796:. Upon returning to Beijing Choi worked with Chinese Opera performers Mei Lanfang, Han Shichang and Bai Yunsheng to analyze the movement in Chinese Opera as source elements for the development of Chinese classical dance. Chinese dance artist and director of the CAD Dance Ensemble, Chen Jinqing, identified Choi's work as a model for the field of Chinese dance as it took local folk material and elevated it using modern choreographic techniques. In January 1951 The Chinese Ministry of Culture invited Choi to move her dance institute to Beijing. On March 15, 1951, Choi opened her dance academy in Beijing. She was required to add Chinese dances to her curriculum. Her program is credited with introducing a way of categorizing folk dance and classical dance, that was focused on the source of the material and not the age of the material. Folk dances were those that had been performed by often rural peasants, while classical dances were those that built on Chinese Opera movement. This continues to be a major way of classifying dance in China today. She was well known by the Chinese dancers of that time as someone who deeply influenced the way the
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work for the KAPF. At first Ishii was hesitant to admit Choi as his student, as he believed that the Korean public did not appreciate dance and thought that their performance resembled that of a traveling circus instead of a respected troupe. Ishii was reluctant to accept Choi as his student because of how they would be viewed by the Korean and
Japanese public. However, in 1926, he decided to accept her because he thought her addition would encourage a better relationship between Korea and Japan. She was mesmerized by Baku Ishii's performance, especially at his expressions of darkness and torment. Ishii accepted Choi, and even offered to teach her for free and send her to music school. In early 1920s Korea, it was uncommon for a family with conservative Confucian beliefs and ideals to allow for their child to study dance. After Choi gained her parents' reluctant permission, she left for Japan with Ishii, his wife, his sister, and his students on the next day on March 25, 1926.
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choices not only highlighted her artistic expression but also symbolized the broader cultural shifts occurring in Korea during that period, as women began embracing modern styles while navigating the complexities of national identity and modernity. Choi's
Western fashion styles showcased a blend of elegance and modernity, reflecting the fashion trends of the 1930s and 1940s. Her outfits often featured tailored blouses paired with long skirts, emphasizing a sophisticated silhouette. She complimented her ensembles with luxurious fur coats, which added a touch of glamour and warmth. Choi was known for accessorizing with stylish hats, which were popular at the time and served to enhance her chic appearance. Additionally, her choice of pointed-toe shoes added a fashionable edge, emphasizing the elongated lines of her outfits. This combination of Western elements with her unique artistic flair contributed to her status as a fashion icon among the "Modern Girls" of Korea.
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463:(1937–1945). During this time, dance was not only an artistic performance. Choi’s performance played with the boundaries that are limited by language and dialect. Her performances served as carriers of propaganda across the Japanese empire. Choi’s dance career mainly took place during a time of war as she danced from age 16 to her mid-30s. Because of this, her dance career took place under Japanese imperialism and that influenced the treatment she received from authorities in her country, when living both in South and North Korea. Critics debated the use of Choi’s work to spread propaganda and were concerned with how non-Koreans viewed Korea. Such debate was generated as her work made a different socio-political space. She was unlike other dancers because of her identity as a Korean dancer in a Japanese troupe.
313:(chastity) as a more modern practice. Choi was continuously a subject to the public's backlash, as there were several rumors about her committing acts of adultery. Despite Choi’s desire to be recognized for developing new dances in Korea, the Korean society only regarded her as part of the "new woman" trend, setting her against the traditional ideal of women. She was seen as an entertainer in the eyes of many Koreans rather than as a modern artist. Choi did not initially intend to study Korean dance at first, as the Korean society did not hold dance to the esteem of fine art; instead, dance was seen as a lowly form of entertainment associated with the
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450:. Japanese critic, Natsuya Mitsuyoshi also acclaimed Choi's success at her recital in Shanghai in 1943. He described it as a great representation of Asian people looking to form Great Asia under Japanese Rule. Choi performed as a Japanese dancer yet it was believed she sympathized with Korea and she was esteemed by Koreans. Nevertheless she later received a great deal of criticism in North Korea for assimilating to dancing under the empire.
324:. The couple married on May 10, 1931. Just three months after their wedding, Ahn Mak was arrested for his connections with Communist sympathizers, and was released on October 15. Ahn Mak went to Tokyo for the winter semester exam. With Ahn's permission, Choi funded her institute from money earned from sending Ahn's manuscripts to the newspaper companies. Funding was also gained from the sponsorship of
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of the
Marseille consulate general warned Choi that Italy might declare war, and that a Japanese ship called the Hakone Maru carrying about 190 Japanese evacuees would arrive the next day from Italy. Choi and her group embarked the Hakone Maru and evacuated to the United States instead. She continued her performing tour in the United States, Brazil, Uruguay, Argentina, Chile, and Mexico.
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Japanese colonial empire. The portrayal of Choi's image coincided with the rapid expansion of media and entertainment during wartime, effectively utilizing Choi's fame for political gain. Her work became a tremendously popular cultural phenomenon in Japan at the time, with Japanese imperialism playing a pivotal role in shaping colonial culture.
350:. At a modern dance competition that was hosted by a monthly magazine 영녀계, Choi performed her Korean dances, one of which she was disguised as a man and artistically imitated her father's drunken dance. (After the competition at the end of one of her later performances 풍랑을 헤가르고, she took off her mask of an old man's face on stage).
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The people in France were used to the tense situation in Europe that they learned from the newspapers and the radio news. Everyone whom Choi met in France believed that there would not be another world war. Hence, Choi and her group decided to stay despite a warning from the
Japanese embassy. She was
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in Asia. Choi’s career trajectory and the various spaces in which she performed generated multiple and distinct identities influenced by the desires of the intended audience. The chronological shifts in Choi’s career as well as the national tensions she navigated gave insight to contradictions within
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Theater organizations in Japan supported Choi and used her image as a colonial woman. They used femininity and Asian
Tradition to create a sense of sensibility and superiority of the empire. The image of femininity was anticipated to play a role in bridging the divide between perceptions of colonized
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Choi returned to Japan with her daughter and with a student from her disbanded institute, Kim Min-ja. Kim Min-ja wanted to follow Choi to Japan, and she offered to work as Seung-ja's nanny. Choi continued to study under Ishii where she distinguished herself as a talented dancer. She developed her own
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who became an actor and a classical composer during the 1940s-1960s). Choi Seung-il was part of the Korea Artist
Proletariat Federation (KAPF), and had many connections in both Japan and Korea to journalists and intellectuals. This made it possible for him to connect Choi with Ishii as Ishii also did
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on
September 1, 1939, France declared war on Germany two days later. As the war in Poland raged on, Choi and her group began to evacuate. Their original plan was to evacuate to Italy. This was before Italy joined with Germany and Japan in a Tripartite Pact and before Italy declared war. An employee
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Choi was the first female dancer in colonial Korea to perform outside of her country, even though Japan did not allow for dances to express resentment or resistance towards the
Japanese Empire.. In 1937 the Japanese military authorities asked Baku Ishii to provide dance performances as entertainment
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Choi returned to Korea and founded her dancing art institute called the 최승희무용예술연구소. She had both Korean and
Japanese students. Upon her return, she was placed in a spotlight because of the political implications and weight of her international work as a Korean dancer. Magazines and newspapers wrote
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Choi’s fashion styles reflected a blend of traditional Korean aesthetics and Western modernity. She often incorporated traditional elements such as hanbok into her performances, but adapted them with contemporary cuts and fabrics, showcasing her unique interpretation of Korean identity. Her fashion
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during this time in Korea. Ahn returned temporarily after learning of Choi's pregnancy. Their daughter Ahn Seung-ja was born on July 20, 1932. Choi disbanded her institute. Choi became drawn to the Japanese metropolis after a cultural bloom in the 1930s, she found work and artistic opportunities by
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In 1967, she was purged by the party, and disappeared from public view. In October 1999, a defector named Kim Yong said that Choi was imprisoned in the same concentration camp (18호 관리소) that he was in. On February 9, 2003, an official announcement was made that she had died in 1969, and a monument
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before he became the "Great Leader." This was before Kim had a firm control on North Korea; thus, it was a time before the purges. She found Kim to be very supportive. In those days, Pyongyang was a very small city that had very few artists. Kim Il Sung was fond of plays, and he thought about the
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Although the dance group performed successfully and brought in a lot of income, they struggled financially because of Ishii's debts. He did not have the sufficient salary to give to his dancers. To pay his debts, Ishii lowered the quality of the performances in exchange for quantity. Choi and two
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a policy of changing Korean names to Japanese names, she retained her Korean family name of Choi. Sai is the Japanese pronunciation of the Chinese character for Choi, and was not considered Japanese.The multiple pronunciation of her names shows the existing complex cultural relations within the
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In May 1950, Choi, her daughter, and about one hundred artists were sent to Moscow to perform. While they were in Moscow on June 25, 1950, North Korea invaded South Korea. Sending the artists was Kim's scheme to hide his intention to invade. Earlier, Kim had received permission from
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to invade, and on March 30, 1950, Kim went to Moscow to gain the finalization of Stalin's support for Kim's war. Kim received T-34-85 tanks, artillery, military planes, and his reinforced army exceeded South Korea's three to one. After Moscow, they performed in Leningrad (now
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for the Japanese troops after the Sino-Japanese war began. This led Ishii and his dancers to travel around Taiwan, China, and Vietnam with dancers from the Ishii Dance School in Tokyo. Thanks to this tour, Ishii's students earned a grand reputation during the time of the
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Ishii continued to have financial problems in 1936. In order to help him, Choi and Ishii's six students performed in Taiwan. Their performances in Japan and Taiwan were all successful. Not long after her return from Taiwan, Choi bought a two-story mansion in Tokyo.
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After graduating from Sookmyung High School at the age of fifteen, she tried to become a teacher to help her family financially. She passed seventh amongst 860 applicants, but was rejected due to her age. She was told to return a year later.
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as they threatened to deem her a dishonorable alumni in response to her dancing in a Japanese dance troupe. Such a relationship with Japan made her interesting in the public sphere as only seven of her dances were traditionally Korean.
735:). Although Ahn Sung-hee was just a teenager at that time, she already grew tall like her mother, and she already had experience in performing with her. Choi established a dance school and was given an official position within the
567:. All of Choi's performances in Europe received rave reviews. According to Choi's letter to her student, her traditional hat (the 초립동 모자) became a fashion trend in Paris. In 1939, in an international dance competition in Brussels,
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Choi began to work as a model. She used the money that she earned from modelling to fund her performances. She also began to appear in musicals. Ahn used his money that was meant for tuition fees to fund Choi's performance.
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was formerly the General of the Army during the Korean War). He proposed an economic and cultural exchange with Japan. Ten Japanese peace delegates visited North Korea in May of that year. The delegates included
346:, which had been considered by a lot of the Koreans as lowly works. It was Ishii and Ahn who suggested her to learn the Korean folk dances. Ishii introduced Choi to Han Song-joon who taught Choi more of the
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As Choi earned fame across several countries as well as in the West, several Japanese critics wrote about Choi's work. Critics They praised Choi’s work as they believed that she could represent one of the
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309:" phenomenon. he was particularly subject to media gossip as an unmarried woman. Choi differentiated herself from traditionalism, but also from the new women who specifically identified breaking
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Japanese Empire. When she was a child, her family faced financial trouble after their lands were taken away by the Japanese. Their only income came from her brother Choi Seung-il's manuscripts.
516:) to watch her perform. Because of her use of the Japanese pronunciation of her name when she performed in the United States, she was criticized as a Japanese collaborator by Koreans in the
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appealing to Japanese audiences by using colonial traditions. There was also controversy about Choi’s close relationship with the Japanese imperial government. For example, in 1929, the
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reporter asked Choi why she did not perform abroad like she used to. Choi replied that she would probably have the chance in the future, but added, "I'm a bird trapped in a birdcage."
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to perform in an international youth dance festival. In December 1949, following the founding of the People's Republic of China she and her dancers including her daughter performed in
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Choi was influential in the development of Chinese Classical Dance and of Chinese-Korean Dance (N.E. China has a Korean minority), leading a project to pull the dance elements out of
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Choi was Ishii's second Korean student. The first was Kang Hong-shik who left Ishii later and became a movie star under a Japanese name. (The maternal grandson of Kang Hong-shik is
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671:. She performed dances inspired by Korea folk dance as well as Japanese, Chinese, Indian, and Siamese influenced dances. In 1943 she trained in Chinese Opera movement with
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political benefits that the public arts could give. He accepted many artists. Choi got her kids to join her from Seoul. Her daughter's name was changed to Ahn Sung-hee (
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n Manchuria, Korea, and northern and central China. Some postcolonial critics in Korea argue that Choi was forced to serve soldiers by the Japanese colonial regime.
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met Choi in Pyongyang. The government and Ahn Mak feared that Choi would not return from Japan if she performed there. They did not allow Choi to leave for Japan.
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Park, S. M. (2006). "The Making of a Cultural Icon for the Japanese Empire: Choe Seung-hui's U.S. Dance Tours and "New Asian Culture" in the 1930s and 1940s".
663:, and to raise troop morale, performing for the military became a requirement. Starting on February 16, 1942, Choi performed for the Japanese armies in Korea,
698:. Although she was happy to see her daughter again, she was saddened that South Korean newspapers accused Choi of being a collaborator for Japan. She asked
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about her Western dance, dancing abroad, and personal life in Korea. The Korean media had a large interest in her work as a dancer and as part of the "
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492:(February 19). The reactions of the audiences and the reviews were good. In New York City, she watched the performances of the famous
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modern dancer. Choi is an important figure of early modern dance in Korea, Japan and China who gained worldwide fame in the 1930s.
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Martin, John (November 7, 1938). "Sai Shoki is Seen in Korean Dances: Young Oriental Artist Offers Her Second Program Here".
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During this time in Korea, her brother introduced her to his alumni, Ahn Mak (originally named Ahn Pil-seung) a student of
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in which Han's side lost. A purge followed. Ahn Mak was Han Sul-ya's right-hand man. Ahn was arrested in April 1959.
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announced the need to normalize relations with other countries for peace regardless of the social system. (
901:. Produced and directed by Han, Sung-Joon. VHS video. West Long Branch, New Jersey, United States: Kultur.
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Lee, S.J. (2014). "The Emergence of Modern Girls in Colonial Korea: Gender, Modernity, and Nationalism".
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Hoshino, Yukiyo (2016-06-30). "Use of Dance to Spread Propaganda during the Sino-Japanese War" (PDF).
587:. After this competition, Choi was invited to perform at an international music and dance festival in
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470:. By this time, Choi and Ahn researched many different traditional dances including the bosal dance (
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individuals and colonial encounters. As well as, alleviating the Western powers' hostility towards
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In 1943, Choi began a series of 130 performances with the goal of comforting soldiers (known as:
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for financial support in her arts, but did not get any further details from him. She went to
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Van Zile, Judy (2013). "Performing Modernity in Korea: The Dance of Ch'oe Sŭng-hŭi".
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to perform. Starting on August 5, her students including her daughter performed in
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during late March. Starting from April 1, they performed in the smaller cities of
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On August 15, 1945, Japan surrendered and Korea became liberated. Choi was in
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Park, A.; Park, H. (2011). "A Study on the Style of Dancer Choi Seung-hee".
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831:. She returned to North Korea when the war was still raging on. After the
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On January 11, 1938, Choi, Ahn, and her pianist Lee Gwang-joon arrived in
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There was a power struggle beneath Kim Il Sung between Kim Chang-man and
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and a false rumor that the ethnic Koreans were taking advantage of the
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at that time. And she was pregnant. She witnessed the turmoil of the
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musicians and dancers. In early November 1938, famous people such as
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Choi Seung-hee drinking a cup of coffee at the Chosen Hotel (current
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in Shanghai and in started the Oriental Dance Research Institute in
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Revolutionary bodies : Chinese dance and the socialist legacy
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She returned to Japan. Japan changed to total war mode after the
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Choi was supported by numerous Japanese intellectuals, including
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upon the Koreans, Ishii was progressive and open to the Koreans.
1428:"Use of Dance to Spread Propaganda during the Sino-Japanese War"
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On February 25, 1955, North Korea's Minister of Foreign Affairs
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for cultural leaders as part of socialist cultural exchange. An
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before he was president. He did not have the power to help her.
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to learn the art of dance. Baku Ishii was a prominent Japanese
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in Korea. Choi sought an energetic style. Ahn found texts of
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Choi and Ahn researched historical texts on the forgotten
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Jegok Village (Hongcheon County, Gangwon Province), Korea
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was constructed proclaiming her a "People's Actress".
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with her husband who was an active supporter of the
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2502:1933 Recording of Choi Seung-hee discovered
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2323:Positions: East Asia Cultures Critique
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914:Seunghee Choi's Fashion in 1930s Korea
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512:went to the Guild Theatre (now the
2115:"Korea Dress Outfits: 1930s Korea"
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2208:Choi Seunghee: The Korean dancer
899:Choi Seunghee: The Korean Dancer
446:national mottos that called for
430:), before making her 1936 album
2492:Dancer, Choi Sung-hee's student
2166:Seung Hee Choi (Korean edition)
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1426:Hoshino, Yukiyo (2016-06-30).
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2273:The Korean War: an Oral Story
1107:"1923 Great Kantō earthquake"
551:(March 1). They performed in
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2364:. Univ of California Press.
593:Théâtre national de Chaillot
523:Choi and her group left the
518:Korean independence movement
335:Sookmyung Girl's High School
287:Korean independence movement
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2535:South Korean female dancers
737:North Korean administration
291:1923 Great Kantō Earthquake
242:pronunciation of her name,
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847:The Bolshoi Ballet Academy
833:Korean Armistice Agreement
448:Five Races under One Union
342:modern dances inspired by
273:dancer (and the father of
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2335:10.1215/10679847-2006-015
2301:Journal of Korean Studies
2252:Kang, Joon-shik (2012).
2238:ATHENS JOURNAL OF HISTORY
2193:The dancer, Choi Seunghee
2164:Kim, Y.; Kim, C. (2014).
1435:Athens Journal of History
555:during mid-March, and in
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2140:"비운의 천재 무용가 최승희의 일생과 패션"
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461:Second Sino-Japanese War
397:Josun Hotel & Resort
2560:Entertainers from Seoul
788:Chinese Classical Dance
722:Workers' Party of Korea
679:(now Beijing) in 1944.
631:. When Germany invaded
406:) in Seoul, Korea, 1940
2358:Wilcox, Emily (2019).
2256:(in Korean). Noonbit.
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661:Imperial Japanese Army
657:attack on Pearl Harbor
653:Imperial Japanese Navy
436:Columbia Records Japan
426:and Kirin Records (in
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108:modern dancer, actress
2550:Korean film actresses
2271:Knox, Donald (1981).
2248::10.30958/ajhis.2-3-3
2206:Kultur Video (2001).
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700:US Lieutenant General
514:August Wilson Theatre
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226:Choi was born into a
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2540:North Korean dancers
2515:Jiji shashin sokuhou
2434:10.1353/ks.2013.0002
2408:– via YouTube.
2397:전설의 세계적인 한국인 무용가 최승희
1447:10.30958/ajhis.2-3-3
1325:전설의 세계적인 한국인 무용가 최승희
539:(January 31, 1939),
163:Revised Romanization
2486:Choi Seung-Hee page
2294:. February 2, 1938.
2191:Arirang TV (2008).
547:(February 26), and
356:Japanese militarism
234:, Korea during the
2478:2017-12-01 at the
2473:Choi Sung-hee page
2223:, pp. 124–149
2181:, pp. 247–270
2144:Daily Fashion News
2104:, pp. 124–149
2037:, pp. 402–404
1978:, pp. 379–380
1746:, pp. 277–297
1610:, pp. 226–232
1598:, pp. 231–232
1571:, pp. 226–231
1559:, pp. 223–225
1523:, pp. 176–177
1486:, pp. 206–211
1303:, pp. 112–113
916:
875:Tomoyoshi Murayama
408:
344:Korean folk dances
330:Korean folk dances
2371:978-0-520-97190-5
2292:Los Angeles Times
2263:978-89-7409-709-7
1497:Los Angeles Times
688:Chinese Civil War
498:Leopold Stokowski
480:(January 22), in
424:Taepyeong Records
412:Yasunari Kawabata
322:Waseda University
230:-class family in
189:
188:
177:McCune–Reischauer
112:
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64:November 24, 1911
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766:Saint Petersburg
753:Associated Press
734:
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625:Northern Germany
573:Rudolf von Laban
561:Southern Germany
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380:from a library.
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97:Other names
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694:. Choi went to
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641:tairiku imon) i
510:Charlie Chaplin
506:Maurice Dekobra
456:
432:Garden of Italy
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326:The Dong-a Ilbo
236:colonial period
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2530:Modern dancers
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2483:
2470:
2464:Choi Seung-hee
2459:
2458:External links
2456:
2455:
2454:
2428:(1): 124–149.
2422:Korean Studies
2415:
2412:
2411:
2410:
2391:
2386:See profile at
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2318:
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2168:. Book Perita.
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745:Czechoslovakia
648:
647:Return to Asia
645:
609:Romain Rolland
543:(February 6),
502:John Steinbeck
484:(February 2 -
455:
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295:Kantō Massacre
223:
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192:Choi Seung-hee
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169:Choe Seung-hui
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80:(aged 57)
76:August 8, 1969
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48:Choi Seung-hee
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36:Choi Seung-hee
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2307:(2): 247–270.
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2282:0-15-602792-5
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2221:Van Zile 2013
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2102:Van Zile 2013
2098:
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2025:, p. 393
2024:
2019:
2017:
2015:
2011:
2008:, p. 389
2007:
2002:
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1996:
1993:, p. 381
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1474:, p. 226
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934:Chinese dance
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798:Beijing opera
795:
794:Chinese Opera
787:
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771:
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761:Joseph Stalin
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703:John R. Hodge
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487:
486:Ebell Theatre
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420:Pablo Picasso
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364:Korean dances
360:
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348:Korean dances
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105:Occupation(s)
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40:
33:
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27:
22:
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2506:Korean Times
2505:
2482:at Korea.net
2425:
2421:
2402:. Retrieved
2395:"- YouTube"
2359:
2326:
2322:
2313:
2304:
2300:
2291:
2275:. Harcourt.
2272:
2241:
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2148:. Retrieved
2143:
2134:
2123:. Retrieved
2118:
2109:
2097:
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2054:
2042:
2030:
1971:
1944:
1932:
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1320:
1308:
1296:
1261:, p. 97
1254:
1242:
1237:, p. 96
1230:
1218:
1213:, p. 89
1206:
1184:, p. 75
1177:
1172:, p. 74
1165:
1160:, p. 69
1153:
1148:, p. 66
1133:, p. 65
1126:
1114:. Retrieved
1110:
1101:
1096:, p. 41
1079:, p. 28
1072:
1067:, p. 24
1060:
1055:, p. 16
1048:
1036:
1031:, p. 13
1016:, p. 11
1009:
1004:, p. 22
997:
992:, p. 21
985:
929:Korean dance
917:
898:
886:
879:
867:Koreya Senda
863:Ashihei Hino
851:
809:East Germany
802:
800:was taught.
791:
757:
712:She went to
711:
707:Rhee Syngman
681:
650:
640:
638:
617:
613:Michel Simon
605:Jean Cocteau
522:
465:
457:
454:Foreign tour
440:
431:
416:Jean Cocteau
409:
386:
382:
372:
361:
352:
340:
319:
314:
310:
303:
299:
283:Choi Min-soo
280:
267:modern dance
260:
256:
249:Sōshi-kaimei
247:
243:
225:
191:
190:
78:(1969-08-08)
24:
2570:1969 deaths
2565:1911 births
2400:(in Korean)
2231:Works cited
2091:(1): 20–33.
1927:, p. 4
1761:Wilcox 2019
1510:Martin 1938
939:Wang Su-bok
871:Jukichi Uno
849:in Moscow.
774:Novosibirsk
726:Kim Il Sung
718:North Korea
696:South Korea
692:North Korea
669:North China
629:Scandinavia
585:Anton Dolin
581:Serge Lifar
577:Mary Wigman
565:Netherlands
553:Switzerland
482:Los Angeles
400: [
208::
198::
89:Nationality
83:North Korea
21:Korean name
2524:Categories
2404:August 22,
2380:1083233153
2150:2024-07-12
2125:2024-07-12
2119:Seoulseoul
1116:August 21,
945:References
882:Han Sul-ya
838:국립최승희무용연구소
829:Zhou Enlai
778:Korean War
673:Meilanfang
488:), and in
263:Baku Ishii
123:Chosŏn'gŭl
60:1911-11-24
2450:201764499
2442:1529-1529
2351:145098773
2343:1067-9847
2071:Kang 2012
2059:Kang 2012
2047:Kang 2012
2035:Kang 2012
2023:Kang 2012
2006:Kang 2012
1991:Kang 2012
1976:Kang 2012
1964:Kang 2012
1949:Kang 2012
1937:Kang 2012
1925:Knox 1981
1913:Kang 2012
1898:Kang 2012
1886:Kang 2012
1874:Kang 2012
1862:Kang 2012
1847:Kang 2012
1830:Kang 2012
1818:Kang 2012
1803:Kang 2012
1791:Kang 2012
1779:Kang 2012
1744:Kang 2012
1732:Kang 2012
1720:Kang 2012
1703:Kang 2012
1688:Kang 2012
1671:Kang 2012
1656:Kang 2012
1644:Kang 2012
1632:Kang 2012
1620:Kang 2012
1608:Kang 2012
1596:Kang 2012
1584:Kang 2012
1569:Kang 2012
1557:Kang 2012
1545:Kang 2012
1533:Kang 2012
1521:Kang 2012
1484:Kang 2012
1472:Kang 2012
1460:Kang 2012
1414:Kang 2012
1399:Kang 2012
1387:Kang 2012
1375:Kang 2012
1363:Kang 2012
1351:Kang 2012
1339:Kang 2012
1313:Kang 2012
1301:Kang 2012
1289:Kang 2012
1274:Kang 2012
1259:Kang 2012
1247:Kang 2012
1235:Kang 2012
1223:Kang 2012
1211:Kang 2012
1199:Kang 2012
1182:Kang 2012
1170:Kang 2012
1158:Kang 2012
1146:Kang 2012
1131:Kang 2012
1094:Kang 2012
1077:Kang 2012
1065:Kang 2012
1053:Kang 2012
1041:Kang 2012
1029:Kang 2012
1014:Kang 2012
1002:Kang 2012
990:Kang 2012
979:Park 2006
843:Pyongyang
714:Pyongyang
665:Manchuria
589:The Hague
549:Marseille
444:Manchukuo
428:Manchukuo
307:new woman
275:Kan Ishii
244:Sai Shōki
222:Biography
2476:Archived
2389:WorldCat
2179:Lee 2014
923:See also
821:Bulgaria
541:Brussels
529:Le Havre
494:Broadway
373:kisaengs
370:and the
240:Japanese
19:In this
897:1998 -
825:Beijing
749:Beijing
677:Beiping
569:Belgium
368:shamans
315:gisaeng
311:jeongjo
228:yangban
2488:at KBS
2448:
2440:
2378:
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2254:최승희 평전
2210:(VHS).
2195:(DVD).
2121:. 2010
873:, and
858:Nam Il
854:Nam Il
819:, and
813:Poland
805:Moscow
776:. The
772:, and
741:Prague
667:, and
633:Poland
627:, and
611:, and
583:, and
545:Cannes
533:France
508:, and
271:ballet
216:Korean
204:;
196:Korean
139:Hancha
92:Korean
2496:Naver
2446:S2CID
2347:S2CID
2146:. n.d
1431:(PDF)
892:Films
841:) in
782:Korea
684:China
621:Italy
557:Italy
537:Paris
404:]
232:Seoul
206:Hanja
2498:Cafe
2468:IMDb
2438:ISSN
2406:2019
2376:OCLC
2366:ISBN
2339:ISSN
2277:ISBN
2258:ISBN
1499:1938
1118:2019
770:Kyiv
418:and
269:and
73:Died
54:Born
26:Choi
2513:at
2504:at
2494:at
2466:at
2430:doi
2331:doi
2246:doi
1443:doi
768:),
732:안성희
655:'s
473:보살춤
434:at
211:崔承喜
201:최승희
130:최승희
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