최승희의 춤에 나타난 한국의 근대성
PERFORMING MODERNITY IN KOREA: THE DANCE OF CH’OE SŬNG-HŬI—AN ADAPTED ESSAY
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초록
근대성(modernity)을 “전근대 문화와 삶의 방식 전반과는 단절된 다양한 핵심 양상들”이 나타나는 역사적이고 문화적인 공간이라고 한 영국 사회학자 앤서니 기든스의 묘사에 뿌리를 두고, 최승희의 삶과 업적을 근대성의 전개라는 맥락에서 살펴보고자 한다. 본 연구는 최승희의 실제 춤에 관한 것으로, 첫째 최승희에 관한 이전 자료들을 요약하고, 일본, 한국, 기타 지역에서 행해진 그녀의 춤에 나타난 미학과 예술적 발전을 근대성과 연관 지어 살펴본다. 끝으로 그녀가 관심을 갖게 된 춤들의 기저에는 다양한 철학적 배경들이 있으며, 이러한 바탕에서 최승희가 자신이 춤추는 방식을 예술적으로 발전시킬 수 있었고, 1920년대와 30년대 한국 근대성의 전형을 바꿀 수 있었던 것으로 결론짓는다.
Abstract
Rooted in British sociologist Anthony Giddens’s description of modernity as a historical and cultural space that is “in various key respects discontinuous with the gamut of pre-modern cultures and ways of life”, this study seeks to contextualize Ch’oe Sŭng-hŭi’s life and legacy in relation to evolving ideas of modernity. Here I continue my concern with Ch’oe’s actual dancing. I first lay a foundation for moving forward by summarizing related previous findings. I then look at Ch’oe’s emerging aesthetic philosophy and artistic development in relation to modernity as it was becoming defined in dance in Japan, Korea, and elsewhere. I conclude that it was the diverse philosophies underlying the kids of dance with which Ch’oe became engaged that in effect gave her permission to develop artistically in the way she did, and that allowed for her changing embodiment of Korean modernity during the 1920s and 1930s.
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