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The short Insight into the Constructions of Genre and Gender of the Korean Migrant Artists

Yun Shin-Hyang 1

1숙명여자대학교

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ABSTRACT

The purpose of this study is to illustrate how the works of the korean migrant artists relate to the migrant community. So the study examines how the representative artists Isang Yun, Nam June Paik, Younghi Pagh-Paan make up the poem, image, and the music theater. As the theoretical basis the dispersion of the language, the aesthetics of absence, and the relationship between genre and gender are outlined. The main chapter focuses on the characteristic of the production of the chorus in the Widow of Butterfly (1968) by Yun, the Electronic Opera (1969-1972) series of Paik, which was conceptualized at the similar time like the production time of Moon is the oldest TV (1965-1976), and the Nun (1979) based on the Korean poem by Pagh-Paan. The three artists mediate or display the migrant society in different ways. The old chinese poem of Ma Chi Yuan ‘Hundred years light and shadow’, where the chorus is sung behind the veil curtain in the beginning and in the end in the Widow of Butterfly of Yun, mediates the Far-East culture narrative. This is absent for the Western audience. The construction of the music theater of Yun relates with the cultural-ecological structure of the korean migrant community. Yun and migrant community share the ‘gender identity’. Nam June Paik, who had a poetic mind in the sense of the symbolism, tried to express the resistance against the Western modern music genre through the Moon is the oldest TV series (1965-1972), and through the Electronic Opera series (1969-1972). The process of the ‘embodiment of technology’ by the TV- 186 exhibition of Paik projects the hybrid ‘gender identity’ of the Korean modern art which visualized the Korean traditional sound. Y ounghi Pagh-Paan materialized the key words from the Korean poem Sol Ya of Kwang-Kyun Kim in the Nun (1979) for avantgarde sound. This is characterized with the appearance of the letter signs of the poem in the music note system: ‘追悔’ (memory), ‘哀喪’ (white cloth), ‘흰 눈’ (white snow) ‘눈’ (snow). This letter signs display the mother language of the composer which is unheared voice to the Western audience. The voice of the lyric in the her early or middle period transfers to the voice of the chamber opera Moon Shadow (2002/2005). The ‘heart of the poem’ by Pagh-Paan includes the space of the musical symbiotism, ‘between zones’ (intersection) as well as ‘between genre’ (intergenre).

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