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"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

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...

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...

Since the late 1960s, the lives of south Koreans have been reconstructed on the shifting ground of urbanization, industrialization, military authoritarianism, democratic reform, and social liberalization. Class and gender identities have been modified in relation to a changing modernity and new definitions of home and family, work and leisure, husband and wife.

Under Construction provides an illuminating portrait of south Koreans in the 1990s--a decade that saw a return to civilian rule, a loosening of censorship and social control, and the emergence of a full-blown consumer...

Kendall attended her first Korean wedding in 1970, soon after she arrived in the country with the Peace Corps. Years...

Since the late 1960s, the lives of south Koreans have been reconstructed on the shifting ground of urbanization, industrialization, military authoritarianism, democratic reform, and social liberalization. Class and gender identities have been modified in relation to a changing modernity and new definitions of home and family, work and leisure, husband and wife.

Under Construction provides an illuminating portrait of south Koreans in the 1990s--a decade that saw a return to civilian rule, a loosening of censorship and social control, and the emergence of a full-blown consumer...

Contributors to this volume explore the irony of modern things made in the image of a traditional us. They describe the multifaceted ways tradition is produced and consumed within the frame of contemporary Korean life and how these processes are enabled by different apparatuses of modernity that Koreans first encountered in the early twentieth century. Commoditized goods and services first appeared in the colonial period in such spectacular and spectacularly foreign forms as department stores, restaurants, exhibitions, and staged performances. Today, these same forms have become the media...

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...

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...