@article{ART003055251},
author={Back Hyun Mi},
title={Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era},
journal={Journal of Popular Narrative},
issn={1738-3188},
year={2024},
volume={30},
number={1},
pages={139-181},
doi={10.18856/jpn.2024.30.1.005}
TY - JOUR
AU - Back Hyun Mi
TI - Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era
JO - Journal of Popular Narrative
PY - 2024
VL - 30
IS - 1
PB - The Association of Popular Narrative
SP - 139
EP - 181
SN - 1738-3188
AB - 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. , , 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, suggests the sense of life required in the New System Era through the image of a working girl and cooperative children. 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, 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.
KW - Toho National Theater;Takarazuka Kageki Dan;Lamila Gaguk-dan;Seo Hang Suk;;;;;
DO - 10.18856/jpn.2024.30.1.005
ER -
Back Hyun Mi. (2024). Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era. Journal of Popular Narrative, 30(1), 139-181.
Back Hyun Mi. 2024, "Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era", Journal of Popular Narrative, vol.30, no.1 pp.139-181. Available from: doi:10.18856/jpn.2024.30.1.005
Back Hyun Mi "Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era" Journal of Popular Narrative 30.1 pp.139-181 (2024) : 139.
Back Hyun Mi. Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era. 2024; 30(1), 139-181. Available from: doi:10.18856/jpn.2024.30.1.005
Back Hyun Mi. "Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era" Journal of Popular Narrative 30, no.1 (2024) : 139-181.doi: 10.18856/jpn.2024.30.1.005
Back Hyun Mi. Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era. Journal of Popular Narrative, 30(1), 139-181. doi: 10.18856/jpn.2024.30.1.005
Back Hyun Mi. Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era. Journal of Popular Narrative. 2024; 30(1) 139-181. doi: 10.18856/jpn.2024.30.1.005
Back Hyun Mi. Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era. 2024; 30(1), 139-181. Available from: doi:10.18856/jpn.2024.30.1.005
Back Hyun Mi. "Travelling of Gaguk-dans and Representation of Joseon and Shina during the New System Era" Journal of Popular Narrative 30, no.1 (2024) : 139-181.doi: 10.18856/jpn.2024.30.1.005