지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This study is intended to analyzethe background and process of the Bongsan Mask Dance performed in Sariwon, Hwanghaedo (Province) in 1936. The term ‘staged folklore performance’ is selected as a key concept to analyze the background and process of staging a particular cultural event for political and economic purposes. The concept is explained and its correlation to this study is outlined.
Next, the history of the exposition which staged a particular cultural event for the first time is briefly related. An exposition is basically held to promote commercial and industrial development of the host country, but additionally, it is held for the host country’s political purposes and used as an event for educating the people into a particular ideology.
The exposition which was held in Korea (Joseon) in the period of the Japanese occupation was characterized by political purposes. Professional performers of dancing and music called Gisaengs were mobilized for the exposition, which is briefly explained here. The background in which a group of Gisaengs performed for the exposition was that the image of Korea (Joseon) held by the Japanese should be reflected in the performance. It was the result of reducing Korean (Joseon) females to objects of commerce, and offering sights and entertainments by using the voyeurism of Korean (Joseon) males. This shows well that the exposition in Korea (Joseon) was taken advantage of for the politics of sights in colonizing Korea.
Primitivism and femininity had been thought to be the keys to the folklore of the Joseon Dynasty by the Japanese, but this Japanese perception of Joseon culture underwent a lot of changes in the 1930’s. The staged folklore performance in the form of Bongsan Mask Dance in 1 36 implied the Imperial Japanese new perception and use of Korean (Joseon) folklore.
To analyze the Bongsan Mask Dance Performance in 1936, the study makes reference to the 1920’s Japanese cultural policies and the 1930’s Japanese policies for promoting agriculture and their characteristics. This is to analyze the Imperial Japanese perceptional characteristics of Korean (Joseon) culture and those of Korean (Joseon) folklorists as well as the background and characteristics of the Bongsan Mask Dance Performance in 1936.
However, there is a partial and implicit problem with the study in that the analysis is tentative due to the lack of relics and supporting documents of the Imperial Japanese cultural policy which were directly and concretely related to the Bongsan Mask Dance Performance in 1936 and the staged folklore performances in the 1930’s and the 1940’s.
Next, the history of the exposition which staged a particular cultural event for the first time is briefly related. An exposition is basically held to promote commercial and industrial development of the host country, but additionally, it is held for the host country’s political purposes and used as an event for educating the people into a particular ideology.
The exposition which was held in Korea (Joseon) in the period of the Japanese occupation was characterized by political purposes. Professional performers of dancing and music called Gisaengs were mobilized for the exposition, which is briefly explained here. The background in which a group of Gisaengs performed for the exposition was that the image of Korea (Joseon) held by the Japanese should be reflected in the performance. It was the result of reducing Korean (Joseon) females to objects of commerce, and offering sights and entertainments by using the voyeurism of Korean (Joseon) males. This shows well that the exposition in Korea (Joseon) was taken advantage of for the politics of sights in colonizing Korea.
Primitivism and femininity had been thought to be the keys to the folklore of the Joseon Dynasty by the Japanese, but this Japanese perception of Joseon culture underwent a lot of changes in the 1930’s. The staged folklore performance in the form of Bongsan Mask Dance in 1 36 implied the Imperial Japanese new perception and use of Korean (Joseon) folklore.
To analyze the Bongsan Mask Dance Performance in 1936, the study makes reference to the 1920’s Japanese cultural policies and the 1930’s Japanese policies for promoting agriculture and their characteristics. This is to analyze the Imperial Japanese perceptional characteristics of Korean (Joseon) culture and those of Korean (Joseon) folklorists as well as the background and characteristics of the Bongsan Mask Dance Performance in 1936.
However, there is a partial and implicit problem with the study in that the analysis is tentative due to the lack of relics and supporting documents of the Imperial Japanese cultural policy which were directly and concretely related to the Bongsan Mask Dance Performance in 1936 and the staged folklore performances in the 1930’s and the 1940’s.
목차
Ⅰ. 들어가며
Ⅱ. 핵심 개념 : 무대화된 민속
Ⅲ. 박람회와 문화의 시각화
Ⅳ. 일제의 식민지 문화정책과 무대화된 민속
Ⅴ. 나오며
참고문헌
참고문헌 (20)
참고문헌 신청
1. [단행본] - 김동노 / 2006 / 일제식민지 시기의 통치체계 형성 / 혜안
2. [학술지(정기간행물)] - 김영나 / 2000 / ‘박람회’라는 전시공간:1893년 시카고 만국박람회와 조선관 전시 / 서양미술사학회논문집 13
3. [학술지(정기간행물)] - 남근우 / 2002 / ‘조선 민속학’과 식민주의－송석하의 문화민족주의를 중심으로 / 한국문화인류학 35 (2)
4. [학술지(정기간행물)] - 문옥표 / 1990 / 일제의 문화정책, 일제의 식민지배와 생활상 / 韓國의 社會와 文化 14
5. [학술지(정기간행물)] - 박계리 / 2001 / 야나기 무네요시와 조선민족박물관 / 한국근대미술사학 (9)
2. [학술지(정기간행물)] - 김영나 / 2000 / ‘박람회’라는 전시공간:1893년 시카고 만국박람회와 조선관 전시 / 서양미술사학회논문집 13
3. [학술지(정기간행물)] - 남근우 / 2002 / ‘조선 민속학’과 식민주의－송석하의 문화민족주의를 중심으로 / 한국문화인류학 35 (2)
4. [학술지(정기간행물)] - 문옥표 / 1990 / 일제의 문화정책, 일제의 식민지배와 생활상 / 韓國의 社會와 文化 14
5. [학술지(정기간행물)] - 박계리 / 2001 / 야나기 무네요시와 조선민족박물관 / 한국근대미술사학 (9)
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