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Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era

  • Journal of Popular Narrative
  • 2024, 30(1), pp.139-181
  • DOI : 10.18856/jpn.2024.30.1.005
  • Publisher : The Association of Popular Narrative
  • Research Area : Interdisciplinary Studies > Interdisciplinary Research
  • Received : January 11, 2024
  • Accepted : February 19, 2024
  • Published : February 28, 2024

Back Hyun Mi 1

1전남대학교

Accredited

ABSTRACT

The purpose of this paper is to examine the ethnic(regional) representations presented by performance troupes in Joseon(朝鮮) and to identify the ways in which these representations were aligned with the demands of Japanese imperialism national policy during the New System Era(新體制期, 1940-1945) when circulation across the East Asian bloc was encouraged or compelled, The national propaganda plays under the name of ‘Toho National Theater’ or ‘East Asian Public Series’ performed by Japan's Toho Dance Company and Takarazuka Kageki Dan, included a significant number of East Asia representations. Using selectively appropriated ethnic symbols as the medium of audiovisual representation, these national propaganda plays had the effect of displaying the status of imperial Japan as the subject of representation. The two Japanese performance troupes performed on a large scale in Joseon, twice each (Toho Dance Company in 1940 and 1941, and Takarazukaga Kageki Dan in 1942 and 1943). Joseon gaguk-dans, which frequently performed in Japan and Manchuria, also dramatized ethnic(regional) narratives in music drama. <Kong-Jwi and Pat-Jwi>, <Gyeonu and Jiknyeo>, <Eun Ha-su> performed by Lamila Gaguk-dan and Bando Gaguk-dan, reproducing the ideology of the Great East Asian Communism by adopting stories widely shared in Asia while emphasizing Joseon's locality. In particular, <Kong-Jwi and Pat-Jwi> suggests the sense of life required in the New System Era through the image of a working girl and cooperative children. <Gyeonu and Jiknyeo> portrays Gyeonu and Jiknyeo as Japanese images of the ‘the rising sun’ and ‘heavenly nymphs,’ creating the effect of representing Japan as the center of pan-Asia. On the other hand, <Mulan> <Mengjiangnü> by Ioseon Akguk-dan and Bando Gaguk-dan, revisited the tale of Shina(支那), creating the image of a female soldier on the battlefield and a virtuous woman, suggesting the image of women serving in the construction of a national defense.

Citation status

* References for papers published after 2022 are currently being built.

This paper was written with support from the National Research Foundation of Korea.