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INTANGIBLE TRACES AND MATERIAL THINGS : THE PERFORMANCE OF HERITAGE HANDICRAFT
LAUREL KENDALL 계명대학교 한국학연구원 2014 Acta Koreana Vol.17 No.2
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.”
On the Problem of Material Religion and Its Prospects for the Study of Korean Religion
Laurel Kendall 서강대학교 종교연구소 2010 Journal of Korean Religions Vol.1 No.1
This paper argues that the “material turn” evident both in recent scholarly studies of EastAsian religion (and religious studies more generally) and within the discipline ofanthropology holds great promise for the study of Korean religions. The study of materialreligion raises questions about how aspects of the material world come to be regarded assacred, how they come to be regarded as empowered and agentive things, how devoteesengage material religion through embodied practice and visual regimes of understanding andvenerating, and how specific historic moments influence material religion. Anthropologybrings to the discussion an awareness of material objects as possible nodes of humanrelationships, relationships between humans and gods or other entities, and between humans,deities, positive and negative power, and the sacred things themselves. It raises questionsabout the production, maintenance, and proper disposal of sacred objects. It also bringsmagic back into the mix as a means of understanding some of the essentially religious wayscontemporary people contend with the quirkiness of the market and other uncertainties, andhow the modern commodity market itself accommodates the production, appropriation, andconsumption of sacred and magical goods.