EVERYDAY VIDEO POETICS

Recently was talking to a friend in the US about Korea and global political history, or something along these lines. I was a bit surprised when, in passing, said friend mentioned, among other things, Korea’s role as colonizer in the context of historical global relations.

Surely, I did not just hear that, I thought. Surely, this person doesn’t believe Korea, of all the countries of East Asia, once colonized some other country? And if so, what country would that have been?? In my remote and lurking Korean (American) national pride, it was kind of like a little bit of salt on my race’s historical wounds (I realize I am conflating nation and race here, but that’s how insidiously unconscious this stuff can be. Kidding…Not kidding.). I was sadly reminded of how so many people in the West — and a lot of people I know — actually don’t really know jack about Korea and its history. And what they do know is abstract, vague, generalized at best.

And I guess, why should they? Much of Korean historical scholarship is written and consumed by those with a particular specialization in Korea or East Asian Studies, Korea has traditionally not been perceived as a major global power nation, and because of Korea’s history of invasions from outside forces, as well as a period of incredibly brutal colonization by the Japanese – Korea has been just a little bit protectionist, and also because of these factors, so much of written Korean history has been lost; documents pillaged and records destroyed (or stolen, see below), not to mention the systematic cultural and religious oppression by Japanese colonizers in forbidding the study of Korean history, art, and language, as well as making worship at Shinto shrines compulsory.

I tried delicately mentioning some of these things in response to my friend, since I was not in the mood for critiquing, and also wanted to give him the benefit of the doubt. (I take this as part of my humble role as a “cultural ambassador.”)

This is really Korean History 101. Pick up any book on the subject and one of the first things it will talk about is Korea’s unfortunate geographic location and the subsequent history of foreign invasion that’s descended upon “the Land of the Morning Calm.” Of course, much more could and should be said about this, but for now what I wanted to share was this opinion article from the Joong-Ang Daily: “Winning Back Stolen Culture”.

Case in point, this article states:

According to a recent survey by the Cultural Heritage Administration, a total of 107,857 Korean historic properties are scattered over 18 countries. Japan holds the largest number with 61,409 items, followed by the United States with 27,726 items. Some items, such as Uigwe, were confiscated by foreign invaders while others fell into the hands of collectors through trade.

France, Japan, the US — all have historical and cultural artifacts that were stolen during invasions and occupation currently displayed in their own libraries and museums. Koreans want them back. Why can’t these people return what is not rightly theirs? (This is all really working up my haan.)

Righting the wrongs of history in Korea has undoubtedly been an ongoing  and deeply-rooted psychological, cultural, and emotional process that plays out on so many levels – from reclaiming stolen cultural artifacts, to former comfort women protesting every Wednesday in Seoul, to trying to correct the misconceptions of the outside world. Every nation has its own demons to exorcise, its own psychological and collective healing it must do. These are just a few examples of contemporary (south) Korea’s particular situation, and this is something that Koreans themselves will continue to negotiate and work through for a long time coming…

A recent paper I wrote concerning 3 Korean video artists & representations of modern Korean history & collective memory. It’s a long one, so if you want to read it in its entirety click on the link below.

Other relevant links:

Jin-Me Yoon
Park Chan Kyong
Koh Seung Wook
The Dongducheon Project @ Museum as Hub
Deleuze – Cinema 2
PDF version

Here it is:

Expressions of the Emergent: Korean Video Art, History & Memory

Video & the Project of Emergent History

Some say the nameless deaths buried in
the Sangpae-dong Public Cemetery
are ‘whores,’ while others say they’re
‘Yankee Princesses.’

Those who resent the violence of U.S. soldiers
call them ‘Sisters of the Korean people.’
But what shall I call them?
Those no one has remembered nor named?
No, why do I even want to call them?
-  Seung Wook Koh, “Driveling Mouth” (2008)
Single channel video installation with color and sound (emphasis added)

The lines of text presented here are from Korean artist Seung Wook Koh’s single channel video about the lives and memories of sex workers in Dongducheon, a military camp town that lies approximately in between Seoul, the Republic of Korea and the Demilitarized Zone (DMZ). This particular city, whose infrastructures were first designed and implemented by Japanese Colonists, only to be ravaged during the Korean War and later rebuilt by the U.S. Military, has become a symbol of Korea’s traumatic and contentious modern history, replete with historical narratives of colonization, rapid modernization, and postwar industrialization. Hidden somewhere deep within the gaps of these major historical narratives are the personal stories, memories, and histories of the people of Dongducheon, the civilians who have become the dispossessed of the U.S.-South Korean military order. Their lives have arguably been the most affected by the tumultuous shifts and displacements of war and colonialism yet have been rendered virtually silent and invisible from public discourses. Koh’s work serves as a documentation of these gaps just as it poses these critical questions: Who have been the people of Dongducheon and why should we remember them, or call them forth – those who have been forgotten, unnamed, and made invisible? What does this act of remembrance provide for our understanding of the present moment and our future trajectories?

I argue that the answers lie within the understanding that the authorship of history is a claim of orders of knowledge and power, and additionally, that the act of constructing history is a social and political one, giving legitimacy to certain experiences, meanings, and subjectivities while delegitimizing others. In this process of construction, what is accepted as official history, usually crafted by a dominant regime, becomes codified as “historical truth,” creating the conditions that perpetuate hegemonic determinations of reality and orders of knowledge that serve the interests of some at the expense of others. In the context of Western civilization we have seen the results of this in the histories that have been used to legitimate colonialism, racism, sexism, and other corruptions of the Euro-American Empire. Yet, in any so-called pluralistic and democratic society – where polyphonous voice is to be valued as critical in sustaining the principles of democracy and the individual’s right to self-determination, there is a crucial need to give voice to the subjectivities that have been muted and the histories that have been suppressed. To do this means to critically look backward into time to search out the stories that disrupt, complicate, and threaten accepted notions of historical truth, shifting and enlightening our present realities and unlocking future possibilities. As one possible answer to Koh’s question, “why do I even want to call them?” I will refer to Gilles Deleuze who stated, “History amounts only the set of preconditions, however recent, that one leaves behind in order to ‘become,’ that is, to create something new…Men’s only hope lies in a revolutionary becoming: the only way of casting off their shame or responding to what is intolerable” (1990, 171).

Therein lies the task of a certain kind of storytelling – for the purposes of this essay, a certain kind of videomaking – that concerns itself with issues surrounding the representation of personal and collective memory, and the histories rendered silent by official narratives. What stories must be told so that we may understand our set of preconditions? How do we remember the events of the past in order to create the spaces for a “revolutionary becoming”? Additionally, because I will be investigating the ways in which time-based media approach these issues, how does the audiovisual medium of video form these narratives that often lie in the realm of the Foucauldian unthought, awaiting a language in which to think them? Within the context of poststructuralist discourse on history and how the medium of film has created new spaces for critique and revision, Robert A. Rosenstone argues that postmodern theorists have yet to bring forth a kind of writing that “brings the ways we know or think of the past into line with the poststructuralist critique of current historical practice” (1998, 199). An alternative method is needed, one that can fulfill the postmodernist claims against official history. Where Rosenstone looked to film to support these claims, I look to single channel experimental video, and its integration with the practice of what I will term emergent history, for its unformed, uncodified, and indeterminate qualities, as well as its numerous potentialities in challenging the assumptions made by prescribed “historical truths.”  Read the rest of this entry →

Article here at Yonhap News.

It’s been a little while since I last posted… In the blink of an eye, things suddenly became very hectic – between trying to prep & take the writing portion of the GRE, language course starting, getting used to the commute to SNU which is roughly over an hour to attend a class that I really can’t understand, but which I will continue to attend because it seems really interesting & I actually think I will be able to glean a lot of good information – and then there was also the 가야금 (gayageum) class Saturday morning, immediately followed by a two day Mongolian dance workshop, also held at SNU. Though this had nothing to do with my research, I promised to videotape for Professor Lee, and it was interesting, even through the total lack of linguistic understanding on my part. With the combination of more grad school prep (aforementioned GRE, applications, as well a required research paper for the apps) and adjusting to life here, the research, etc. life has felt just a little bit schizophrenic.

But — I can say that through the chaos and running around all over town, I have experienced a few moments of harmony with being here. In these moments, something clicks, and suddenly I’m here, really here, living in Seoul, and I understand it – feel I understand it more and more until it feels like the place I call home. For now at least. It is the place where I am, not the place where I’m just here as a visitor to do some work and waiting to leave. These moments come and go, but they definitely come, and that is a good thing.

Speaking of displacement, I am working my way through Roy Richard Grinker’s Korea and Its Futures: Unification and the Unfinished War, which discusses – many things, among them – Korea and modernity, a concept that addresses issues related to diaspora, displacement, separation (as in separated families from the War), shifting identities, the loss of tradition. Modernity: something that promises the new, exciting, seemingly boundless, and yet threatens everything a culture has identified as being; everything it has held sacred in defining itself. And here we are in Seoul -  a place that is now so far into modernity, what I think of as deep modernity. There is just no turning back. So what does that mean for unification? The South goes farther down a path of globalization, and the North remains frozen in time – in a time of pre-modernity, so far away from what is happening in the South, and the world, now. If unification seemed a complicated goal before (at least to outside critics), where does it stand now?

As I sat in a cafe near Ewha Womans University reading about unification being a sacred goal of all (South) Koreans; a goal assumed to be inevitable, but whose very achievement also threatens the foundation of S. Korean national identity, which is greatly based upon and defined by national division – I looked out onto the streets, full of young college aged women wearing the latest street fashions of Seoul, and I thought, Do any of these people even care? Most of them were born in the 1980’s and after – they are the children of a globalized and globalizing Korea. How do these issues that have so wracked their country for decades affect any part of their lives? The generations of people directly affected by the Korean War are beginning to fade, and I think that with that is the loss of something very, very important to the national, collective, cultural memory and psyche of this country. A recent survey from the Korea Peace Institute reported that out of over 1,000 S. Koreans aged 19-59, about half said that they could accept Korea remaining divided, so long as it is peaceful. This is a very different portrait than Grinker’s book (published 1998). It is too early to tell… I’m realizing a lot of the literature I have, though incredibly insightful and very important for my work, may also be outdated, even after just ten years. Things move fast on the road of deep modernity.

I can’t say if at this point unification would be a ‘good’ or ‘bad’ thing – or possible/impossible – or if those questions are even relevant anymore. So much of discussion around unification just seems rhetorical. Not to sound like a pessimist, I want to believe in the possibility, but… I can say that the unification discourses that have been allowed to take place have been problematic for various reasons which I am too tired to go into here (i.e. – Germany).

And I can also say that I noticed how Koreans seem to really like Waiting for Godot. Unclear if it’s so much Beckett they like, or just the play itself. The latter would make sense. If you insert ‘unification’ as the ‘Godot’ that we await, but which never comes.

Then on the other hand, hundreds of families prepare for a much anticipated and very fleeting reunion with loved ones across the 38th parallel; a reunion that is most likely the last for many of these people. A complicated picture. Heartbreaking, really. All this Han!

Korea is such a deeply complex mystery to me – but I have the sense that understanding the nature of its mystery on a kind of gut level is going to be key to opening up some doors…

Non sequitur: some new words I learned this week

우주 (oo-joo) = The universe; cosmos

원리 (wol-li) = A principal, theory, fundamental truth => 우주원리

영가무도 (young ga moo do) = Spiritual dance

경과 (kyoung gwa) = Progression

There are a few other random thoughts I have had, but I cannot remember them now, so I will leave you with that.

LAURA LING AND EUNA LEE MAKE FIRST STATEMENT REGARDING EVENTS LEADING TO CAPTURE // Current.

Link to NY Times coverage here.

Even though I, like many others in the US, was so relieved when the Current TV journalists were pardoned by the North Koreans and watched their homecoming through every news outlet, I have to say that when they were arrested back in March by the DPRK, I thought, what the **** were they thinking?!? How could they have possibly allowed themselves to get caught like this? Naivete? Brash & blinded indie-style journalist guerrilla-ism? WTF?!

The incredulous-ness grew as I learned that they were covering the plight of North Korean refugees. – Great, not only did they risk their own lives through this ordeal, but also the lives of the very North Koreans they were trying to advocate for, and who would no doubt actually face the labor camps – not a guest house – should they get caught.

I wondered what happened to the tapes & materials they must have had on hand.

So I am glad to find this article on the Times site, which brings to light several of the very real problems this event has raised. Lives are still at risk, though the women are safely home. Maybe it will be helpful once they start talking, because the information here does not look good:

In South Korea, Freed U.S. Journalists Come Under Harsh Criticism – NYTimes.com.