Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea

Research output: Other Conference ContributionsConference Paper (other)

Abstract

“Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea" recognizes the important of dance that functions as a fulcrum of evangelical activist expressions, especially in the face of growing public visibility of LGBTQ presence in South Korea. What is characteristic about the performances, as I explore in this article, is that they have emphases on “folk” and “traditional” elements that supposedly restore what the church group members deem proper Koreanness, but the composition of the performances is also transnational – buchaechum (fan dance) in particular is a modern amalgam of folk and Shamanistic Korean dance, ethnic Chinese dance, and modern dance choreography developed by Seung-hee Choi and Baek-bong Kim whose fan dance repertoire has been shaped through its touring in the US and other countries during the height of Cold War diplomacy. In that sense, fan dance, ballet, and drumming performed by the church groups are at once Korean and not-Korean. This seems, at first glance, to undermine the groups’ belief in the performance’s capacity to “exorcize” the “Western” and “unpatriotic” acts of queerness. In the long term, however, the simultaneous Korean/non-Korean nature of the performances is really about putting these right-wing church groups on the map, announcing their presence and increasing their visibility nationally and internationally.
Original languageEnglish
Publication statusPublished - 8 Apr 2017
Externally publishedYes
EventDancing East Asia: Critical Choreographies and their Corporeal Politics: 2017 U-M Lieberthal-Rogel Center for Chinese Studies Annual Conference - University of Michigan, Ann Arbor, United States
Duration: 7 Apr 20178 Apr 2017
https://ii.umich.edu/lrccs/news-events/events/conferences/dancing-east-asia--conference-and-exhibition.html

Conference

ConferenceDancing East Asia: Critical Choreographies and their Corporeal Politics
CountryUnited States
CityAnn Arbor
Period7/04/178/04/17
Internet address

Fingerprint

Activism
Dance
South Korea
Jesus
Worship
Folk
Visibility
Repertoire
Diplomacy
Queerness
Modern Dance
Cold War
Glance
Choreography
Activists
Touring
Ballet

Bibliographical note

Invited Paper

Cite this

YOON, S. R. (2017). Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea. Paper presented at Dancing East Asia: Critical Choreographies and their Corporeal Politics, Ann Arbor, United States.
YOON, Soo Ryon. / Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea. Paper presented at Dancing East Asia: Critical Choreographies and their Corporeal Politics, Ann Arbor, United States.
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abstract = "“Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea{"} recognizes the important of dance that functions as a fulcrum of evangelical activist expressions, especially in the face of growing public visibility of LGBTQ presence in South Korea. What is characteristic about the performances, as I explore in this article, is that they have emphases on “folk” and “traditional” elements that supposedly restore what the church group members deem proper Koreanness, but the composition of the performances is also transnational – buchaechum (fan dance) in particular is a modern amalgam of folk and Shamanistic Korean dance, ethnic Chinese dance, and modern dance choreography developed by Seung-hee Choi and Baek-bong Kim whose fan dance repertoire has been shaped through its touring in the US and other countries during the height of Cold War diplomacy. In that sense, fan dance, ballet, and drumming performed by the church groups are at once Korean and not-Korean. This seems, at first glance, to undermine the groups’ belief in the performance’s capacity to “exorcize” the “Western” and “unpatriotic” acts of queerness. In the long term, however, the simultaneous Korean/non-Korean nature of the performances is really about putting these right-wing church groups on the map, announcing their presence and increasing their visibility nationally and internationally.",
author = "YOON, {Soo Ryon}",
note = "Invited Paper; Dancing East Asia: Critical Choreographies and their Corporeal Politics : 2017 U-M Lieberthal-Rogel Center for Chinese Studies Annual Conference ; Conference date: 07-04-2017 Through 08-04-2017",
year = "2017",
month = "4",
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language = "English",
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YOON, SR 2017, 'Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea', Paper presented at Dancing East Asia: Critical Choreographies and their Corporeal Politics, Ann Arbor, United States, 7/04/17 - 8/04/17.

Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea. / YOON, Soo Ryon.

2017. Paper presented at Dancing East Asia: Critical Choreographies and their Corporeal Politics, Ann Arbor, United States.

Research output: Other Conference ContributionsConference Paper (other)

TY - CONF

T1 - Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea

AU - YOON, Soo Ryon

N1 - Invited Paper

PY - 2017/4/8

Y1 - 2017/4/8

N2 - “Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea" recognizes the important of dance that functions as a fulcrum of evangelical activist expressions, especially in the face of growing public visibility of LGBTQ presence in South Korea. What is characteristic about the performances, as I explore in this article, is that they have emphases on “folk” and “traditional” elements that supposedly restore what the church group members deem proper Koreanness, but the composition of the performances is also transnational – buchaechum (fan dance) in particular is a modern amalgam of folk and Shamanistic Korean dance, ethnic Chinese dance, and modern dance choreography developed by Seung-hee Choi and Baek-bong Kim whose fan dance repertoire has been shaped through its touring in the US and other countries during the height of Cold War diplomacy. In that sense, fan dance, ballet, and drumming performed by the church groups are at once Korean and not-Korean. This seems, at first glance, to undermine the groups’ belief in the performance’s capacity to “exorcize” the “Western” and “unpatriotic” acts of queerness. In the long term, however, the simultaneous Korean/non-Korean nature of the performances is really about putting these right-wing church groups on the map, announcing their presence and increasing their visibility nationally and internationally.

AB - “Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea" recognizes the important of dance that functions as a fulcrum of evangelical activist expressions, especially in the face of growing public visibility of LGBTQ presence in South Korea. What is characteristic about the performances, as I explore in this article, is that they have emphases on “folk” and “traditional” elements that supposedly restore what the church group members deem proper Koreanness, but the composition of the performances is also transnational – buchaechum (fan dance) in particular is a modern amalgam of folk and Shamanistic Korean dance, ethnic Chinese dance, and modern dance choreography developed by Seung-hee Choi and Baek-bong Kim whose fan dance repertoire has been shaped through its touring in the US and other countries during the height of Cold War diplomacy. In that sense, fan dance, ballet, and drumming performed by the church groups are at once Korean and not-Korean. This seems, at first glance, to undermine the groups’ belief in the performance’s capacity to “exorcize” the “Western” and “unpatriotic” acts of queerness. In the long term, however, the simultaneous Korean/non-Korean nature of the performances is really about putting these right-wing church groups on the map, announcing their presence and increasing their visibility nationally and internationally.

M3 - Conference Paper (other)

ER -

YOON SR. Fans, Sashes, and Jesus: Evangelical Activism and Worship Dance in South Korea. 2017. Paper presented at Dancing East Asia: Critical Choreographies and their Corporeal Politics, Ann Arbor, United States.