Arirang

Drawing on the success of K-Pop, Arirang is now marketed as a national brand, deeply entwined in the world music commercial mechanism. While there is no doubt that world-wide attention given to K-Pop could influence the reception of Korean traditional performing arts outside of Korea, the domestic globalization focus tends to emphasis Korean culture’s outward trajectory. Without negating the viability of Arirang’s alignment with K-Pop, in this paper I suggest we steer the conversation from one of globalization to one of a pre-existing and continual presence in the United States. Such a presence began and has been nurtured through Korean immigration to the United States, Korea/U.S. relations, and, more recently, multicultural education. In this paper, I consider the musical and educational roots of “Arirang” in the U.S. Although arguably problematic and in need of attention, these roots carry more weight than a tenuous focus on Arirang as a commercial endeavor.
The paper critically examines the multicultural music curriculum in the U.S. as both a real and potential force for placing and shaping “Arirang” in the American musical imaginary. The song “Arirang” is typically taught as the example of Korean music and culture in the US multicultural music curriculum. Although a positive step towards recognizing a Korean domestic population as well as the importance of Korean music in the world today, the curriculum is riddled with problems. Through an examination of these problems, the paper uncovers the weaknesses in Korean music education in the U.S. and suggests ways the curriculum could improve. Finally, the paper suggests scholars of Korean music work towards the development of accurate and user-friendly materials with educational goals in mind. This paper begins a dialogue regarding the creation of accurate and consistent Korean music educational materials with “Arirang” at the heart of this endeavor.

El objetivo principal de este artículo es conocer los primero años del periodo colonialista japonés del pueblo de Corea. Para esto, se analizó el contenido de la película Arirang del año 1926 dirigida por Kim Ki-duk, así como la canción tradicional del mismo nombre. La metodología empleada está sustentada en el análisis historiográfico y en la postura marxista de Eric Hobsbawm.

En el presente texto se examinan dos fuentes disímiles, pero muy vinculadas entre sí: la música y el cine, las cuales son poco reconocidas en la ciencia histórica. Este aspecto brinda a la película un carácter de fuente histórica de primera mano, otorgándole validez para ser tomada en cuenta en sus diversos campos de constitución para la construcción y revalorización del pasado de la península coreana.  El trabajo permite concluir que el estudio de la ciencia histórica mediante el cine y la música amplían las posibilidades de análisis, pues no es un desarrollo progresivo de los procesos, sino un análisis, comprensión e interpretación de la fuente.

Purpose: Arirang, the most beautiful song in the world, has been meeting with natural healing to increase synergy. Arirang and nature healing have pioneered the field of Arirang music healing by crossing different boundaries. Methods: Arirang Gymnastics was used. Results: New Arirang Gymnastics is part of the healing of Arirang music, which consists of six movements. Starting with warm-up exercises in time for Seoul Arirang, the patient will apply pressure to the pit of the pit of the stomach, the head of the stomach, and the non-surface field. To match Haeju Arirang, massage the right side of abdomen, left side underbed, top (stomach), and lower bladder. Tap the Danjeon, the bladder, the heart, and the lungs in accordance with Millyang Ariryang. Stretching both arms and shoulders in line with Arirang in Gangwon Province, the two sides meet behind each other. Rotate the shoulders and wrists in line with the progress of the arm. Conclusions: Aerobic exercise that is tailored to new Arirang and their gymnastics are useful for health and healing of the body and mind.