영문초록
This study was aimed at considering how Chosun dance created by dancer Choi Seung-hee(崔承喜, 1911-1969) born in colonial Chosun had been changed and discussed in a relation with cultural power of imperial Japan. In order to do that, the author classified three periods as the initial stage(1926-1933): Modern dancer Choi in the colonial era of Chosun, the secondary stage(1933-1937): Choi`s Chosun dance and acceptance phase in imperial Japan and the third stage(1937-1945): an alternative Pan-Asianism surrounding dancer Choi in the East and discussed them concretely. Choi was not received well in the early of her debut in Chosun as modern dancer, however, since 1933 she succeeded with a new concept ``Chosun dance`` in Japan, and throughout successful performances in United States, which let her be a dancer representing the whole East beyond colonial Chosun and imperial Japan and a dancer capable to compete with Western art. She could stand her ground firmly with cultural expansion of imperial Japan. In the middle and later of 1930s, Choi`s Chosun dance showed native culture of colonial Chosun but in 1940s after long run performances in Western countries, she could be represented as Eastern culture responding to the West through Eastern dance as beyond modern times as well as an Eastern dancer expressing the East as the anti-western space. Chosun dance which was a base for Choi`s performing art, however, was doubly isolated by Western Orientalism and alternative Pan-Asianism of imperial Japan. At the same time, it was expanded and changed as so called Eastern dance. That is, Choi sought Eastern dance based on Chosun dance but what was expected to Choi was ``Japanese Eastern dance``. In this process, cultural dilemma was revealed. Choi`s Chosun dance was reorganized by standing for ``local-orient-alternative`` by mixture and
분야
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