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.”
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Abstract INTRODUCTION APPROACHING HANDICRAFT CRAFTS PEOPLE MAKING THINGS MATERAIALS REFERENCES
한국연구원은 1970년 5월 한국 민속의 각 분야에 걸친 자료의 수집과 학술적 연구를 목적으로 '한국민속연구소'로 출발하였다. 그 후 1973년 5월 연구 분야를 확대하며 민속뿐만 아니라 한국학 전반에 걸친 연구를 위해 '한국학연구소'로 개편하였고, 다시 1989년 3월 한국의 국제적 위상의 부상과 함께 한국학 연구의 중요성이 높아짐에 따라 '한국학연구원'으로 확대, 개편하였다. 한국학연구원은 한국학 전반에 걸친 연구를 통해 지역과 민족문화 발전에 기여하며 한국학의 세계화를 위해서 학술활동을 강화하고 나아가 내·외국인에 대한 한국문화 교육을 담당하고자 한다.