최승희와 안막의 예술적 상관관계에 관한 고찰

Abstract

Choi Seung-hee, a talented performing artist, and her husband Ahn-mak were ignored as pro-Japanese colonialism artists, communist performing artists, and proletariat writers. However, they have been re-examined since their invocation ceremony held in 2003 at Anseong, the birthplace of Mr. Ahn. Especially earlier known as a communist writer, Mr. Ahn’s accomplishments as an art manger have been recently discovered, bringing new attention from the society. To examine the artistic relationship between them, this research visited Mr. Ahn’s birthplace village and investigated the history of Ahn family which turned out to have good literary traditions. Owing to the sophisticated planning and support from the husband, a faithful and excellent guardian behind the scene, Ms. Choi became a world-famous artist, despite the various difficulties in the 1930s. Ms. Choi and Mr. Ahn were good partners to each other, and the combination of her artistic values and his excellent planning made the successful world tour performance beyond the boundary of Japan. This paper also reexamined whether their artistic behaviors went against the sentiment of the Korean people in the context of that time. A new perspective on the artist Choi can reveal that she pioneered a new path in dance history during the transition from traditional to modern society. The accomplishments and legacies they created together should not be undervalued by the current ideological division and should be continuously reviewed through generations.