식민지 조선과 타이완의 대중문화 형성과 여성 현대무용가 비교 — 최승희(崔承喜)와 차이루이위에(蔡瑞月)

Abstract

In this paper, I looked at the growth of pop culture in colonial East Asia and the relationship between artist and nation state in the process of modernization through the comparison of Korea‘s Choi Seung-hee(崔承喜) and Taiwan’s Tsai Jui-yueh (蔡瑞月). Choi Seung-hee and Tsai Jui-yueh were born in Japanese colonies and learned the charm of Western modern dance, and studied dance in Japan. The two have taken a very similar path, which is by no means a coincidence. This is the result of Korea and Taiwan already being merged into the colonial order and reorganized into a colonial standard. These colonial standards have created regional similarities in many areas, including land policy, sanitation policy, education policy, and the formation of popular culture, and so forth. And they lead to national standards after liberation. After liberation from Japanese colonial rule, the two return home with expectations of their homeland, but failed to adapt to the new environment. East Asia’s hegemony was changing then. Choi Seung-hee went to North Korea, and Tsai Jui-yueh stayed almost locked up in Taiwan. The 1930s, when popular culture was formed in the colonies, was called the “era of dance,” and since then, it has continued in turn the “era of war” and “era of cold war” in East Asia. In the process of doing so, the original “Love Song” became a “Song of Soldiers” and became an “Anti-Communist Song” again. Where did the “Youth” go, imagining a beautiful future, which was filled with romance in colonial times? They were sucked into the ‘modernized power’ of the nation state.