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.