재일코리안의 한국전통예술 공연 양상: 2000년~2014년까지 일본 관동지방 공연을 중심으로

Abstract

This paper explores the traditional Korean performing arts performed in Kanto region of Japan from 2000 to 2014 to figure out various aspects of the performances by Korean residents in Japan. There were mainly about 520 performances for those 15 years. There were increases in performances in 2002, when Korea and Japan co-hosted the World Cup, and in 2005, Korea-Japan friendship year. There were also many performances between 2005 and 2012 due to the hallyu boom in Japan. However, there was a decrease in performances between 2013 and 2014, when the hallyu boom was falling into a decline and Korea-Japan relationship was worsening. These facts present that the traditional Korean arts performances in Japan have been influenced by the hallyu boom and Korea-Japan relationship in a great deal. It appears that the traditional Korean arts performances were held about three times a month, 35 times a year on average, relatively high in frequency. More than half of these performances were performed by Korean residents in Japan, which reveals the fact that they take an important role in publicizing the traditional Korean arts in Japan. 83% of the performances took place in Tokyo, followed orderly by Kanagawa, Saitama, Chiba, Gunma, Tochigi, Ibaraki, being proportional to the population of the Korean residents in each region. This study finds that there were 248 places used for these performances. Among them, Korea Cultural Center in Japan held the most performances, presenting that it is playing a significant role in promoting the traditional Korean arts. The performances took place in various places ranging from a grand-scale theater with 2000 seats to a small live house for only 20 people, but mostly in theaters with 200 ~ 500 seats on average. To analyze by genre of performing arts, the most common format was a joint performance of music and dance, followed by single format of music, dance and other performances. Particularly, a composite format of music, songs and dances took overwhelming majority in Korean residents in Japan­orientated performances. This is considered to have been intended as a way of dramaturgy to interest Japanese audiences who were unfamiliar or new to Korean arts.