지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Kisaeng(기생) was the professional performer on music, dance and drama in the 20th century. They are not prostitutes in modern era. Nevertheless, the body of Kisaeng was noticed as prostitutes by the police force related to Japan since the early the 1900s. And Kisaeng was governed as Chakbu in Japanese colonial law from 1916. Furthermore Japanese colonial police prohibited performing of many Kisaeng organizations in 1918, tried to aim at tax about their income before the 1920s, and carried out to merge them into three organizations in 1935. During the first halt of the 20th century Kisaeng had be forced to accept the one-sided forced legally. In this point it could be called they are legal minority.
However, despite the Japanese colonial police force constantly suppressed Kisaeng, they had many opportunities to social success in performing arts world on popular culture. Kisaeng not only maintained or developed the tradition of music and dance but also experimentally and creatively performed new works and even drama which was not permitted to them ever. For example they performed the prohibited works for women (mask dance, funeral performance, drama with reality and etc.) Moreover, new style of performances (revue, dance, Engka songs, etc.) were accepted by Kisaeng. From 1902 to the mid-1930s their talents and performances were the focus of the public capital in popular culture. The size of the capital expanded, their success were as much. These were the foundation of resistance of Kisaeng to Japanese colonial police force and social limits.
However, it was not always guaranteed to achieve for Kisaengs in the performing arts world. Kisaeng had to take advantage of their organizations. Although Kisaeng organization became a unit of exploitation of the Japanese government, it used to be mediate the conflict between legal oppression and social success. And recording companies encouraged them to develop their individualities. So it is not easy to say Kisaeng would be minority. As above it is right that Kisaeng would be the weak legally. On the contrast in so far as they had led popular culture, they wouldn’t be understood as a social minority. It could be said that they are unidentifiable minority.
However, despite the Japanese colonial police force constantly suppressed Kisaeng, they had many opportunities to social success in performing arts world on popular culture. Kisaeng not only maintained or developed the tradition of music and dance but also experimentally and creatively performed new works and even drama which was not permitted to them ever. For example they performed the prohibited works for women (mask dance, funeral performance, drama with reality and etc.) Moreover, new style of performances (revue, dance, Engka songs, etc.) were accepted by Kisaeng. From 1902 to the mid-1930s their talents and performances were the focus of the public capital in popular culture. The size of the capital expanded, their success were as much. These were the foundation of resistance of Kisaeng to Japanese colonial police force and social limits.
However, it was not always guaranteed to achieve for Kisaengs in the performing arts world. Kisaeng had to take advantage of their organizations. Although Kisaeng organization became a unit of exploitation of the Japanese government, it used to be mediate the conflict between legal oppression and social success. And recording companies encouraged them to develop their individualities. So it is not easy to say Kisaeng would be minority. As above it is right that Kisaeng would be the weak legally. On the contrast in so far as they had led popular culture, they wouldn’t be understood as a social minority. It could be said that they are unidentifiable minority.
목차
Ⅰ. 머리말
Ⅱ. 식민지 경찰 권력-기생에 대한 제도적 강제
Ⅲ. 문화산업-기생의 도전과 기여
Ⅳ. 기생조합-강제적 제도와 창조적 역량 간의 조정
Ⅴ. 맺음말
참고문헌
ABSTRACT
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UCI(KEPA) : I410-ECN-0101-2015-910-001317151