일제강점기 재조일본인의 ‘향토’ 담론과 조선 민요론

초록

In this paper, I considered the process in which folk songs, a typical genre of provincial art, was discovered in Korea, and the feature which the hometown in Korea was used as the principal theme of Korean folk songs. Even now, when a Japanese interlocutor who has lived in Korea discusses a Korean folk song, the concept of hometown does not arise. However, when discussing Korean folk songs, the concept of hometown is a very important element that exudes ethnicity and history. Nanba Sentarou (1894-?) describes the strong connectivity of ethnicity, folk songs, and hometown, and expressed the peculiar difference of folk songs of Korea in contrast to those of Japan. Since this connectivity is not recognized by Noguchi Ujyo (1882-1945), a paragon of Japanese folk songs, Nanba and Noguchi clashed in the paper about a folk song respectively. Nanba’s recognition resonated with the Japanese poets of the Tanka (poem of 31 syllables) genre who lived on the Korean Peninsula and critics supporting folk arts such as Asakawa Noritaka (1884-1964). That is, the Korean folk song was positioned as Korean hometown poetry, and as a treasure that can reveal Korean ethnic traits. We can read an understanding about culture and ethnic traits peculiar to Korea from the perspective of Japanese folklorists. The position of other Japanese who deemed Koreans and Korean culture as inferior and accordingly discriminated against them differs in this attitude.

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