807:. 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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474:(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.
324:(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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461:. 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.
335:. 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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the
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.
361:. 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.
746:). 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
578:. 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
357:, 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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320:" 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.
527:) 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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682:. 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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795:. In October 1950, Choi, her son, and her students evacuated to China where they performed. Their daughter rejoined them later after being separated away during the war.
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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".
674:, 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,
709:. 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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876:, a famous writer. In Japan at that time, there was a movement to invite Choi to Japan. After the delegates' visit, more Japanese including
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503:(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. (
912:. 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).
598:. After this competition, Choi was invited to perform at an international music and dance festival in
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481:. 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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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.
1439:"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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2513:1933 Recording of Choi Seung-hee discovered
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2334:Positions: East Asia Cultures Critique
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925:Seunghee Choi's Fashion in 1930s Korea
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523:went to the Guild Theatre (now the
2126:"Korea Dress Outfits: 1930s Korea"
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2219:Choi Seunghee: The Korean dancer
910:Choi Seunghee: The Korean Dancer
457:national mottos that called for
441:), before making her 1936 album
2503:Dancer, Choi Sung-hee's student
2177:Seung Hee Choi (Korean edition)
838:to perform for Chinese premier
1437:Hoshino, Yukiyo (2016-06-30).
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2284:The Korean War: an Oral Story
1118:"1923 Great Kantō earthquake"
562:(March 1). They performed in
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2375:. Univ of California Press.
604:Théâtre national de Chaillot
534:Choi and her group left the
529:Korean independence movement
346:Sookmyung Girl's High School
298:Korean independence movement
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748:North Korean administration
302:1923 Great Kantō Earthquake
253:pronunciation of her name,
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844:Korean Armistice Agreement
459:Five Races under One Union
353:modern dances inspired by
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2346:10.1215/10679847-2006-015
2312:Journal of Korean Studies
2263:Kang, Joon-shik (2012).
2249:ATHENS JOURNAL OF HISTORY
2204:The dancer, Choi Seunghee
2175:Kim, Y.; Kim, C. (2014).
1446:Athens Journal of History
566:during mid-March, and in
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27:Korean dancer (1911–1969)
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2151:"비운의 천재 무용가 최승희의 일생과 패션"
630:expecting to perform in
472:Second Sino-Japanese War
408:Josun Hotel & Resort
2571:Entertainers from Seoul
799:Chinese Classical Dance
733:Workers' Party of Korea
690:(now Beijing) in 1944.
642:. When Germany invaded
417:) in Seoul, Korea, 1940
2369:Wilcox, Emily (2019).
2267:(in Korean). Noonbit.
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672:Imperial Japanese Army
668:attack on Pearl Harbor
664:Imperial Japanese Navy
447:Columbia Records Japan
437:and Kirin Records (in
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119:modern dancer, actress
2561:Korean film actresses
2282:Knox, Donald (1981).
2259::10.30958/ajhis.2-3-3
2217:Kultur Video (2001).
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711:US Lieutenant General
525:August Wilson Theatre
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237:Choi was born into a
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2551:North Korean dancers
2526:Jiji shashin sokuhou
2445:10.1353/ks.2013.0002
2419:– via YouTube.
2408:전설의 세계적인 한국인 무용가 최승희
1458:10.30958/ajhis.2-3-3
1336:전설의 세계적인 한국인 무용가 최승희
550:(January 31, 1939),
174:Revised Romanization
2497:Choi Seung-Hee page
2305:. February 2, 1938.
2202:Arirang TV (2008).
558:(February 26), and
367:Japanese militarism
245:, Korea during the
2489:2017-12-01 at the
2484:Choi Sung-hee page
2234:, pp. 124–149
2192:, pp. 247–270
2155:Daily Fashion News
2115:, pp. 124–149
2048:, pp. 402–404
1989:, pp. 379–380
1757:, pp. 277–297
1621:, pp. 226–232
1609:, pp. 231–232
1582:, pp. 226–231
1570:, pp. 223–225
1534:, pp. 176–177
1497:, pp. 206–211
1314:, pp. 112–113
927:
886:Tomoyoshi Murayama
419:
355:Korean folk dances
341:Korean folk dances
2382:978-0-520-97190-5
2303:Los Angeles Times
2274:978-89-7409-709-7
1508:Los Angeles Times
699:Chinese Civil War
509:Leopold Stokowski
491:(January 22), in
435:Taepyeong Records
423:Yasunari Kawabata
333:Waseda University
241:-class family in
200:
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188:McCune–Reischauer
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75:November 24, 1911
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584:Rudolf von Laban
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705:. Choi went to
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652:tairiku imon) i
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517:Maurice Dekobra
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2475:Choi Seung-hee
2470:
2469:External links
2467:
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2465:
2439:(1): 124–149.
2433:Korean Studies
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2397:See profile at
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828:Czechoslovakia
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658:Return to Asia
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620:Romain Rolland
554:(February 6),
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495:(February 2 -
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306:Kantō Massacre
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180:Choe Seung-hui
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87:August 8, 1969
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2232:Van Zile 2013
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2113:Van Zile 2013
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2413:. Retrieved
2406:"- YouTube"
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2286:. Harcourt.
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2159:. Retrieved
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2134:. Retrieved
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1307:
1272:, p. 97
1265:
1253:
1248:, p. 96
1241:
1229:
1224:, p. 89
1217:
1195:, p. 75
1188:
1183:, p. 74
1176:
1171:, p. 69
1164:
1159:, p. 66
1144:, p. 65
1137:
1125:. Retrieved
1121:
1112:
1107:, p. 41
1090:, p. 28
1083:
1078:, p. 24
1071:
1066:, p. 16
1059:
1047:
1042:, p. 13
1027:, p. 11
1020:
1015:, p. 22
1008:
1003:, p. 21
996:
940:Korean dance
928:
909:
897:
890:
878:Koreya Senda
874:Ashihei Hino
862:
820:East Germany
813:
811:was taught.
802:
768:
723:She went to
722:
718:Rhee Syngman
692:
661:
651:
649:
628:
624:Michel Simon
616:Jean Cocteau
533:
476:
468:
465:Foreign tour
451:
442:
427:Jean Cocteau
420:
397:
393:
383:
372:
363:
351:
330:
325:
321:
314:
310:
294:Choi Min-soo
291:
278:modern dance
271:
267:
260:Sōshi-kaimei
258:
254:
236:
202:
201:
89:(1969-08-08)
35:
2581:1969 deaths
2576:1911 births
2411:(in Korean)
2242:Works cited
2102:(1): 20–33.
1938:, p. 4
1772:Wilcox 2019
1521:Martin 1938
950:Wang Su-bok
882:Jukichi Uno
860:in Moscow.
785:Novosibirsk
737:Kim Il Sung
729:North Korea
707:South Korea
703:North Korea
680:North China
640:Scandinavia
596:Anton Dolin
592:Serge Lifar
588:Mary Wigman
576:Netherlands
564:Switzerland
493:Los Angeles
411: [
219::
209::
100:Nationality
94:North Korea
32:Korean name
2535:Categories
2415:August 22,
2391:1083233153
2161:2024-07-12
2136:2024-07-12
2130:Seoulseoul
1127:August 21,
956:References
893:Han Sul-ya
849:국립최승희무용연구소
840:Zhou Enlai
789:Korean War
684:Meilanfang
499:), and in
274:Baku Ishii
134:Chosŏn'gŭl
71:1911-11-24
2461:201764499
2453:1529-1529
2362:145098773
2354:1067-9847
2082:Kang 2012
2070:Kang 2012
2058:Kang 2012
2046:Kang 2012
2034:Kang 2012
2017:Kang 2012
2002:Kang 2012
1987:Kang 2012
1975:Kang 2012
1960:Kang 2012
1948:Kang 2012
1936:Knox 1981
1924:Kang 2012
1909:Kang 2012
1897:Kang 2012
1885:Kang 2012
1873:Kang 2012
1858:Kang 2012
1841:Kang 2012
1829:Kang 2012
1814:Kang 2012
1802:Kang 2012
1790:Kang 2012
1755:Kang 2012
1743:Kang 2012
1731:Kang 2012
1714:Kang 2012
1699:Kang 2012
1682:Kang 2012
1667:Kang 2012
1655:Kang 2012
1643:Kang 2012
1631:Kang 2012
1619:Kang 2012
1607:Kang 2012
1595:Kang 2012
1580:Kang 2012
1568:Kang 2012
1556:Kang 2012
1544:Kang 2012
1532:Kang 2012
1495:Kang 2012
1483:Kang 2012
1471:Kang 2012
1425:Kang 2012
1410:Kang 2012
1398:Kang 2012
1386:Kang 2012
1374:Kang 2012
1362:Kang 2012
1350:Kang 2012
1324:Kang 2012
1312:Kang 2012
1300:Kang 2012
1285:Kang 2012
1270:Kang 2012
1258:Kang 2012
1246:Kang 2012
1234:Kang 2012
1222:Kang 2012
1210:Kang 2012
1193:Kang 2012
1181:Kang 2012
1169:Kang 2012
1157:Kang 2012
1142:Kang 2012
1105:Kang 2012
1088:Kang 2012
1076:Kang 2012
1064:Kang 2012
1052:Kang 2012
1040:Kang 2012
1025:Kang 2012
1013:Kang 2012
1001:Kang 2012
990:Park 2006
854:Pyongyang
725:Pyongyang
676:Manchuria
600:The Hague
560:Marseille
455:Manchukuo
439:Manchukuo
318:new woman
286:Kan Ishii
255:Sai Shōki
233:Biography
18:Sai Shoki
2487:Archived
2400:WorldCat
2190:Lee 2014
934:See also
832:Bulgaria
552:Brussels
540:Le Havre
505:Broadway
384:kisaengs
381:and the
251:Japanese
30:In this
908:1998 -
836:Beijing
760:Beijing
688:Beiping
580:Belgium
379:shamans
326:gisaeng
322:jeongjo
239:yangban
2499:at KBS
2459:
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2132:. 2010
884:, and
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865:Nam Il
830:, and
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816:Moscow
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752:Prague
678:, and
644:Poland
638:, and
622:, and
594:, and
556:Cannes
544:France
519:, and
282:ballet
227:Korean
215:;
207:Korean
150:Hancha
103:Korean
2507:Naver
2457:S2CID
2358:S2CID
2157:. n.d
1442:(PDF)
903:Films
852:) in
793:Korea
695:China
632:Italy
568:Italy
548:Paris
415:]
243:Seoul
217:Hanja
2509:Cafe
2479:IMDb
2449:ISSN
2417:2019
2387:OCLC
2377:ISBN
2350:ISSN
2288:ISBN
2269:ISBN
1510:1938
1129:2019
781:Kyiv
429:and
280:and
84:Died
65:Born
37:Choi
2524:at
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2477:at
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1454:doi
779:),
743:안성희
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484:보살춤
445:at
222:崔承喜
212:최승희
141:최승희
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