관광과 기생 －‘전통예술’의 성립에 관한 일 고찰－
Tour and Gisaeng －A Study on the constitution of ‘traditional art’－
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The aim of this paper is to investigate the process that korean 'traditional art' constituted as a aspect of transnational cultural flow. Especially, I try to examine how the mass-tourism boom since colonial period, intervened in that process. In that period Gisaeng became just the center of public interest according to increase of tourism development and the representative image of Chosun in the mass-tourism boom. The photos and images of Gisaeng were widely distributed by mass media. On the scene of tourism they entered as heroines of performance and entertainment. But, they were objectified all the way for men's enjoying and sexual partner, so that their art was nothing else than a mark of their commercial value. None the less the mass-tourism had an effect to constitute the field of korean art. The number of Gisaeng was increased day after day and they organized with meeting and parting. Any association set up the training program of art, and the famous singers and dancers participated in that program. The public stage became narrower for them, but they contributed diverse local sing and dance to change and recreate for the public stage. The field of korean art was constituted by them and their students Gisaeng with assistance of mass media for the first time. In 1960th, the tourism was risen to the surface of the state's important policies once again. The laws and orders were legislated for the detention of international tourists, and the traditional culture was recognized as public means for it actively. At this point the women artists appeared again on the stage for foreigner. After the Liberation Gisaeng maintained their life with the classical opera. But now they were dispatched to 'International Folk-art Festival' and world Exhibition, etc., with not classical opera but sing and dance, which they learned in the colonial period. At the same time the sing and dance were designated to the intangible cultural property, and the women artist was listed as their holder.
Abstract
The aim of this paper is to investigate the process that korean 'traditional art' constituted as a aspect of transnational cultural flow. Especially, I try to examine how the mass-tourism boom since colonial period, intervened in that process. In that period Gisaeng became just the center of public interest according to increase of tourism development and the representative image of Chosun in the mass-tourism boom. The photos and images of Gisaeng were widely distributed by mass media. On the scene of tourism they entered as heroines of performance and entertainment. But, they were objectified all the way for men's enjoying and sexual partner, so that their art was nothing else than a mark of their commercial value. None the less the mass-tourism had an effect to constitute the field of korean art. The number of Gisaeng was increased day after day and they organized with meeting and parting. Any association set up the training program of art, and the famous singers and dancers participated in that program. The public stage became narrower for them, but they contributed diverse local sing and dance to change and recreate for the public stage. The field of korean art was constituted by them and their students Gisaeng with assistance of mass media for the first time. In 1960th, the tourism was risen to the surface of the state's important policies once again. The laws and orders were legislated for the detention of international tourists, and the traditional culture was recognized as public means for it actively. At this point the women artists appeared again on the stage for foreigner. After the Liberation Gisaeng maintained their life with the classical opera. But now they were dispatched to 'International Folk-art Festival' and world Exhibition, etc., with not classical opera but sing and dance, which they learned in the colonial period. At the same time the sing and dance were designated to the intangible cultural property, and the women artist was listed as their holder.
참고문헌 (45)
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