“This exceptionally well-written book is good reading, not only for specialists but also for beginning students interested in women, Korean culture, and shamanism.” —Journal of Asian Studies “Kendall maintains a closeness with and respect for her subject that keeps away the chill of academic distance and yet avoids sentimentality.” —Korean Quarterly, Spring 2001
"Kendall's study of a female shaman interweaves the voices of anthropologist and the shaman into one.... An excellent example of the recent attempts by anthropologists to give expression to the words and lives of respondents and to detail the context in which they are acquired." --Choice "Although the book is a very personal account of one shaman's life, [it] also provides a window into the ways and means of the Korean culture and society of the time." --Korean Quarterly, Spring 2001
Thirty years ago, anthropologist Laurel Kendall did intensive fieldwork among South Korea’s (mostly female) shamans and their clients as a reflection of village women’s lives. In the intervening decades, South Korea experienced an unprecedented economic, social, political, and material transformation and Korean villages all but disappeared. And the shamans? Kendall attests that they not only persist but are very much a part of South Korean modernity. This enlightening and entertaining study of contemporary Korean shamanism makes the case for the dynamism of popular religious practice, the creativity of those we call shamans, and the necessity of writing about them in the present tense. Shamans thrive in South Korea’s high-rise cities, working with clients who are largely middle class and technologically sophisticated. Emphasizing the shaman’s work as open and mutable, Kendall describes how gods and ancestors articulate the changing concerns of clients and how the ritual fame of these transactions has itself been transformed by urban sprawl, private cars, and zealous Christian proselytizing. For most of the last century Korean shamans were reviled as practitioners of antimodern superstition; today they are nostalgically celebrated icons of a vanished rural world. Such superstition and tradition occupy flip sides of modernity’s coin—the one by confuting, the other by obscuring, the beating heart of shamanic practice. Kendall offers a lively account of shamans, who once ministered to the domestic crises of farmers, as they address the anxieties of entrepreneurs whose dreams of wealth are matched by their omnipresent fears of ruin. Money and access to foreign goods provoke moral dilemmas about getting and spending; shamanic rituals express these through the longings of the dead and the playful antics of greedy gods, some of whom have acquired a taste for imported whiskey. No other book-length study captures the tension between contemporary South Korean life and the contemporary South Korean shamans’ work. Kendall’s familiarity with the country and long association with her subjects permit nuanced comparisons between a 1970s "then" and recent encounters—some with the same shamans and clients—as South Korea moved through the 1990s, endured the Asian Financial Crisis, and entered the new millennium. She approaches her subject through multiple anthropological lenses such that readers interested in religion, ritual performance, healing, gender, landscape, material culture, modernity, and consumption will find much of interest here.
Once viewed as an embarrassing superstition, the theatrical religious performances of Korean shamans—who communicate with the dead, divine the future, and become possessed—are going mainstream. Attitudes toward Korean shamanism are changing as shamanic traditions appear in staged rituals, museums, films, and television programs, as well as on the internet. Contemporary Korean Shamanism explores this vernacular religion and practice, which includes sensory rituals using laden altars, ecstatic dance, and animal sacrifice, within South Korea's hypertechnologized society, where over 200,000 shamans are listed in professional organizations. Liora Sarfati reveals how representations of shamanism in national, commercialized, and screen-mediated settings have transformed opinions of these religious practitioners and their rituals. Applying ethnography and folklore research, Contemporary Korean Shamanism maps this shift in perception about shamanism—from a sign of a backward, undeveloped Korea to a valuable, indigenous cultural asset.
Title first published in 2003. Shamanism has a contradictory position within the Korean cultural system, leading to the periodical suppression of shamanism yet also, paradoxically, ensuring its survival throughout Korean history. This book examines the place of shamans within contemporary society as a cultural practice in which people make use of shamanic ritual and disputing the prevalent view that shamanism is 'popular culture', a 'women's religion' or 'performing arts'. Directly confronting the prejudice against shamans and their paradoxical situation in a modern society such as Korea, this book reveals the cultural discrepancy between two worlds in Korean culture, the ordinary world and the shamanic world, showing that these two worlds cannot be reconciled. This unique study of shamanism offers a significant contribution to growing studies in indigenous anthropology and indigenous religions, and provides a captivating read for a wide range of readers through retelling the stories-never-to-be-told involving shamanic ritual.
Shamans walking on knives, fairies riding on clouds, kings with dragon mounts: They are gods and they are paper images. Some are repulsed and unsettled by shaman paintings, some cannot stop collecting them, and some use them as sites of veneration. Laurel Kendall, Jongsung Yang, and Yul Soo Yoon explore what it is that makes a Korean shaman painting magical or sacred. How does a picture carry the trace of a god and can it ever be “just a painting” again? How have shaman paintings been revalued as art? Do artfulness and magic ever intersect? Does it matter, as a matter of market value, that the painting was once a sacred thing? Navigating the journey shaman paintings make from painters’ studios to shaman shrines to private collections and museums, the three authors deftly traverse the borderland between scholarly interests in the material dimension of religious practice and the circulation of art. Illustrated with sixty images in color and black and white, the book offers a new vantage point on “the social life of things.” This is not a story of a collecting West and a disposing rest; the primary collectors and commentators on Korean shaman paintings are South Koreans re-imagining their own past in light of their own modernist sensibility. It is a tale told with an awareness of both recent South Korean history and the problematic question of how the paintings are understood by different South Korean actors, most particularly the shamans and collectors who share a common language and sometimes meet face-to-face.
"This book concentrates on female shamanisms in Asia and their relationship with the state and other religions, offering a perspective on gender and shamanism that has often been neglected in previous accounts. An international range of contributors cover a broad geographical scope, ranging from Siberia to South Asia, and Iran to Japan. Several key themes are considered, including the role of bureaucratic established religions in integrating, challenging and fighting shamanic practices, the position of women within shamaniccomplexes, and perceptions of the body,. Beginning with a chapter that places the shamaness at the centre of the discussion, chapters then approach these issues in a variety of ways, from historically informed accounts, to presenting the findings of extensive ethnographic research by the authors themselves. Offering an important counterbalance to male dominated accounts of shamanism, this book will be of great interest to scholars of Indigenous Peoples across Religious Studies, Anthropology, Asian Studies, and Gender Studies"
Winner of the Locus Award • Winner of the Endeavor Award "[Le Guin] can lift fiction to the level of poetry and compress it to the density of allegory—in The Telling, she does both, gorgeously." —Jonathan Lethem Sutty, an Observer from Earth for the interstellar Ekumen, has been assigned to a new world—a world in the grips of a stern monolithic state, the Corporation. Embracing the sophisticated technology brought by other worlds and desiring to advance even faster into the future, the Akans recently outlawed the past, the old calligraphy, certain words, all ancient beliefs and ways; every citizen must now be a producer-consumer. Their state, not unlike the China of the Cultural Revolution, is one of secular terrorism. Traveling from city to small town, from loudspeakers to bleating cattle, Sutty discovers the remnants of a banned religion, a hidden culture. As she moves deeper into the countryside and the desolate mountains, she learns more about the Telling—the old faith of the Akans—and more about herself. With her intricate creation of an alien world, Ursula K. Le Guin compels us to reflect on our own recent history. Though The Telling is often considered the eighth book of the Hainish Cycle, Le Guin maintained that there is no particular cycle or order for the Ekumen novels.
