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The dialectics of politics and aesthetics in the Chinese Korean dance drama, the spirit of Changbai Mountain

This article explores the relationships between the political aspirations and aesthetic endeavours expressed in the Chinese Korean dance drama, The Spirit of Changbai Mountain, and how they relate to the political, cultural and ethnic identity of this migrant community. The nationality policies and socialist ideology of cultural production in China give shape to this dance drama, which depicts a collective history of the Korean minority as full members of the Chinese multi-ethnic socialist state. While political conformity is explicitly stated in the accompanying Chinese prose, more subtle, poetic expressions of different emotions are articulated through the non-verbal medium of dance and music whose meanings are drawn from the shared experiences specific to this ethnic community. Additionally, the aesthetic differentiation made by the Chinese Korean artists between their dance and those of their homelands illustrates how Korean tradition is identified and interpreted in this diaspora to define their cultural hybridity. It is suggested that the performance of The Spirit of Changbai Mountain is simultaneously a political and aesthetic event in which a variety of aspirations and identities are expressed in dialectics. These dynamics can also be understood in terms of a discursive field of power which underpins the production and consumption of minority/diaspora performance in general.