INTANGIBLE TRACES AND MATERIAL THINGS: THE PERFORMANCE OF HERITAGE HANDICRAFT

@article{ART001935020},
author={ LAUREL KENDALL },
title={INTANGIBLE TRACES AND MATERIAL THINGS: THE PERFORMANCE OF HERITAGE HANDICRAFT},
journal={Acta Koreana},
issn={1520-7412},
year={2014},
volume={17},
number={2},
pages={537-555},
doi={10.18399/acta.2014.17.2.001},
url={http://dx.doi.org/10.18399/acta.2014.17.2.001}

TY - JOUR
AU - LAUREL KENDALL
TI - INTANGIBLE TRACES AND MATERIAL THINGS: THE PERFORMANCE OF HERITAGE HANDICRAFT
T2 - Acta Koreana
PY - 2014
VL - 17
IS - 2
PB - 계명대학교 한국학연구원
SP - 537-555
SN - 1520-7412
AB - The designation of handicrafts as “intangible heritage” under South Korea’s Intangible Cultural Properties Protection Law contains an inherent contradiction: The skills of potters, weavers, paper-makers and other craft producers are akin to the embodied and artful work of dancers and singers in performance genres similarly recognized by the law, and they are likewise realized through disciplined and embodied knowledge made manifest in evanescent performance—thus their “intangibility.” But in contrast with performing arts, handicraft production leaves its tangible trace in a material object, in such things as cast metal, worked wood, ceramics, and textiles. In other words, the resulting craft object is a witness to the performance of intangible heritage and thus to the validity of the object’s claims as an authentic and valuable Korean thing. Market value makes possible the viability of the craft, but marketable crafts also assume innovations and compromises to meet consumer tastes with a viable price point. In this article, I explore the ambiguities of handicraft performance, how certain aspects become front stage and iconic demonstrations while others are carried out backstage, how claims are made for the Koreanness of the performers, and how some processes and materials are necessarily compromised in the practical production of handicrafts for a high end market. It is not my aim to argue against a compromised authenticity but rather to situate the story of Korean handicraft inside an ongoing discussion about what it means to do handicraft in the broadest possible sense in the twenty-first century. The verb “to do” is carefully chosen to include not only the critical process of making things in the sense of throwing pots or looming cloth but the surrounding networks of material acquisition, labor, circulation, marketing, consumption, and general discursive “craft talk.”
KW - intangible heritage, handicrafts, Koreanness, authenticity, performance
DO - 10.18399/acta.2014.17.2.001
UR - http://dx.doi.org/10.18399/acta.2014.17.2.001
ER -

LAUREL KENDALL (2014). INTANGIBLE TRACES AND MATERIAL THINGS: THE PERFORMANCE OF HERITAGE HANDICRAFT. Acta Koreana, 17( 2), 537- 555.

LAUREL KENDALL . 2014, “INTANGIBLE TRACES AND MATERIAL THINGS: THE PERFORMANCE OF HERITAGE HANDICRAFT”, Acta Koreana, vol. 17, no. 2, pp. 537-555. Available from: doi:10.18399/acta.2014.17.2.001

LAUREL KENDALL “INTANGIBLE TRACES AND MATERIAL THINGS: THE PERFORMANCE OF HERITAGE HANDICRAFT” Acta Koreana 17.2 pp. 537-555 (2014): 537.

LAUREL KENDALL . INTANGIBLE TRACES AND MATERIAL THINGS: THE PERFORMANCE OF HERITAGE HANDICRAFT Acta Koreana [Internet]. 2014; 17( 2), : 537-555. Available from: doi:10.18399/acta.2014.17.2.001

LAUREL KENDALL . “INTANGIBLE TRACES AND MATERIAL THINGS: THE PERFORMANCE OF HERITAGE HANDICRAFT” Acta Koreana 17, no.2 (2014): 537-555. doi: 10.18399/acta.2014.17.2.001

홈 권호 목록 논문 목록 논문 상세

INTANGIBLE TRACES AND MATERIAL THINGS: THE PERFORMANCE OF HERITAGE HANDICRAFT

Acta Koreana

약어 : -

2014, vol.17, no.2, pp.537 - 555

DOI : 10.18399/acta.2014.17.2.001

발행기관 : 계명대학교 한국학연구원

연구분야 : 기타인문학

LAUREL KENDALL¹

¹American Museum of Natural History and Curator

인용한 논문 수 : - 서지 간략 보기

초록

The designation of handicrafts as “intangible heritage” under South Korea’s Intangible Cultural Properties Protection Law contains an inherent contradiction: The skills of potters, weavers, paper-makers and other craft producers are akin to the embodied and artful work of dancers and singers in performance genres similarly recognized by the law, and they are likewise realized through disciplined and embodied knowledge made manifest in evanescent performance—thus their “intangibility.” But in contrast with performing arts, handicraft production leaves its tangible trace in a material object, in such things as cast metal, worked wood, ceramics, and textiles. In other words, the resulting craft object is a witness to the performance of intangible heritage and thus to the validity of the object’s claims as an authentic and valuable Korean thing. Market value makes possible the viability of the craft, but marketable crafts also assume innovations and compromises to meet consumer tastes with a viable price point. In this article, I explore the ambiguities of handicraft performance, how certain aspects become front stage and iconic demonstrations while others are carried out backstage, how claims are made for the Koreanness of the performers, and how some processes and materials are necessarily compromised in the practical production of handicrafts for a high end market. It is not my aim to argue against a compromised authenticity but rather to situate the story of Korean handicraft inside an ongoing discussion about what it means to do handicraft in the broadest possible sense in the twenty-first century. The verb “to do” is carefully chosen to include not only the critical process of making things in the sense of throwing pots or looming cloth but the surrounding networks of material acquisition, labor, circulation, marketing, consumption, and general discursive “craft talk.”

키워드

intangible heritage, handicrafts, Koreanness, authenticity, performance

참고문헌(38)

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