관광과 기생 －‘전통예술’의 성립에 관한 일 고찰－ (Tour and Gisaeng －A Study on the constitution of ‘traditional art’－)

서지정보

· 발행기관 : 국립민속박물관
· 수록지 정보 : 민속학연구 / 25호 / 77 ~ 96페이지
· 저자명 : 정수진

초록

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.

영어초록

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.

참고자료

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