朝鲜的舞蹈与意识形态:曹氏Sŭnghŭi与她对批评的回应

IF 0.3 0 ASIAN STUDIES European Journal of Korean Studies Pub Date : 2022-04-01 DOI:10.33526/ejks.20222102.1
Keith Howard
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引用次数: 0

摘要

曹氏Sŭnghŭi (J. Sai Shōki)是20世纪最著名的舞蹈家。在20世纪30年代,她为韩国、日本等城市的新舞台设计了一套舞蹈,展示了来自韩国传统的元素,尤其是民间舞蹈(minsok muyong)。1946年,在太平洋战争结束后朝鲜半岛分裂后,她搬到了平壤,在那里她的舞蹈成为朝鲜“民族”舞蹈的基础。她声名鹊起,直到1957年,她和她的丈夫麦安一起被指责为资产阶级。她被剥夺了最高人民会议的席位。choe的经历揭示了朝鲜在意识形态控制下是如何建立民族舞蹈的。但她的故事还有另一面:1957年和1958年,在回应批评时,她采取了一种狭隘的方式。她抵制控制和传递的机制——后来被称为“文学艺术理论”(munye iron)——这决定了她的命运。虽然她的名字暂时得到了缓刑,但在20世纪60年代初,她的名字从朝鲜的节目以及报纸和杂志上关于舞蹈的报道中完全消失了,几年后她就去世了。
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Dance and Ideology in North Korea: Ch’oe Sŭnghŭi and Her Response to Criticism
Ch’oe Sŭnghŭi (J. Sai Shōki) was the most celebrated Korean dancer of the twentieth century. In the 1930s, she developed a set of dances for the new stages of urban Korea, Japan, and beyond that showcased elements taken from Korean tradition, particularly from “folk” dances (minsok muyong). In 1946, after Korea’s division at the end of the Pacific War, she moved to Pyongyang, where her dances became the foundations of North Korea’s “national” dances (minjok muyong). She rose to prominence, until in 1957, together with her husband An Mak, she was attacked for being bourgeois. She was stripped of her seat on the Supreme People’s Assembly. Ch’oe’s experience shines light on how national dances were established as ideological control was rolled out in North Korea. But there is a second side to her story: in 1957 and 1958, in her response to criticism, she adopted a blinkered approach. She resisted control and the mechanism—later known as “literary art theory” (munye iron)—of its delivery, and this sealed her fate. Although tempo- rarily reprieved, her name disappeared completely from North Korean programs and from newspaper and journal accounts about dance in the early 1960s, and within a few years she was dead.
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