Gendered and Censored Modernity
This chapter examines the ways in which a juxtaposition of two definitions of modernity are reflected in the two female singers, Yi Mi-ja and Patti Kim, who actively performed in postwar South Korea, particularly between the 1960s and the 1970s. While different social values and cultural practices constituted the modernity of South Korea, most scholarship on Korean popular music gives particular attention to the cultural products of modernity that have been influenced by the West, mostly by the U.S. This chapter, however, suggest that the different cultures from Korea, Japan, and the U.S. together constitute the modernity of Korea. Also, different collective memories from the Japanese colonial experience, the Korean War, and the Korean government-led economic development project shape the ideal form of modernization. Modernity in South Korean popular music shows that the periods between the 1960s and the 1970s juxtapose what the Korean society was facing and seeking at the time. Focusing on the Yi and Kim’s music and their performance styles, this chapter explores how different musical cultures and social values are reflected in their music as a way to construct gendered and censored modernity.