The cultural perception that divides multiculturalism into domination and subordinatedness should be transformed into a cultural relativist perception that respects individual values and cultural equivalence. This cultural relativist perception leads to a multicultural nexus that empathizes and communicates with each other through the organic philosophical nexus, which contains creative change in the interrelationship of cultures. This paper presents the betweenness of Korean Pungryu culture for the multicultural nexus. It is because the betweenness of Pungryu culture has the characteristics of the nexus of organic philosophy. Therefore, the betweenness of Pungryu culture constantly can change as a deterritorial property, overcome the limitations of dichotomous cultural recognition, and enable desirable multicultural nexus.
현대사회와 다문화 제11권 4호(33~53) http://dx.doi.org/10.35281/cms.2021.11.11.4.33 33 A Study on the Betweenness in Pungryu Culture for Multicultural Nexus Chae Kun Ra* · Mi Hyang Lee** Abstract_The cultural perception that divides multiculturalism into domination and subordinatedness should be transformed into a cultural relativist perception that respects individual values and cultural equivalence This cultural relativist perception leads to a multicultural nexus that empathizes and communicates with each other through the organic philosophical nexus, which contains creative change in the interrelationship of cultures This paper presents the betweenness of Korean Pungryu culture for the multicultural nexus It is because the betweenness of Pungryu culture has the characteristics of the nexus of organic philosophy Therefore, the betweenness of Pungryu culture constantly can change as a deterritorial property, overcome the limitations of dichotomous cultural recognition, and enable desirable multicultural nexus Keywords_Cultural Relativism, Multicultural Nexus, Pungryu Culture’ Betweenness, Organic Philosophy * First-Author, Yeungnam University, International Studies, Lecturer, cknah@hanmail.net ** Corresponding Arthur, Yeungnam Uinversity, International Studies, Professor, leemh@ynu.ac.kr 34 현대사회와 다문화 2021 제11권 4호 Introduction The advent of a hyper-connected society with a huge interconnection system through the new Internet revolution is predicted Now, a new multicultural situation is unfolding in front of us, in which the boundaries of physical borders are breaking down and the movement of various peoples, languages, and cultures is being deterritorialized(Deleuze, G and Guattari, F 1987: 54) Nevertheless, the western awareness of multiculturalism based on the deep-rooted ‘ethnocentrism’ that gave birth to orientalism remains as strong as a virus in Korean consciousness and thought This is causing the loss of dignity and economic inequality among members of the multicultural society living in Korea unresolved Therefore the desirable multicultural ‘nexus’ in Korea should be a union in which the marriage immigrant families, migrant workers from South and South-East Asia, and foreign students residing in Korea get respect their individual values and cultural equivalence on the basis of the perception of cultural relativism(Lee Jeongeun et al 2017: 27-28) However, in the current situation, it is far from realizing such a multicultural nexus immediately Moreover, due to the unexpected COVID-19 outbreak, inequality and discrimination against minority groups and cultures at home and abroad are getting worse A racist perspective, excessive backlash against violations of individual freedom and rights, and the violation of the safety and life of the underprivileged ethnic and social minorities caused by the Corona epidemic are hastening to raise awareness for the practice of coexisting multicultural nexus.1 The practice of coexisting multicultural nexus can start from breaking away from western multiculturalism based on ethnocentrism So this study is intended to point out that the cognitive limitation of western multiculturalism Germany magazine “Der Spiegel” is showing an Asian man wearing a ‘red’ raincoat with gas mask in the picture written in ‘yellow’ title word “Made in China” (2020.02.01.) It shows the western perception of Asiaphobia symbolically A Study on the Betweenness in Pungryu Culture for Multicultural Nexus 35 originated from the epistemological error of western metaphysics which confused ‘reality’ with ‘appearance’ which is clearly revealed through human consciousness after Plato This study is also going to propose ‘betweenness’, a key attribute of Korean ‘Pungryu(風流) culture’, and suggest a cultural community life through a multicultural nexus that coexists between cultures in order to overcome the limitations of western multiculturalism The betweenness of Pungryu culture can be the agent for a multicultural nexus that coexists This is because this betweenness has an ‘organic philosophical perspective’ with a relative perspective, which is one of the ways to overcome the limitations of ‘substance philosophy’ that inevitably contain dichotomous errors The nexus of organic philosophy(Lee Taeho 2020: 591), which has creative change in interrelationship rather than eternity and immutability, will enable a multicultural community that coexists and communicates with each other from a cultural relativist standpoint In this regard, this paper intends to examine the significance of Pungryu culture’s betweenness for sympathy and communication between cultures in a multicultural nexus that overcomes the limitations of dichotomous cultural awareness Korean Multicultural Society as seen in the Pungryu Culture’s Betweenness Cases of social inequality and human rights violations experienced by marriage immigrant and migrant workers from South and South-East Asia in Korea are not decreasing(Joongang Ilbo 2021.02.17.; Seoul Shinmun 2019.10.09.; Newsmin 2020.09.10.; Yonhap News 2021.02.09.) Moreover, COVID-19 has put further pressure on the lives of the socially disadvantaged and minorities who are members of the Korean multicultural society Large-scale COVID-19 infections are frequently occurring in factories where migrant workers live in groups, and illegally residing migrant workers are hesitant to get vaccinated 36 현대사회와 다문화 2021 제11권 4호 because of the fear of deportation(Daegu mbc 2021.10.01.; Seoul Shinmun 2021.10.01.) What does Korean multiculturalism look like in Korea today? Korea’s multicultural society is composed of the majority of Koreans and the minority of marriage immigrant and migrant workers Aside from the deep-rooted exclusive consciousness of a single ethnicity among Koreans, the Korean multicultural society also has the duality of cultural perception, which regards western culture as superior and third world culture as inferior under the influence of Orientalism Although Koreans and the Korean government are implementing various policies and systems for multicultural members of Korea, the problems of social and economic inequality and discrimination are complexly intertwined Therefore, it takes time to actively implement policies and change consciousness for Korean multicultural society In addition, as the low birth rate and aging population emerge as serious social problems, the pace of Korea’s progress toward the multicultural society is accelerated and social instability is expected to intensify Therefore, Korea’s multicultural nexus should be practically oriented toward a social ‘union’ in which Koreans, marriage immigrant, and migrant workers respect each other’s individual values and cultural equivalence from a cultural relativist standpoint In the future, if Korean society fails to become the multicultural society based on mutual respect and communication among members of society, and if migrants fail to maintain their cultural identity and are exposed to unilateral cultural assimilation, exclusion, and social discrimination, The Korean multicultural society is bound to be distorted(Oh Kyungseok 2007: 25-29; Cho Hyorae 2017: 214) The interculturalism of multicultural society demands the original form of a multicultural society in which minority groups with a minority of ethnicity, language, and culture can be recognized for their cultural differences In response to these demands of the times, it is not desirable to simply ideologically understand and respect the culture of minorities Therefore, this paper proposes A Study on the Betweenness in Pungryu Culture for Multicultural Nexus 37 actively the concept of Pungryu culture’s betweenness that can recognize and accept each other’s cultures for the change of fundamental perception among cultural subjects about mutual culture Currently, Korean society provides a variety of practical multicultural education programs for empathy and communication between cultural majority and minority groups In this program, rather than unilateral education by Korean teachers or experts related to multiculturalism, marriage immigrant and migrant workers from multicultural families also participate as instructors to proactively diagnose and solve multicultural problems Regarding the cultural majority, this program induces a shift from an exclusive cultural consciousness toward a cultural minority to a new, deterritorialized perception Regarding cultural minorities, it is educating immigrants so that they can live together as valuable members of a multicultural society by respecting each other’s culture while maintaining their identity, rather than assimilating them into Korean society(Joo Gwangsun 2015: 5) Pungryu culture is a traditional culture unique to the Korean people, and it has been a culture that has been with the spirit and emotion of the Korean people since the ancient harvest ceremony Korean Pungryu culture, which has been the basis of the life and emotions of the Korean people in an intangible form without being institutionalized or structured through a long history, sucked up all other religions such as Confucianism, Buddhism, and Zen like a magnetic field(包含三敎) Pungryu culture was also a culture that continued the cultural practice of edifying the people and leading them(接化群生) to a better life(Kim Beombu 1981: 222) Pungryu culture, which is defined as the ‘Pohamsamgyo(包含三敎)’ and ‘Jeophwagunsaeng(接化群生)’ is inherent in the lives between individuals, between individuals and communities, and between communities and communities, and has played a role in harmonizing the process of life smoothly For us, the Pungryu culture is not a closed and unchanging monad that ‘needs nothing other than itself to exist’, but an organic culture which creates the meaning of 38 현대사회와 다문화 2021 제11권 4호 existence through mutual intrinsic ‘betweenness’ by ‘inhering in the others and holding the others’ This is because it was a culture of ‘connective words(and, but, or)’ that could mutate and connect each other rather than fixed ‘periods and commas’ Therefore, the Pungryu culture’s betweenness is connected to the surrounding events with its own unique difference and constantly territorializes toward a new order and integration, but at the same time it creates a new order and integration by deterritorializing itself again instead of remaining in that order and structure In this regard, the Pungryu culture’s betweenness can provide a better change of perception for cultural empathy and communication while creatively changing A study on the Pungryu culture’s betweenness has not been attempted yet Studies on Pungryu culture so far have been “confirming that Pungryu is very closely related to Korean traditional music”(Han Heungseop 2005: 197198) or “exploring Pungryu as Korean leisure and entertainment culture”(Park Heungjoo 2013: 163) Other studies looked at Pungryu culture as the “ecological model of life” (Min Joosik 2000: 76) with aesthetic properties such as ‘excitement’, ‘indifferent’, and ‘Han’(Shin Eunkyung 1998: 15) Pungryu culture is also defined as “inclusive of human reason and emotion, and the aesthetic consciousness of fashion and humor”(Jeong ByungHun 2011: 133) with postmodern characteristics This paper intends to expand the field of previous research and examine the creative characteristics of the Pungryu culture’s betweenness from the perspective of the nexus, the main concept of Whitehead’s organic philosophy.2 Therefore, this study examines the process(betweenness) in which Pungryu connects with the surrounding conditions through its deviation and deterritoriality and constantly territorializes toward a new order and integration It also pays atten2 Whitehead’s organic philosophy has a philosophical perspective that views creation and process as ‘reality’, unlike the existing philosophical system that regards a permanent or immutable ‘substance’ as reality A Study on the Betweenness in Pungryu Culture for Multicultural Nexus 39 tion to the process(betweenness) of nomadic deterritoriality not staying in that order and structure but creating a new order and integration again, The creative characteristics possessed by this Pungryu culture’s betweenness will be able to provide better awareness and practical methods for multicultural empathy and communication A Multicultural Nexus Based on the Nexus of Organic Philosophy In the philosophy of organisms, individuals have an immanent characteristic that shares each other’s properties, but constantly change according to the objects and conditions to which they are connected This characteristic of organic philosophy can be found in Whitehead’s Nexus It is said that Whitehead’s nexus means a creative combination in which “the ‘actual entities’ that make up the earth come together to create repeatedly a new ordered and patterned unit”(Whitehead 1978: 20) Here, the actual entity in Whitehead’s nexus is “the ultimate and real thing that composes the world” (Whitehead 1978: 78) as a microcosmic being, like the atoms of Democritus This Whitehead’s concept of nexus can be applied to culture Then, culture can be said to be a nexus that repeats the process of being ordered and patterned by gathering together the basic human emotions and perceptions, which are components of culture Pungryu culture also has these attributes as its basic structure However, it should be noted here that the nexus is based on the mutual immanence of its constituent elements, actual entities(Oh Younghwan 2002: 318), but at the same time it presupposes change In other words, mutual immanence means that the nexus not only constantly changes itself under the influence of actual entity, but also brings about a change in the essence of each other in its relationship with others In the end the nexus, which is constituted by the mutual immanence of actual entities, forms a self-identified identity un- 40 현대사회와 다문화 2021 제11권 4호 der the influence of the ‘defining characteristics’ of actual entities for a certain period of time(epoch), but has a changeable characteristic after a while Therefore, the culture that can be called the nexus is also inescapable of the process of change The mutual immanence and changeability of this nexus that can be applied to culture has been misunderstood as being fixed and immutable by the mainstream of western metaphysics It can be said that the limit of the dichotomous perception of western multiculturalism, which is not effectively coping with the current environment, originated from this misunderstanding In any culture, the substance of the culture we see and feel may not be the original reality of that culture The reality of culture should include not only the substance of an ordered and patterned culture that appears as a phenomenon, but also an open substance with the possibility of change and cultural elements that are mutually inherent in reality before being ordered and patterned The reality of this culture can be properly read from the betweenness that exists between the process of transformation and creation of the culture constituting the cultural nexus The betweenness is a property created in the process of transforming culture as a substance into a ‘connective(and, or, but)’ that exists in the impermanent process of life, rather than being fixed as a ‘period’ The meaning of betweenness is the nature of creative transformation that the subject can change according to the object to which he or she connects(Kim Jaein 2001: 55) For example, New York in the United States which is located between Boston and Philadelphia is defined differently each time according to the variable relationship between these cities(Whitehead 1961: 230; Whitehead 1978: 301) A Study on the Betweenness in Pungryu Culture for Multicultural Nexus 41 The Significance of Pungryu Culture’ Betweenness in the Multicultural Nexus Like Whitehead’s Nexus, in which the actual entities create constant variation and novelty in the relationship inherent to each other, the multicultural nexus is a cultural union, in which the elements constituting multiculturalism are mutually inherent to each other and changing themselves in interculturalism Here the multicultural nexus means a union that empathizes, communicates, and creates a new culture This multicultural nexus is similar to Plato’s ‘Receptacle’ or the ‘Aroeya Consciousness(the 8th consciousness, 藏識)’ of ‘Yogacara Thought(唯識學)’ in that it allows creation through change This is because the nexus, as a kind of natural matrix for all life, is changed by the things that enter itself and is transformed into a multidimensional form(Oh Younghwan 2002: 296; Gomok 2006: 29) Nexus is invisible and formless, but at the same time accepts all types of experiences in its own union, and has creativity that changes infinitely according to circumstances Korean Pungryu culture, which is defined as ‘Pohamsamgyo’ and ‘Jeophwagunsaeng’, is a culture with the characteristics of this nexus This is because the Pungryu culture includes all of Confucianism, Buddhism, and Zen, which were foreign spiritual cultures at that time, and at the same time has the property of edifying people’s lives anew through its modified characteristics For this reason, the Pungryu culture, which has the characteristics of a nexus, can be an alternative to overcome the limitations of western ethnocentrism fixed as a dichotomy Nowadays some evolutionary anthropologists and evolutionary medicine scientists are looking to the distant past as a solution to the unprecedented chaos caused by the COVID-19 pandemic(Park Hansun 2020: 240) This does not mean that mankind must return to the pre-modern state or to the age of the ancient state It’s like you can’t give up digital and go back to analog, you can’t quit J Joyce and go to C Dickens However, in order to solve the current 42 현대사회와 다문화 2021 제11권 4호 problem, it is impossible to return to the flat past of time, but it will be possible to call upon the wisdom and experiences of our ancestors in a fractal threedimensional space For this reason, it will be possible to summon the Pungryu culture’s betweenness Pungryu culture can solve the problems that Korea’s multicultural society is currently experiencing(Lee Kisang 2009: 6) coexisting with various cultures because it has the potential of creation, communication, and creative transformation It does not assume that Pungryu culture is an error-free culture, and does not say that it is the only solution Because this aspect is another dichotomy error However, it is clear that Pungryu culture, which has mutually intrinsic interpersonal characteristics, has historically created a new order through transformation and creation with its own cultural differences In addition, it is a culture that has repeatedly created another order and unity by deterritorializing it anew, not staying in the existing order This study defines the Pungryu culture’s betweenness as deterritoriality that exists between ‘deviation’ and ‘integration’ And it is to examine how this attribute was embodied in Korea’s ‘Poducts Culture’(Kang Hyeonhwa 2007; 85115), and how it can continue to change and create for the life of a community in multicultural nexus 1) Deterritoriality through Deviation(Clinamen) The amorphous and destructured nexus that transcends boundaries limits itself with actual entity(Oh Younghwan 2002: 320) and has self-identity, but at the same time has the potential to transform into another nexus In this process, the nexus operates deviation and deterritoriality on its own and with another nexus Therefore, deviation and deterritoriality can become agents of mutating the nexus without fixing it In other words, deviation and deterritoriality take on the characteristics of nomads rather than settlers As we know the nomads in- A Study on the Betweenness in Pungryu Culture for Multicultural Nexus 43 variably leave for another world(deterritorialization) after they establish an order or system in a settled society(territorialization), Their world is not a grooved space where water can stay, but a smooth space that can flow anywhere Their space is a space that allows objects to be modified into various shapes without being structured in a symmetrical or standardized shape It is also a space that allows them to become other ‘organization’ or other ‘machine’ with different strengths and densities through deviation and deterritoriality at every moment(Kim Youngjin 2012: 317; Lee Jinkyung 2002: 60) Therefore, the deviation and deterritoriality of the Pungryu culture can be said to be the driving force that keeps the nexus borderless and flexible Such deviation and deterritoriality create the ‘Mut(beauty, 美)’ of Korean Pungryu culture Korean Mut can be found in ‘creativity’, a feeling derived from new experiences and practices Creativity is the principle of creating a new ‘one’ that has never existed before(Whitehead 1978: 21) in the process of internalizing the ‘many’ that exist as a plurality of actual entities The creativity is also the novelty that actively transforms itself into a different form from the present as soon as the newly created ‘one’ is defined as self-identity Therefore, Korean Mut is formalized as a nexus with a new order that comes to life and disappears at every moment(Gomok 2006: 38), but at the same time, it is the property of transforming into a topological ‘the difference of the same’ This Korean Mut is also embodied in the free spirit and improvisation that appears in the music of the late Joseon Dynasty One of the greatest characteristics of music in the late Joseon Dynasty was the appearance of variations For example, in a situation where the spirit of Confucian rites formed in the early Joseon Dynasty was weakened, Jeongak(正樂) responded to the musical sense of the general public and changed to the faster and louder Sokak(俗樂)(Choi Junsik 2002: 120-121) This is due to the liberty of the Korean people based on deviation and deterritoriality The improvisation and free-spiritedness of Korean music stands out in ‘Sinawi’, ‘Sanjo’, and ‘Pansori’ In particular, Pansori’s ‘Aniri’ is not bound by 44 현대사회와 다문화 2021 제11권 4호 any musical framework In Pansori, the Singer(唱者) infinitely changes the character of music according to his or her own experience and tendencies of the audience In this way, the deviation and deterritoriality appearing in Pansori are not identified in a fixed frame, but change freely Deviation and deterritoriality in ‘Aniri’ not become fixed by being identified as individuals or particles, but constitute the Pungryu culture’s betweenness like a wave that exists between particles The improvisation and free-spiritedness that come from deviation are also found in contemporary Hallyu(Korean Wave, 韓流) music ‘BTS’ ‘Arirang’ transforms the inner emotions of Koreans contained in Korean lyrical folk songs into free-spirited improvisation, creating a new global emotion that transcends nationalities and borders It is re-creating a very special Korean emotion into a global emotion Through music, the world’s common language, it is possible to provide a field for sympathy and communication between Koreans and people around the world by re-igniting Korea’s special Arirang emotion into a universal emotion latent in the hearts of people around the world This is the deviation and deterritoriality of the Pungryu culture’s Betweenness In this way, the Pungryu culture’s betweenness does not divide culture into special and universal, subject and object Therefore, the Pungryu culture’s betweenness has the potential to create a new multicultural society where peoples and cultures can coexist in a hyper-connected society in the future where various peoples and cultures are deterritorialized and form a huge interconnection system 2) Deterritoriality of the Integration Process Pungryu culture repeats deviation and integration countless times by intervening deterritoriality acting as a relative direction(vector) Pungryu culture acquires a new self-identity and is integrated because of the betweenness that exists between this deviation and integration However it is deterritorializing A Study on the Betweenness in Pungryu Culture for Multicultural Nexus 45 with another attribute The characteristics of the integrated, deterritorialized, and newly created Pungryu culture stand out in various cultural elements of achievement such as architecture, dance, and Pansori ‘Stone masonry(첩석)’ and ‘Dumbungjucho(덤 벙주초)’, a construction method that uses natural stones as they are, rather than elaborately polished stones, ‘Maksabal(막사발)’ that shows the naturalness that cannot be found in Japanese porcelain inherited from the craftsmanship of ‘Iemoto(いえもと)’ although it looks asymmetrically incomplete and crude on the outside, ‘Salpuri dance(살풀이춤)’ that repeats the emotions of gentleness and urgency and integrates the dualistic perception of inner anguish and joy, life and death in a monistic way, show the deterritoriality of Pungryu culture well ‘Pansori Chunhyangga(판소리 춘향가)’, which “induces emotion”(Jeon Shinjae 2005: 439-440) by colliding with different value emotions, ‘tragic beauty and humorous beauty’, also shows the deterritoriality of Pungryu culture that is not biased toward one side of deviation and integration For example, let’s look at the Salpuri dance based on free-spirited and improvised accompaniment like Sinawi Salpuri Dance, considered to be a dance performed at the Gut performance presided over by a shaman, is generally known as a dance that expresses the ‘Han’ or sorrow of a woman Salpuri dance starts slowly, quietly and sadly at first, but as time goes on, it changes to a ‘Gutgeori rhythm(굿거리장단)’3 and gets faster In Salpuri Dance(Choi Junsik 2002: 180181), which is danced according to inner inspiration rather than standardized rules, the intrinsic inspiration becomes faster and more improvisational Inner emotions harmonize with the outward action of binding and releasing to create a newly created self-transcendence The newly spawned self-transcendence is not the old self-transcendence At every moment, it is integrated into a selftranscendence with individual self-identity, but as it deterritorializes again, it transforms into a new self-transcendence Because of the betweenness that A slow four beat rhythm used in Salpuri Dance 46 현대사회와 다문화 2021 제11권 4호 intervenes in this deterritoriality, people are breaking down the boundaries of perception and immersing themselves in a self-transcendence ‘Gut(굿)’ is also noteworthy in that it spawns a new self-transcendence each time The shaman drives the spectators participating in the Gut through improvised dances and songs into a state of primal chaos and ecstasy, which is a state of chaos before being ordered, but at the same time, a new chaos(chaosmos) is created However, it should be noted that reterritorialization with a new identity is for deterritorialization that can be transformed again This is not deterritorialization for reterritorialization, but provisional reterritorialization within the movement of deterritorialization(Lee Jinkyung 1994: 426) The shape of a cloud temporarily formed in the sky exists only briefly in the course of the movement mechanism of the cloud to disperse and aggregate If integration is a ‘point’ and movement is a ‘line’, then the point is subordinate to the line It can be said that the Pungryu culture’s betweenness exists on this line As such, the Pungryu culture’s betweenness can construct a truly multicultural nexus that understands and sympathizes with each other’s cultures by breaking down the dichotomous perception between cultures inherent in narrow multicultural awareness For example, it is not easy for foreign learners to correctly understand the typical Korean emotions, ‘Shinmyeong(神明)’ and ‘Han(恨)’ They can read the Korean novel 『Namdo People(남도사람)』, which expresses the Korean Shinmyeong and Han well, but they cannot easily understand them reflecting the geographical, institutional, and psychological peculiarities of Korean with the different temporal and spatial cultural conditions.4 Korea novel 『Namdo People』(『Sopyonje(서편제)』, 『The Light of Sound』, 『Seonhakdong traveler』) does’t show only anger, resentment, or frustration which is felt in the novels of other cultures, such as the Chinese novel 『雷雨』, the Vietnamese novel 『Chi Peo』’, and the American novel 『An American Tragedy』 In particular, in 『Seonhakdong traveler』, the woman who sings the song creates a new meaning, forgiveness and sublimation, of Shinmyeong and Han over frustration and resentment in the process of singing(Yi Chongjun 2013: 134) It is not easy to understand and empathize with the special Korean traditional Korean Shinmyeong and Han, which includes the positive and transcendental emotion beyond negative and bitter emotion(Shin A Study on the Betweenness in Pungryu Culture for Multicultural Nexus 47 However, It should not be overlooked that the Pungryu culture’s betweenness inherent in the Korean Shinmyeong and Han is based on the universal awareness and emotion felt by all humans in the human life cycle of ‘Saengrobyeongsa(生老病死, birth, age, illness, and death)’ and ‘Huiroaerak(喜 怒哀樂, joy, anger, sorrow, and pleasure)’ This enables foreign learners to un- consciously empathize with the specificity and universality of the Pungryu cultural characteristics(Ra Chaekun 2017: 166) Therefore, if the will to positively understand each other’s culture works correctly on the basis of universal human emotions and awareness, empathizing with the individual peculiarities of each culture and communicating with other cultures can be possible This suggests that a multicultural community that can communicate with each other can be created if we can understand the open feeling and awareness of mutual culture(Neerja 2017: 179-194).5 This is because all cultures reveal various differences according to regional and racial peculiarities, but at the same time are interconnected by the universality of the cultural nexus In fact, many foreign learners studying at Korean universities participate in class processes in which they watch related videos, read and discuss literary works in order to understand and sympathize with Korean emotions In the process of reading Korean novels, they tried to understand the theme of the work, the development of events, and the conflicts between the characters in order to understand the Korean emotions They gradually came to understand the characteristics of Han through the specific events of the work in the process of writing a book review about their thoughts and feelings In particular, in the discussion process, through a feedback process that revises and supplements Eunkyung 1998: 16) The main goal of Korean cultural education is to create a multicultural community that can communicate between cultures Accordingly, the National Institute of the Korean Language (2017) classifies the values of Koreans as a major category in Korean cultural education and the emotions of Koreans as a middle category And as the content of the education, it presents the Shinmyeong and Han, the emotions representing Korea 48 현대사회와 다문화 2021 제11권 4호 existing perceptions of Korean Han, it is possible to compare Korean Han with their emotion as well as new and creative understanding of Korean Han Comparing Korean Han with their own emotion shows the possibility of empathy and communication with each other in that it allows them to grasp the common features and various differences between Korean Han and their emotion from a new and harmonious point of view(Ra Chaekun 2021: 243-263; Ravikesh 2012: 646).6 Conclusion In the hyper-connected society to come, the cultural perception that divides multiculturalism into dominant and subordinated should be changed to a cultural relativist awareness that respects individual values and cultural equivalence A closed ‘monad’ or dichotomous cultural awareness cannot escape from the fixed episteme ‘Treasure bead’7 that empathizes and communicates with each other is required This treasure bead is the Pungryu culture’s betweenness The Pungryu culture’s betweenness is a deterritorial property that constantly changes and overcomes the limitations of dichotomous cultural awareness, and enables desirable multicultural awareness and thinking that respects mutual culture In the multicultural nexus, where all beings are not individually independent but are related to each other, the Pungryu culture’s betweenness has deterritoriality between cultural deviation and integration, and can contribute to raising As their knowledge and understanding of Korean emotion deepen, foreign students taking classes in Korean departments at foreign universities as well as universities in Korea are demanding more and more in-depth classes on the representative emotion of Korea, ‘Han’ The point of view of ‘Jungjungmujinyeongi(重重無盡緣起)’ which is the core of Hwaeom Buddistic theory of causality, or Uisang’s ‘Hwaeomilseongbeokgyaedo(華嚴一乘法界圖)’ shows the possibility of harmonization between cultures through the monistic communication and boundlessness A Study on the Betweenness in Pungryu Culture for Multicultural Nexus 49 awareness about multicultural society by accommodating the value of mutual existence between peoples and cultures The perspective of Pungryu culture’s betweenness can make it easier to understand and practice cultural relativistic multiculturalism in that it allows not only change of the object, but also the cognitive difference within the subject In this sense, the Pungryu culture’s betweenness can create a multicultural nexus in which even its own cultural identity can be newly differentiated while communicating and coexisting with other cultures Life after COVID-19 will be very different from before In addition to nonface-to-face marathon competitions and LAN trips, new communication methods that were not previously available such as drive-in concerts, drive-in graduation ceremonies, and drive-in confessions are emerging Meanwhile, while the polarization caused by the economic crisis is sharpening and the world is considering the transition to ‘with Corona’, it is fortunate that the U.S or Europe tried to implement or experiment with a basic income This is because there is a common perception that the stability and happiness of individuals and communities living in a multicultural society depends on mutual consideration and communication Recognition that individuals and communities should empathize and cooperate through intercultural communication and avoid an exclusive culture that cannot harmonize and communicate(KBS 2021.01.03.; Min Yugi 2020: 139-141) is more urgent than ever in a situation where racial discrimination and cultural conflicts are intensifying A new recognition of the value of a multicultural community is possible in a culture of communication with the betweenness that creatively destructures the structured culture shared by the community The Pungryu culture’s betweenness coexists with the cultures of other ethnic groups in the multicultural nexus, and has the characteristic of creating a new cultural variation in the relationship between each other This can be a factor that can develop the life of a multicultural community more harmoniously It is hoped that this study, which seeks to explore the possibility of communica- 50 현대사회와 다문화 2021 제11권 4호 tion between peoples and cultures, through the study of the Pungryu culture’s betweenness in the chaotic social and cultural situation after COVID-19, can raise awareness of respecting mutual cultural values 교신: 이미향(영남대학교 국제학부 교수)(leemh@ynu.ac.kr) Correspondence: Mi Hyang Lee(Professor, International Studies, Yeungnam Uinversity) (leemh@ ynu.ac.kr) 2021.10.22 접수, 2021.10.27 심사, 2021.11.08 게재확정 References Cho Hyorae, 2017, Other in Us: Multicultural Phenomenon in Korean Society Changwon University Press Choi Junsik, 2002, Why Do Koreans Reject Frames? 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Peo』’, and the American novel 『An American Tragedy』 In particular, in 『Seonhakdong traveler』, the woman who sings the song creates a new meaning, forgiveness and sublimation, of Shinmyeong and Han... danced according to inner inspiration rather than standardized rules, the intrinsic inspiration becomes faster and more improvisational Inner emotions harmonize with the outward action of binding