SsingSsing DanceDance: Playing on Gender in Korea’s 21st Century Traditional Performing Arts

Jocelyn Clark
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引用次数: 2

Abstract

Gender identity would seem to be more settled in the world of traditional Korean music and dance than in any other corner of the world of performing arts. Classical gagok songs are divided into female and male repertoires, and women and men both dress in the gendered costumes of the Joseon Dynasty (hanbok) as they perform ultimate expressions of Korean moral rectitude—the story of the faithful wife, the filial daughter, the benevolent brother, the loyal minister. But a closer look reveals that gender roles in the old forms are not quite so fixed. This is particularly true, and increasingly so, in Korea’s traditional folk genres. Internationally renowned crossdressing Geonggi Folksong (minyo) singer Lee Hee-moon, with his various ensembles, including SsingSsing, is but one of many Korean artists playing with the eum (yin) and yang of gender in their performances of traditional arts today. Among Lee’s mentors and collaborators, the traditional/avant-garde Korean dancer and choreographer Ahn Eun-Me is composing, choreographing, and performing irreverent and transporting works that, through movement, makeup, and continuous exchange of costumes, seek to redefine Korean gender ideals. Both Lee and Ahn point to Korea’s roots in shamanic ritual, in which shamans channel and embody both male and female gods and spirits, as a source of inspiration for their work. This article looks at modern performances by Lee Hee-Moon, SsingSsing, and Ahn Eun-me, exploring the ways these artists are breaking down old notions of gender while carrying forward into a digital space dominated by the popular genres of the Korean Wave their updated renderings of traditional Korean music and dance. ARTICLE HISTORY Received March 23, 2019 Revised May 18, 2019 Accepted May 25, 2019
歌唱舞蹈:21世纪韩国传统表演艺术中的性别扮演
在韩国传统音乐和舞蹈的世界里,性别认同似乎比在表演艺术界的任何其他角落都更加固定。古典民歌分为女性和男性两种,男女都穿着朝鲜时代的性别服装(韩服),表演韩国道德正直的终极表达——忠贞的妻子、孝顺的女儿、仁慈的兄弟、忠诚的大臣的故事。但仔细观察就会发现,旧形式的性别角色并不是那么固定。这一点在韩国传统的民间流派中尤其如此,而且越来越明显。在国际上享有盛名的京畿民谣歌手李熙文(音译)在传统艺术的表演中,以性别的阴和阳进行表演,而他的“sing sing”等各种组合只是其中之一。在李的导师和合作者中,传统/前卫的韩国舞蹈家和编舞家安恩美(Ahn Eun-Me)正在作曲、编舞和表演不敬和传递的作品,通过动作、化妆和服装的不断交换,试图重新定义韩国的性别理想。李和安都指出,韩国的根源在于萨满仪式,在萨满仪式中,萨满与男性和女性的神和灵魂沟通并体现出来,这是他们工作的灵感来源。本文着眼于李熙文、sing sing sing和Ahn Eun-me的现代表演,探索这些艺术家如何打破旧的性别观念,同时将他们对传统韩国音乐和舞蹈的更新演绎带入韩流流行流派主导的数字空间。文章历史收稿日期2019年3月23日修改日期2019年5月18日接受日期2019年5月25日
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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