Korean Theater in Kazakhstan as a Cultural Hub of the Diaspora
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For Soviet Koreans the Korean theater, founded by amateur groups in Vladivostok, became the embodiment of ethnic art, literature, music, dance and costume. After its deportation, the theater worked in Kyzyl-Orda (1937–41; 1959–68) and Ushtobe (1942–59). It moved to Alma-Ata in 1966 and has been based there ever since. For over 85 years, the Korean theater has been maintaining and promoting national culture among not only the Korean diaspora but also the diverse ethnic populations of the Soviet Union. The promoting the cultural interests of the country of origin in a multiethnic environment. This means that the theater’s mission regarding Koreans in the former Soviet Union and the Commonwealth of Independent States (CIS) was and still is twofold: “diaspora building” and “Diaspora intergration.” The recent challenges and trends faced by this unique diasporic theater demands a synergy between the Korean diaspora and its ethnic motherland’s efforts.
Abstract
For Soviet Koreans the Korean theater, founded by amateur groups in Vladivostok, became the embodiment of ethnic art, literature, music, dance and costume. After its deportation, the theater worked in Kyzyl-Orda (1937–41; 1959–68) and Ushtobe (1942–59). It moved to Alma-Ata in 1966 and has been based there ever since. For over 85 years, the Korean theater has been maintaining and promoting national culture among not only the Korean diaspora but also the diverse ethnic populations of the Soviet Union. The promoting the cultural interests of the country of origin in a multiethnic environment. This means that the theater’s mission regarding Koreans in the former Soviet Union and the Commonwealth of Independent States (CIS) was and still is twofold: “diaspora building” and “Diaspora intergration.” The recent challenges and trends faced by this unique diasporic theater demands a synergy between the Korean diaspora and its ethnic motherland’s efforts.
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