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This essay examines the shifting identity of Asian diasporal artist, Yoko Ono, by examining her in local and global contexts. As an Asian who received Western education in her early years and actively participated in the international art movement Fluxus, Ono confronted the problems of defining herself in regard to cultures that often viewed her within an ethnic or “native” frame. While she drew on her cultural tradition, the postwar Western avant-garde played a major role in shaping Ono’s work. Always considered as a cultural Other in the West, she was also seen as such “at home”. Investigating the cultural and historical contexts for her performance Cut Piece in Japan, New York, and London, this essay investigates the meanings of Asian female body in performance art.
Staged five times by Yoko Ono between 1964 and 1966, Cut Piece has been interpreted in a variety of ways including an exploration of sadism/masochism and violence/victimization. It has also been discussed in terms of feminist discourses on the female body and the male gaze. Rarely. examined in this famous event is the function of social, cultural, national, and ethnic contexts in the audience response to Ono’s performance. From sacred prostitution cults of Kumano bikuni to the sexual component of the Western avant-garde, Ono’s performance is emblematic of the role that Asian bodies played in the crucial years of performance art.
Covering broad geographical venues such as Kyoto, Tokyo, New York, and London, Cut Piece suggested an intricate framing of the abrasion between different cultures, contexts, and genders. This paper attempts to reconstruct Cut Piece in its Japanese and Western stagings by delving into the social and cultural context of early 60s Japan and the West. In so doing, I argue that the Japanese staging of Cut Piece was part of Ono’s strategy to establish herself as an avant-garde artist not only in Japan but also in the West, which became the later venue for Cut Piece. Making use of her idiosyncratic position of dual identity: Japanese artist in the West and New York avant-gardist in Japan, Ono played an “exotic body” in both settings. Cut Piece fed into their respective expectations, a yearning to see the “Other” unveiled. Cut Piece, in this context, claims its pivotal position in Ono’s oeuvre regarding the issue of “otherness” in two different cultures. Her shifting identity challenges the seemingly stable disjunction of East and West by oscillating between these essentialisms. In this context, I argue that Ono’s art challenges the Orientalist perspective on Asian women artists in the West, and opens up an interface between the rigid binaries of the East and the West.
Staged five times by Yoko Ono between 1964 and 1966, Cut Piece has been interpreted in a variety of ways including an exploration of sadism/masochism and violence/victimization. It has also been discussed in terms of feminist discourses on the female body and the male gaze. Rarely. examined in this famous event is the function of social, cultural, national, and ethnic contexts in the audience response to Ono’s performance. From sacred prostitution cults of Kumano bikuni to the sexual component of the Western avant-garde, Ono’s performance is emblematic of the role that Asian bodies played in the crucial years of performance art.
Covering broad geographical venues such as Kyoto, Tokyo, New York, and London, Cut Piece suggested an intricate framing of the abrasion between different cultures, contexts, and genders. This paper attempts to reconstruct Cut Piece in its Japanese and Western stagings by delving into the social and cultural context of early 60s Japan and the West. In so doing, I argue that the Japanese staging of Cut Piece was part of Ono’s strategy to establish herself as an avant-garde artist not only in Japan but also in the West, which became the later venue for Cut Piece. Making use of her idiosyncratic position of dual identity: Japanese artist in the West and New York avant-gardist in Japan, Ono played an “exotic body” in both settings. Cut Piece fed into their respective expectations, a yearning to see the “Other” unveiled. Cut Piece, in this context, claims its pivotal position in Ono’s oeuvre regarding the issue of “otherness” in two different cultures. Her shifting identity challenges the seemingly stable disjunction of East and West by oscillating between these essentialisms. In this context, I argue that Ono’s art challenges the Orientalist perspective on Asian women artists in the West, and opens up an interface between the rigid binaries of the East and the West.
목차
Ⅰ. 서언
Ⅱ. 오노와 전기 플럭서스(Proto-Fluxus)
Ⅲ. 〈컷 피스〉의 무대들
Ⅳ. 타자의 역할
Ⅴ. 결언
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