Dynamic Korea on Display: Commodification of Tradition in Performances for Tourists

• In Event: 227. “Koreanness” on Display: From the Museum to the Musical Stage

Abstract

Foreign tourists to Hanoi must see water puppets, in Beijing the eponymous opera, and in Bali the gamelan orchestra. The Republic of Korea, only recently emerging as a tourist destination, has struggled to similarly brand one type of performance as, beyond doubt, a necessary part of a local cultural tour. Instead of copying the above model and convincing tourists to see a "traditional" or "authentic" cultural form (albeit of a duration and in a location that draws tourists), in Korea audiences are offered shows that rely on quick pacing, driving beats, and unchallengingly simple storylines. These performances, although promoted as Korean tradition, often conflate different time periods, regional styles, traditionally "high" and "low" forms, and mix in modern and non-Korean elements. Cloaking themselves in a mantle of "Koreanness", they are more concerned with the creation of an exciting and attractive product than accurate demonstration of Korea arts. This paper examines the appropriation and commodification of Korean tradition within the context of these different performances marketed to tourists, particularly focusing on three productions that are regularly shown at tourist venues: "The Queen's Banquet," "Youll," and "Korea: Sim Cheong." Observation and audience interviews show that tourists are satisfied with the results. However, the productions seem to be leveraging the tourists' desire to see a Korean performance, but stray far from the original source material without disclosure. In these shows, heritage arts give way to a spectacular concept of “Koreanness” consistent with governmental assumptions that tradition must be updated to be approachable.

Author

• CedarBough T. Saeji, University of British Columbia