• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.833-841
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• 2021

This study was an entertainer who was in charge of female music in the Joseon Dynasty, but the existence of gisaengs, who were recognized as'sexual partners' of the four grandfathers, and the Joseon Dynasty, when their existence was possible. I tried to reveal the social characteristics of Therefore, the research is meaningful in that it attempted to reveal the relationship between the grandfather and the gisaeng from various perspectives, and that it is possible to confirm the various social roles of the gisaeng. In the Confucian society, female musicians were not allowed to participate in Naeyeon and Chinjamrye, where women were the main pillars, so not only could the girl's music survive until the end of the Joseon Dynasty, but it was enough to reveal the existence of a professional artist. The existence of gisaengs is not irrelevant to the social background of the Joseon Dynasty, and therefore, it is impossible to define the Joseon Dynasty with the holy morality of modern society. It is believed that 『catching green onions is expected to enhance the aspect of a gisaeng as a celebrity, based on the interpretation that it is viewed from the perspective of an entertainer possessing an extraordinary and noble spirit rather than portraying the gisaeng in an erotic standard.

• 지역과문화
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• v.6 no.3
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• pp.29-53
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• 2019

Korean traditional women artists are placed in dual suffering from unequal rights in terms of gender and misrecognition endowed by historical legacy. There has been no clear cut definition but interchangeable adoption of various terms such as Yeo-ak, Yeo-gi, and Gisaeng even in the study of music theory and history itself. Study on female musician has been mostly performed on the basis of music theory and history so that one sided discourse on female traditional artist has survived and aggravated its connotation during the colonial ages and modernization. Envisioning traditional female artist as instrumentalizing their body and status as artist resulted in crucifying victims of sexual harassment is one recent example. This study is an attempt to collect knowledge on the various layers of discourse about the status and role of female traditional artist. This is a first stage of analysis covering the period Joseon dynasty where original and official records regarding female traditional artists remains until today. The findings are that policy discourse are to be classified as politico-ideological layer, music theoretical layer, and socio-political layer. It is to be clarified in the future which layer has the most sustaining influence to the present and why.