일제시기 대중가요와 식민지 여성 현실

• 영문명: Popular Music and Colonial Reality of Women in the Colonial Period of Korea
• 발행기관: 한국고전여성문학회
• 저자명: 이형대(Lee Hyung dae)
• 간행물 정보: 『한국고전여성문학연구』제10권, 533~566쪽, 전체 34쪽
• 주제분류: 인문학 > 문학
• 파일형태: PDF
• 발행일자: 2005.06.30

국문 초록

일제 식민지 시기에 제국주의 자본에 의해 육성된 근대 대중가요에는 식민지 조선여성의 체험적인 삶이 반영되어 있다. 따라서 탈식민주의적 페미니즘의 관점에서 분석해볼 만한 텍스트이다. 이러한 대중가요에는 식민지의 비정규직 노동자로서 성적 차별까지 받았던 여성가수들의 고단한 삶도 포착되어 있다. 식민지 시기에 대중가요는 나름의 방식을 통하여 민족주의적 저항을 시도하고 있는 것으로 나타난다. 즉 대중가요는 민족사의 특정 국면을 알레고리화하여 표상하거나 사랑과 이별 등의 통속적인 정서 속에 민족현실을 포개는 수법을 사용하여 소극적 의미의 탈식민주의의 민족적 저항을 감행하고 있다. 대중가요에 나타난 여성의 노동 공간에는 식민모국의 수탈과 자본가의 착취 및 성적 차별이라는 중층적 억압과 수탈에 시달리는 여성노동자가 등장하는가 하면 근대도시의 서비스 직종에 종사하는 여성도 출현하고 있다. 식민치하 남녀 간의 사랑 역시 근대 가족의 규율체계에 규제되면서 비극적 정서로 채색되거나, 돈을 매개로 교환이 되는 자본주의의 방식을 내포하기도 한다. 일제말 총력전 체제에 이르면 파시즘의 광기 아래 말살되거나 폐허화된 불구적 모성의 표상을 확인할 수 있는 바, 식민지 하위주체에게 가해진 젠더 정치화의 한 양상이었던 것으로 이해된다.

영문 초록

Modern popular music were fostered as a strategic cultural product by the Japanese colonial capital in the colonial period of Korea. Lots of colonial women singers committed themselves to modernization of popular music and added their colonial experiences into the lyrics of it, thus modern popular songs are worth to be examined in the view point of postcolonial feminism. Colonial modern popular music was started in the 1920s and was full-fledged in the 1930s as an outgrowth of the Japanese record industry. Women singers functioned as a part of a divided unit in the systemic record industry, thus they should work for the Japanese colonial capital as a result. Besides the small number of successful women singers, there were lots of anonymous women singers. who suffered through the vagrant life of a homeless artist. Such songs as or reflected the hard life of women singers who were part-time workers and colonial subalterns. The harsh colonial reign was inevitably followed by a blossom of a national ethos as a counteraction. Popular music implicated the ethos of resistance against to the Japanese reign in its lyrics in two different ways; One was allegorization of a particular part of the national history, the other was overlapping national reality on common conventional subjects such as love and separation. These kinds of songs greatly appealed the masses. The enthusiasm for the popular songs in the period was the result of a mutual understanding of man and woman, and the feeling of national resistance. The reality of a woman reflected in popular music was blue and painful. Songs captured woman's work places described the triplicated oppression, which was the exploitation by the colonizer, by the capitalist and by the man. Sentiment of women workers who were expected to be matured as a modern subject illustrated in Children's songs like and Sin-min'yo(new folk ballad)s like . Modern capital urban spaces gave birth to new kind of women workers such as cafe waitresses and circus show girls, and popular music describing this kind of women revealed women's commodificated sexuality and man's glaces desiring the very sexuality. Love under the colonial ruling could not be experienced as free or equal relationships. Love was the most common theme of popular music in the period and generally figured in a tragic sentiment in that the most popular theme of love song was such one as being rejected to be accepted in the modern monogamous family system. However, in this kind of love songs, the relationship between a man and a woman was thoroughly hierarchical. Women were figured only as a passive other in this kind of songs too. Capitalistic love also was worth to get an attention since the new love custom, an exchange of love for money, was captured in modern popular music. However, it was hard to find a subjective love of woman in any case. In songs of the Fascist period of the 1940s, such as or , a specific mother ideology was displayed and stressed, which was a fabrication of the Japanese total war structure organization. In these songs, a mother drove her husband and sons out to the war, stood peace at their death, and earned a living by herself without a husband. This kind of mother revealed the forced interiorization of Fascism of the 1940s and the maternal instinct obliteration injected into colonized women.