최승희의 ‘조선적인 것’과 ‘동양적인 것’

Abstract

The artistic world of Choi Seung-Hee was greatly influenced by Choi Seung-Il and An-Mak who led the art and literature movement of KAPF. However, Choi Seung-Hee did not accept their ideology as they are but pioneered her own art world. During the colonial period, the literary society of Chosun was mainly interested in discovering the “mind of Chosun.” This was primarily dealt in the nationalistic literary group and after the fall of KAPF in 1935, the whole Korean literary society started to discuss the ancient and “chosun-istic” qualities. However, their discussions were limited to being abstract and emotional. When the nationalistic literary group tried to find the special quality of Korea in Sizo (old poems) and to recover the Sadebu culture of the past, Choi Seung-Hee tried to find it in the living culture of the native and common people. Dance in the previous Chosun period was only regarded as the activity of the prostitutes who entertained the Yang-bans (the ruling people of society). However, she developed the Korean traditional dancing as a performing art and established it firmly as a traditional art. Also, for the globalization of the native qualities, she moved around and performed in America, Europe, South America, etc. From the late 30’s, Japan enforced the policy of Ne-Sun-Il-Che (Korea and Japan are one body) and tried to eliminate the spirit of Chosun. Exploration of “Chosun-istic qualities” was characterized by its resistant nationalism, and the exploration of “oriental qualities” supported by Japan during this era was given to aggressive nationalism. Choi-Seung Hee compromised her art with this orientalism, but she actually treated Chosun, Japan, and China equally and found the oriental characteristic by examining the traditional dancing of each country. It is clearly evident in her dancing that she did form some close ties with Japan, but her unique artistic world must be highly rated.