In November 1935, the newly established Korean magazine Cho-Gwang began to publish a serialized parody novel, Modun Sim-Chong Jun (Modern Sim-Chong’s Story). At the beginning of this classic-based novel, a famous ‘western’ jazz singer, Josephine Baker, appears half-naked as a holy spirit, wearing a pilot’s helmet and holding feminine medicine for women in her hand. Interestingly, we can see her representation in the same magazine two months from the end of that novel. One Korean modernist novelist, Yi Hyo-Sok, wrote an essay, C Hang-gu oe Il-gu (Scenery of C Harbor)’ in August 1936 in which he described a night at the theater near ‘C’ harbor where Josephine Baker, dropping in the city by chance during her tour around Manchukuo, sang a nostalgic song. To date, no document has been found either in Korea or in Japan about Josephine Baker visiting East Asian countries at that time. This paper analyzes the translation between cultures by referring to a Korean dancer, Choe Sung-Hui, as a route to approach the background of cultural representations about Josephine Baker and investigates the signifying practices over colonial modernity in East Asia.

1954

Japon

1954 (1954) 11 avril au départ d' Air France Paris dans la machine. Il est arrivé à l' aéroport de Haneda à 20h30 le 13 Avril, et a fait sa visite au Japon . ^[3] Joué dans des concerts dans la ville de Nagasaki le 19 avril, la ville de Sasebo le 20 avril, la ville de Fukuoka le 21 avril et la ville de Nagoya le 22 avril ^[3] . Joué dans la ville d' Hiroshima le 23 avril . Culte au Mémorial des victimes de la bombe atomique ^[4] . Il a gagné en popularité en effectuant au Théâtre Impérial de Tokyo du 25 au 29 Avril et à l'Yaei Kaikan à Kyoto, le 1er mai . ^[3] Nous avons également joué au Grand Théâtre Takarazuka du 2 au 3 mai . Wikipedia…