- 期刊
We Must Be Unique, We Must Be Modern: Dance in Korea During Japanese Colonization
我們一定要獨樹一格、我們一定要現代化：日本殖民時期的韓國舞蹈發展
摘要
日本殖民時期的暴虐統治對於韓國所造成的衝擊是眾所皆知的。禁止使用韓文、明定取日文名字、以及對日本官員失敬即受嚴重處罰等，只是其中幾項被廣為記載的歷史紀錄。但是殖民時期關於舞蹈的政令和規範，以及這些政令規章和和隨後的舞蹈發展之間的關餘，卻鮮為人知。這份報告的目的是在於經由審查一個個體和一個制度化的規範，來突顯出日本殖民對於南韓舞蹈所造成衝擊，其錯綜複雜的本質。經由檢視韓國舞者崔承喜的優異作品，我們可以看得出來，在韓國上演的舞蹈作品在本質上都深受來自日本的影響。崔承喜原本受到日本舞者石井漠的鼓勵，立志學習西方舞蹈，但是他後來又勸告她轉回到她的韓國文化傳承。她曾經短暫地追隨一位韓國舞蹈大師，而這引領了她發展出一種新的舞蹈形式，為今日仍在持續進行中的實驗性舞蹈奠定了根基。但是有些問題仍然令人百思不解。為什麼崔承喜會被鼓勵去追本溯源？在美日關係劍拔弩張，戰爭勢在爆發之際，為什麼她竟然會被允許，甚或被鼓勵，到美國去展開大規模的巡迴表演？在美國，有關她身為間諜的傳聞屬實嗎？在她藝術事業的背後，是否有可能隱藏著日本的政治因素？審視韓國的國家寶藏系統( National Treasure System)，我們不難看出這個志在保存傳統習俗、靈感源、自日本的組織，是如何維繫著歷史，讓韓國在全球不斷同化的過程中，還能保有自己的文化特色。韓國人是否為了自保，從而屈於或者順應時勢，建立了一個仿傚日本殖民者模式的體系？二十世紀末南韓的經濟起飛，以及南韓政府開始將政策重心放在全球化之上，都是南韓急遽現代化的首要因素。然而，韓國在同時也一直堅持著自己「我們的國家」立場，追求一個獨特、無比韓國的風貌。這導致了今日由一種雙重個性衍生而出的社會張力：一個越來越被同化的現代個性，以及一個清晰的韓國民族性；從今日的韓國舞蹈可以看見這個雙重性。我們沒有辦法總是判斷得出個人動機和建民地化之間的關聯為何，而且我們也無從得知如可果當初日本沒有殖民韓國，會是什麼光景。然而，我們可以很清楚地看出，在1910年到1945年間的政策和發生的事件對於韓國舞蹈的發展影響深遠，而舞蹈的發展則衝擊著目前韓國追求獨樹一格和現代化的努力。
關鍵字
無資料並列摘要
The oppressive impact of Japanese colonization on Korea is widely known. Prohibitions on using the Korean language, mandates to take Japanese names, and the painful repercussions of not honoring Japanese leaders are only some of the things that have been extensively documented. But the impact of policies and practices during the colonial era on dance, and the relationships of these policies and practices to subsequent developments in dance, are areas that have been little explored. The purpose of this paper is to examine one individual and one institutionalized practice to foreground the complex nature of the impact of Japanese colonization on dance in South Korea. An examination of selected activities of Korean dancer Chloe Sung-hui suggests a Japanese contribution to significant changes in the very nature of dance performed in Korea. Initially inspired to study western-style modem dance by Japanese dancer Ishii Baku, Chloe was subsequently urged by him to return to her Korean heritage. Her brief study with a Korean dance master subsequently led to her interest in developing a new kind of dance, laying the groundwork for experimentation that continues today. But intriguing questions remain. Why was Chloe encouraged to go back to her Korean roots? Why was she allowed, perhaps even encouraged, to undertake an extensive performing tour of the United States at a time when politics were heating up to the point where Japan and the US would enter a world war? Was a US report that she may have been a spy valid? Is it possible there may have been Japanese political motivations behind her artistic undertakings? An examination of Korea's National Treasure System shows how this Japanese-inspired system for perpetuating traditional practices has contributed to maintaining the past in the present, sustaining a distinctive identity in an ever-homogenizing world. Were the Koreans capitulating, or exercising agency in adapting, for their own ends, a system modeled after that of their Japanese colonizer? South Korea's economic boom at the end of the twentieth century, as well as government policies that began to focus on globalization, contributed to rapid modernization. At the same time, however, Korea continued to maintain its ＂our country＂ stance, a stance that sought a distinctive, uniquely Korean face. This has resulted today in a tension that revolves around a dual identity: a modem identity that is becoming increasingly homogenized, and a clearly Korean identity; a dual identity that can be seen in dance in Korea today. Links between individual motivations and colonization cannot always be determined, and it is impossible to know what might have happened if colonization had not occurred. It is clear, however, that policies and events of the 1910 to 1945 period contributed in important ways to developments in dance, developments that have impacted current efforts to be both unique and modem.