日中戦争期における植民地出身の舞踊家―崔承喜、蔡瑞月、李彩娥 (The Dancers from the Colonial Countries during the Sino-Japanese War―Choe Seung-hui, Tsai Rui-yueh, and Lee Tsia-Oe)

서지정보

· 발행기관 : 열상고전연구회
· 수록지 정보 : 열상고전연구 / 47호 / 455 ~ 476페이지
· 저자명 : 星野幸代

초록

日中戦争期、中国は解放区、国統区、淪陥区に分けられ、その夫々で様々なプロパガンダ合戦が見られた。淪陥区では、日本軍の娯楽と士気高揚を主な目的としつつ、舞踊によって「大東亜」共栄圏の思想を広める意図も見られる。日本人舞踊家だけでなく、植民地であった朝鮮の崔承喜、台湾の蔡瑞月、李彩娥といった植民地の舞踊家がこの「慰問舞踊」に加わっていた。帝国日本の「同胞」の名目ながらも国内外で踊ることは、彼女達にとって台湾․朝鮮の民族性をアピ―ルするための戦略でもあった。戦後、これらの舞踊家達は故国にモダン․ダンスを普及させた。反面、朝鮮の南北分断、台湾の白色テロといった政変の中で、帝国日本で学んだ舞踊は彼女達が抑圧される要因となった。

영어초록

During the Sino-Japanese war, Mainland China was divided into three areas, that is, "Liberated Region", "enemy-occupied Area" and the "National Party-ruled Area", and in each area both side of the war used propaganda to shape the opinions of the people.
In enemy-occupied Area" Japanese dancers organized dance companies and performed to entertain the Japanese Army or artisans working in munition factories and to spread "Five Races under One Union", which was a national polity in Manchuria, among the occupied Chinese people. Therefore, they danced traditional Chinese, Taiwanese and Korean dances as well as traditional Japanese dance and German modern dance to military song. It is worthy of notice that colonized Taiwanese and Korean dancers participated in those Japanese companies. This study examines how propaganda took advantage of dancers during the Sino-Japanese War and focuses on three dancers: Choe Seung-hui, Tsai Rui-yueh, and Lee Tsia-Oe. On the contrary, that was a kind of tactic for them to pass the ethnic culture of their own through dancing at the dance company of "the Empire Japan". After the war these Taiwanese and Korean dancers have contributed to make the modern dance become popular in their country. However, in the political changes by the Korean War and the White Terror in Taiwan, some dancers were suppressed because of their “cooperation with Japanese imperialism.

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