10.35303/spf.2019.02.33.9

Women's traditional opera was a genre of Changguk(korean traditional opera) that emerged shortly after the liberation and was in vogue until the mid-and-late 1950s, then rapidly declined. The social evaluation of it has been negative ever since shortly after the decline. But recently, there has been a sign of change in the evaluation of it. In this article, I turned back the time and space in the context of the postwar 1950s when the women’s traditional opera was forming and declining, and traced why it was excluded from the discourse of intangible cultural heritage differently from Pansori or Changguk.It should be made clear, however, that this article did not aim at exploring or reassessing the value as the intangible cultural heritage of the women’s traditional opera. Rather, this article focused on how the opera has emerged as a representative national music genre in the era, and then in which logic, it was excluded from the intangible cultural heritage. And it examined by what point of view and discourse the logic was justified as apparent, and then based on the apparent reason the women's traditional opera was excluded from the definition and scope of folklore(folk art) too. Eventually this article relativized epistemological and discursive relatedness between folk and cultural heritage.