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Representing the Historical Memory of War in Lim Sung-Nam's Prince Hodong

Rendering the concept of Korean ballet problematic, this essay challenges what we consider to be its underlying patriarchal ideology by analyzing the choreography, narrative structure, and production elements in a particular ballet of this genre: Lim Sung-nam's Prince Hodong (1988). As artistic director of the Korean National Ballet Company from 1962 to 1992, Lim Sung-nam is considered the godfather of Korean ballet. We excavate state-sponsored masculine discourses in the staging of the historical memory of war in this ballet based upon a Korean folk tale. Lim's ballet reinforces stereotypical Korean masculinity and femininity under the name of Korean ballet, thereby contributing to the solidification of androcentric national identity.