Presenting Soviet Korean Identity in a Multicultural Society: Activities of Korean Kolkhoz Politotdel's Ensemble Cheongchun in Uzbekistan during the 1970s and 1980s

Abstract

This study explores the overview of Soviet Koreans' performing arts activities in Uzbekistan, with a particular focus on the activities of the Soviet Korean kolkhoz Politotdel's ensemble Cheongchun during the 1970s and 1980s. It aims to clarify the roles and implications of the ensemble in a multicultural society. Since the late 1950s, the Soviet Korean kolkhozes, including Politotdel in the Chirchiq district of the Tashkent oblast, Uzbekistan, have experienced remarkable economic growth. In the cultural milieu of the Korean people, dance and music were inherently intertwined, occupying a significant position. Initially established as a vocal‐instrumental ensemble, Cheongchun always integrated dance and music in its presentations, with dance performances playing a crucial role. An official dance troupe was formed in 1976, and in 1984, it was merged with the ensemble Gayageum. Artistic director and dance teacher Jeong‐wook Hwang (1940–), who studied dance in Pyeongyang, Moscow, and Tashkent, made significant contributions to fostering exchanges with North Korean dancers and actively incorporating Seung‐hee Choi's North Korean dance elements. Cheongchun has played a pivotal role in promoting Korean dance and music not only in Uzbekistan but also across the entire Soviet Union and the United States, thereby visualizing the identity and positive image of Soviet Koreans as exemplary citizens in a multicultural society.