by University of Hawai‘i Press. All rights reserved. 1 rhythms, lyrical content, and modernization of folksongs in modern times. This last point is particularly interesting for scholars of Korean popular culture as it highlights the overlap between traditional and popular music performers during and shortly after the colonial period. While the first half of the book demonstrates Maliangkay’s credentials as a scholar intimately acquainted with current academic debates in Korean traditional music research, it is in Chapters 3 and 4 that his work truly shines, in the richness of ethnographic detail provided, as well as the finelytuned balance between the personal, political, and institutional views of developments in Korean folksong. Both chapters share the same basic format of introducing the three genres’ historical background, core repertoire, and musical and performance characteristics, followed by personal accounts of core individuals in each genre. Chapter 3 focuses on Sŏnsori santaryŏng and Kyŏnggi minyo, highlighting the change in demographics from once male-dominated genres to having a high proportion of female students in the former case and having only female holders of the tradition in the latter. In the case of Sŏnsori santaryŏng, Maliangkay highlights how performance conventions have changed, from wild and raw performance to an increased focus on elegance, as it becomes more female-dominated. Maliangkay’s comment here that “Younger generations will grow up with the new version of this tradition and become accustomed to the new standard” (p. 95) is particularly poignant. In his discussion of Kyŏnggi minyo, a genre which became femaledominated much earlier than the other genres in this book, Maliangkay addresses the institution of kisaeng, female performers often (and, according to Maliangkay, purposefully) likened to Japanese geisha. The personal stories of An Pich’wi, Muk Kyewŏl, and Yi Ŭnju in this section are especially striking as they describe the performer’s personal motivations to sing, as well as the cost this often had for their interpersonal relationships. This section also has great impact in its highlighting of those overlooked in selection as holders in the preservation system, in both the potential impact this may have had on the death of one singer, Kim Okshim, as well as how the passing over of male singers due to overlap with Sŏnsori santaryŏng helped further underline a gender split in perceptions of the genre. Chapter 4 focuses on the importance of nostalgia in the preservation of Sŏdo sori, comprising songs from the North Korean provinces of P’yŏngan and Hwanghae. Maliangkay argues that the “genre will not be broken by the impending loss of native representatives and place, but sustained instead by its ability to invoke nostalgia” (p. 117), as its plaintive melodies become a symbol of the country’s division. This chapter revolves 2 Korean Studies 2019 predominantly around the charismatic singer Yi Ŭn’gwan, whose creative interpretations particularly..." @default.
• W2997184630 created "2020-01-10" @default.
• W2997184630 creator A5045538890 @default.
• W2997184630 date "2019-01-01" @default.
• W2997184630 modified "2023-10-17" @default.
• W2997184630 title "Broken Voices: Postcolonial Entanglements and the Preservation of Korea’s Central Folksong Traditions" @default.
• W2997184630 doi "https://doi.org/10.1353/ks.2018.0027" @default.
• W2997184630 hasPublicationYear "2019" @default.
• W2997184630 type Work @default.
• W2997184630 sameAs 2997184630 @default.
• W2997184630 citedByCount "0" @default.
• W2997184630 crossrefType "journal-article" @default.
• W2997184630 hasAuthorship W2997184630A5045538890 @default.
• W2997184630 hasBestOaLocation W29971846302 @default.
• W2997184630 hasConcept C107038049 @default.
• W2997184630 hasConcept C124952713 @default.
• W2997184630 hasConcept C138885662 @default.
• W2997184630 hasConcept C142362112 @default.
• W2997184630 hasConcept C144024400 @default.
• W2997184630 hasConcept C17744445 @default.
• W2997184630 hasConcept C185592680 @default.
• W2997184630 hasConcept C19165224 @default.
• W2997184630 hasConcept C199539241 @default.
• W2997184630 hasConcept C2778023277 @default.
• W2997184630 hasConcept C2781291010 @default.
• W2997184630 hasConcept C41895202 @default.
• W2997184630 hasConcept C531593650 @default.
• W2997184630 hasConcept C53844881 @default.
• W2997184630 hasConcept C55493867 @default.
• W2997184630 hasConcept C60671577 @default.
• W2997184630 hasConcept C95457728 @default.
• W2997184630 hasConcept C98184364 @default.
• W2997184630 hasConceptScore W2997184630C107038049 @default.
• W2997184630 hasConceptScore W2997184630C124952713 @default.
• W2997184630 hasConceptScore W2997184630C138885662 @default.
• W2997184630 hasConceptScore W2997184630C142362112 @default.
• W2997184630 hasConceptScore W2997184630C144024400 @default.
• W2997184630 hasConceptScore W2997184630C17744445 @default.
• W2997184630 hasConceptScore W2997184630C185592680 @default.
• W2997184630 hasConceptScore W2997184630C19165224 @default.
• W2997184630 hasConceptScore W2997184630C199539241 @default.
• W2997184630 hasConceptScore W2997184630C2778023277 @default.
• W2997184630 hasConceptScore W2997184630C2781291010 @default.
• W2997184630 hasConceptScore W2997184630C41895202 @default.
• W2997184630 hasConceptScore W2997184630C531593650 @default.
• W2997184630 hasConceptScore W2997184630C53844881 @default.
• W2997184630 hasConceptScore W2997184630C55493867 @default.
• W2997184630 hasConceptScore W2997184630C60671577 @default.
• W2997184630 hasConceptScore W2997184630C95457728 @default.
• W2997184630 hasConceptScore W2997184630C98184364 @default.
• W2997184630 hasLocation W29971846301 @default.
• W2997184630 hasLocation W29971846302 @default.
• W2997184630 hasOpenAccess W2997184630 @default.
• W2997184630 hasPrimaryLocation W29971846301 @default.
• W2997184630 hasRelatedWork W2007493167 @default.
• W2997184630 hasRelatedWork W2051800221 @default.
• W2997184630 hasRelatedWork W2115206405 @default.
• W2997184630 hasRelatedWork W2363659577 @default.
• W2997184630 hasRelatedWork W2487798799 @default.
• W2997184630 hasRelatedWork W2748952813 @default.
• W2997184630 hasRelatedWork W2793004112 @default.
• W2997184630 hasRelatedWork W2899084033 @default.
• W2997184630 hasRelatedWork W3161909777 @default.
• W2997184630 hasRelatedWork W4252540304 @default.
• W2997184630 isParatext "false" @default.
• W2997184630 isRetracted "false" @default.
• W2997184630 magId "2997184630" @default.
• W2997184630 workType "article" @default.