韓国・朝鮮民俗学者宋錫夏における郷土芸術（民俗芸能）の展開

Abstract

朝鮮民俗学会（1932創立）は，朝鮮における民俗学の歴史において重要な画期となるが，これを考えるにあたっては，郷土芸術・娯楽の問題を避けることはできない。朝鮮民俗学会については，植民地主義的な日本人研究者と，文化的ナショナリストたる朝鮮人研究者の呉越同舟といった図式的解釈が支配的だったが，南根祐や李勛相の近年の研究が明らかにしているように，実態は複雑である。とくに，郷土芸術・娯楽を捉えるためには，民俗学者だけではなく，総督府，地域社会，芸能者，マスジャーナリズムのそれぞれの動向を踏まえた関係性の把握が重要になる。本稿では，この時期の郷土芸術・娯楽に大きく関与した宋錫夏を中心に考察する。宗は，日本の「郷土舞踊と民謡の会」を参考に「朝鮮郷土舞踊民謡大会」などの運営に携わる。それは学問的良心と自文化への自身に基づいた努力であった一方，郷土芸術・娯楽を健全化することで農村再編を企てる植民地権力やマスジャーナリズムとの共犯関係をともなったものであったことも看過できない。

The Korean Folklore Society (founded in 1932) was an epock-making in the history of folklore studies in Korea. In considering this, the issue of local arts and entertainments cannot be avoided. The Korean Folklore Society has been dominantly considered to a kind of the same boat both the colonialist Japanese researchers and the cultural nationalist Koreans riding on. However, its reality was more complex as recent studies by Nam, Kun Wu 南根祐 and Lee, Hun Sang 李勛相 have shown. To understand local arts and entertainments in the period, it would be important to understand not only the folklorists, but also the Korean Governor-General (Imperialist authorities), local communities, performing artists, and mass journalism and their structural relationships. This paper focuses on SONG Seok-ha 宋錫夏, who was heavily involved in local arts and entertainment during this period. SONG was influenced by the “The Folk Dance and Folk Song festival” in Japan and took part of the management of the “The Korean Folk Dance and Folk Song festival” and other events in Korea. While his effort based on his academic conscience and pride for the Korean culture, it cannot be overlooked that he was also involved complicity with the colonial power and mass journalism which sought to reorganize the countryside by making local arts and entertainment “harmless”.