한국음악사에서 여성예술과 여성예술인의 개념

Abstract

It can be said that there were no ‘women art’ or ‘women artists’ in the history of Korean performing arts (including music history). This is a typical situation where there is a past but no history. Typically, the existence of a ‘physical woman’ who has achieved success in a patriarchal system may be someone who contributed to the solidification of the patriarchal system. This is because if she rejects the system and wants to live as an independent and active being, she will not be able to succeed in mainstream society. Therefore, the history of women's art, centered on famous (physical) women who have achieved social success through their artistic work, cannot escape the ‘swamp of absence.’ It seems difficult to construct a history of women's art that does not presuppose reflection on the 'social body' of women. Before referring to ‘women artists’, we must first discuss “what is women’s art?” Exploring women artists (especially focusing on narratives of social success as women) that focus only on the physical body (not on social body) without reflection can remain at the 'voyeuristic level'. It is impossible to understand ‘women + art’ without critical consideration of the historical and social background of the gaze of power and institutional discrimination.