How do Koreans represent themselves? Modernity v. Traditionalism

The aphorism, “a picture is worth a thousand words,” is appropriate especially pertaining to the visual representation of a nation, its populace, terrain, and culture. Illustrations employed as advertisements are one of the most significant illustrations of a nation, which Professor Kim Young-Hoon accurately highlights “the important point is not to focus on how the images or identity of Korean culture have been formulated from the outside but to examine the methods Korea, exercising its own agency, has employed in shaping it” (83). For this reason, my review will be based on the November 2003 selected image portraying South Korea in four aspects: traditional life, modern times, people, and nature. In addition, it must be noted that most tour pictures incorporate some aspect of traditions and modernity alongside each other, which symbolizes the merging of the past and present creating a unique visual focusing on Korean life. Tradition is significant in defining a culture, especially Korea’s, since its customs are distinctive although most classify “Korean culture in comparison to China and Japan” (Kim 86). Modernization is creating uniformity through skyscrapers, multi-billion dollar franchises such as McDonalds, and the like while limiting culture to museums. Minus topography, large urban areas have similar if not identical aspects globally, which is the reason national identity is dependent and grounded so strongly on history.

Below are photographs recently printed for tourist purposes. Both employ similar marketing techniques such as the theme of traditional verses contemporary as well as displacement of traditionalism within the modern atmosphere (right image) and vice versa in the left visual. In addition, both inject a sense of “exoticism”, a lacking in the foreigner’s culture that he or she can idealize but cannot fully comprehend. In other words, “making the familiar unfamiliar, and the unfamiliar familiar” (Auerbach 5). Beginning with dissecting the image of Seoul’s topography on the right, the first impression that is taken away is the centrality of religiously life in Korea. Vegetation surrounds the temple grounds while the background above and below is painted with modernity, a metropolis. However, the eyes are drawn to a representation of East Asian culture through the visual focusing on a temple, which is exoticized from its atypical components especially in American culture. The lushness of the trees and the almost simulated-looking blueness of the sky are essential to drawing upon the opposing themes of a tranquil traditional paradise and modern essentials for daily life. Thus, Korea in this visual represents an escape from reality while still having the ability to still step back into an urban setting.

The left visual accomplishes the same effects however, modernity and tradition switch roles. The setting is a temple, which represents not only East Asian rituals but also traditional history. The photograph appears more like an image from the early twentieth century instead of contemporary with dull but blending colors unlike the left image. Unlike the first image which focuses on traditionalism at the center of a modern environment, this photography draws on the differing roles of the two young girls, one a traditional dancer the other a modern performer. However, the ballerina is displaced into a traditional setting, which limits her qualities of modern expansion or so it would be perceived. The main question is “which girl is influencing the other’s dance?”, or more importantly “which child is mimicking the other child’s life?” This inquiry is essential for answering the debate of which is the predominant overtone in this advertisement: modernity or traditionalism. The slogan at the lower left corner “where old meets new” perhaps suggests the seeping of modern influence into Korean traditional culture, but I believe the visual is purposely ambiguous to allow the viewer the opportunity to decide for oneself and perhaps establish that Korea is unique in being simultaneously traditional and modern. Both visual representations are highly effective in drawing tourism to Korea through showing its exclusive aspect of being both a modern and traditional country to reach a larger audience.

(EB)
pictures on http://english.tour2korea.com/07T2KZone/KoreaInImages/poster.asp?kosm=m7_4&konum=3

Koreans on Teeny-booper dramas

So being the melodrama enthusiast that I am, I vegged on the couch for tonight's new showing of The OC. Mind you, it was overdone like usual but so overly addictive. However, in the previews for next week, the WB slipped in some unusual news as I was about to switch off the tv. To follow up on Seungyon Steph Kim's multiple posts (especially pertaining to "the most influential people of 2006 for the Artists/Entertainers section"), the South Korean pop star Rain (however do not quote me on that considering I saw about two seconds of his face) will be incorporated into next week's American teeny-bopper drama episode. Either way, this is immense advertisement not only for the musician but also for Korean Popular Culture. Hallyu must be gaining spead from this expedition. In addition, I think it is marketing genius to position a Korean pop star on a avidly watched show by adolescents, teenagers, and collegiate students since it is promoting directly to their prime audience, a supposed 8.3 million American viewers.

(EB)

Hey

Hey guys,

It has been an interesting semester.

I know, I know, I might have brought up some rather prickly topics but hey, that's a pivotal aspect of knowledge/cultural exchange.

We should come back and post something in 2 years time - let's see if any of our perceptions of Korea has changed.

Good luck seniors - trash a junior or two tomorrow at Heyday in my honor :P

Best,
ARC

Hallyu in Japan

I found this article in the Korea Times. Apparently, Japan and South Korea were experiencing increased good will and diplomatic relations before Japan once again claimed Tokto as its territory. One way that the two countries are trying to resolve this issue is by taking advantage of hallyu, make the flow of culture bilateral, instead of just unilateral from Korea to Japan. What I don't understand is, isn't Japanese pop culture already a big part of Korea? Are the Japanese just jealous that now Korea is supplanting some of their popular influence? Plus Chua's article made it pretty clear that Japan wasn't interested in spreading its popular culture to other countries. The products were designed for Japanesem, and they weren't really interested in its exportation. Why the sudden need for a bilateral spread? If Korea ever experienced anti-Japanese popular culture backlash, would they ever have the power to ask that Korea get an equal opportunity to spread culture in Japan?

http://times.hankooki.com/lpage/200503/kt2005030819464210230.htm

South Korea and Japan designated 2005 as the ``Year of Korea-Japan Friendship'' to mark the 40th anniversary of diplomatic normalization between the two nations.

However, the two nations' plans for a better relationship faces a big obstacle following Japan's renewed claims to Korea's easternmost islets of Tokto.

As part of this year's programs, the two nations also named 2005 ``Visit Korea-Japan Year'' to boost tourism and attract more visitors to both countries.

In the past 40 years, the number of Korean and Japanese visitors to each other's country has seen a 400-fold increase from 10,000 to 4 million last year.

Following the Korean pop culture boom, or ``hallyu,'' in Japan, 2.4 million Japanese visited Korea in 2004, accounting for 40 percent of the nation's total visitors.

An opening ceremony officially kicked off the joint promotion plan on Feb. 17 with various events and festivals scheduled throughout the year.

Japan has also decided to waive visas for Koreans during the Aichi Expo from March 25.

However, an icy chill has cast a cloud over the friendship year on account of a series of claims by Japan that Tokto is its territory.

On Feb. 23, members of the council of Japan's Shiname Prefecture submitted a bill to establish an ordinance designating Feb. 22 as ``Takeshima Day.'' Tokto is known as Takeshima in Japan.

Also, Japanese Ambassador to Korea Toshiyuki Takano said during a news conference on the same day that Tokto is historically and legally Japanese territory.

The statement immediately provoked strong protests from Koreans. It is not the first time that Japan has staked claim to Tokto. But Koreans regard this time more seriously, as the push for legislative prefectural status on the islets as well as the Japanese ambassador's comments are viewed to have gone too far.

Government officials, lawmakers, civic groups and the public are demanding Japan officially apologize for these actions. The council of North Kyongsang Province, which governs Ullungdo and Tokto, severed its sisterhood ties with Shiname Prefecture.

The National Assembly passed a resolution urging the government to cancel some of the friendship year's planned festivities.

During a speech marking the anniversary of the March 1 Independence Movement of 1919, President Roh Moo-hyun urged Japan to make a sincere apology and compensate Koreans for its misdeeds during World War II and its colonial rule of the Korean Peninsula.

Foreign Affairs and Trade Minister Ban Ki-moon delayed his plans to visit Japan on March 11-13 indefinitely. ``The government has decided it is improper for Korea's top diplomat to visit Japan at a time when the public's sentiment against the country is unfavorable,'' a ministry official said.

There are growing concerns that amicable feelings between Koreans and Japanese might be damaged, and that events for joint tourism promotion could be jeopardized.

``It is true that we are cautious in promoting government-level festivities,'' said Kim Man-jin, manager of the Japan team at the Korea National Tourism Organization (KNTO).

The tourism body has prepared different events this year to enhance bilateral exchanges between the two nations by taking advantage of hallyu.

``As hallyu has been in one direction from Korea to Japan, anti-hallyu sentiment has emerged among some Japanese. So we have decided to focus more on the introduction of Japanese culture into Korea by staging Japanese festivals here,'' Kim said

He predicted the Assembly or the government would not cancel scheduled festivals, but Japan's moves over Tokto would affect Koreans visiting their neighboring country.

``People tend to take the matter with an extreme viewpoint and blind anti-Japanese sentiment. Under these circumstances, it is hard for someone to discuss his of her trip openly with others,'' Kim said.

Travel agencies are trying to downplay the aftermath of Japan's claim over Tokto, saying it will have little impact on tourism.

``There have always been provocative remarks like that several times a year. The number of travelers to Japan will not significantly decrease as people make reservations for trips months in advance,'' an official of the Korea Association of Travel Agents said.

However, when Japan made such remarks in the past, there were slight decreases in the number of Japanese tourists visiting Korea, as they feared anti-Japanese sentiment, he said.

``Though there may not be great changes, we are afraid that the remarks could pour cold water on the festive mood surrounding the joint promotion of tourism,'' he added.

The two nations' latent troubles emerge every time the Japanese Prime Minister visits the Yasukuni Shrine to pay respect to soldiers killed during World War II and whenever extremists in Japan distort history in school textbooks.

``The issue concerning Tokto should be addressed in diplomatic ways in order for Korea and Japan to forge a future-oriented relationship,'' Kim of the KNTO said.

YYZ

Chairman of Samsung gains and empire but loses a daughter

I will admit my ineptitude and lack of proficiency in Korean politics, economics, and popular players in the limelight. Unfortunately, this is especially true when pertaining to the less than recent news of the suicide Lee Yoon-hyung, the 26-year-old daughter of Samsung chairman Lee Kun-hee, who was residing in New York while attending the university at the time. November 18, 2005 her death was thought to be the cause of a tragic car accident, however, later the Yonhap News Agency confirmed her death through hanging. Yet, after learning about the actual cause of death of this heiress, company officials refrained from changing previous thoughts out of respect for the family.

According to the staff reporter Chung Ah-young at the Korean Times, “unlike the chairman’s other children, who tend to keep a low profile, Lee’s third daughter attracted public attention on several occasions, such as when she opened a personal Web page in 2003.”

Therefore, my jaw dropped subconsciously at my amazement of an heiress to a family fortune taking her own life. She owned 8.37 percent of Samsung Everland, the de facto holding company of Korea’s largest conglomerate. Additionally, her father Chairman Lee Kun-hee is the epitome of worldly cultured. Lee Kun-hee is the chairman of Samsung Group, has an Economics degree from Waseda University in Tokyo as well as an MBA from George Washington University in the United States, and speaks Korean, English, and Japanese. In 1996, Lee became a member of the International Olympic Committee. With an estimated net worth of $3.4 billion, he and his family rank among the Forbes richest people in the world.

Although his rich and famous student enjoys the perks of the limelight, Chung explained that she suffered from depression possibly stemming from attending a foreign school doubled with the public outcry over the recent allegations of Samsung’s corruption and financial irregularities. However, Lee’s American boyfriend Shin Soo-bin noticed her suffering from a severe depression during her stay in the U.S. after her marriage plan was opposed by her parents. They broke up before she left for the U.S this September.

Are social pressures this severe in Korea that a student escapes their parent’s overbearing nature through studying abroad or was her case unusual and extraordinary? I comprehend the social pressures of perfection especially in studies in Japan and, hence, the suicidal rate, however her situation appears atypical to me. Since I am ignorant of the pressures placed upon Koreans by society, can someone please explain this bizarre situation to me?

(EB)


Samsung Chairman’s Daughter Commits Suicide


By Chung Ah-young
Staff Reporter

The youngest daughter of Lee Kun-hee, chairman of South Korea’s largest conglomerate the Samsung Group, committed suicide and did not die in a car accident as originally reported, a source has said.

The Yonhap News Agency quoted the source as saying that the cause of Yoon-hyung’s death was confirmed to be suicide.

Lee, 26, was found dead hanging in her apartment near New York University where she was studying. It was not immediately known whether she left a suicide note.

The New York Times reported Saturday that her body was found by her boyfriend Shin Soo-bin and his friend about 3 a.m. last Saturday, hanging by an electrical cord attached to the door of her Manhattan apartment.

Yim Jun-seok, a Samsung spokesman in Seoul, confirmed that the death was a suicide and not the result of a traffic accident, the newspaper reported.

Yim told the newspaper that the company did not issue any official statement on her death, because the company’s officials believe her death to be a personal matter and did not want to intrude on the family’s grieving.

On Monday, officials of Samsung Electronics Co., told the press that she had been ``pronounced medically dead’’ from a car accident in New York City.

According to the source, she might have suffered from depression during her stay in the U.S. and public outcry over the recent allegations of Samsung’s corruption and financial irregularities.

Unlike the chairman’s other children, who tend to keep a low profile, Lee’s third daughter attracted public attention on several occasions, such as when she opened a personal Web page in 2003.

But she suffered from a severe depression during her stay in the U.S. after her marriage plan with a Korean boyfriend was opposed by her parents, Yonhap reported quoting the source. They broke up before she left for the U.S in September.

Samsung Chairman Lee has been staying in the U.S. since late September for medical examinations, but he and his wife did not attend the funeral attended by only a few immediate family members.

In Korea, mourning for the late Lee was set up inside Won Buddhism’s local branch in Hyehwa-dong, central Seoul and several of Lee’s family members have visited the place, the source said.

The late Lee had graduated from Ewha Womans University in Seoul and had begun studying at New York University this year.

She owned 8.37 percent of Samsung Everland, the de facto holding company of Korea’s largest conglomerate.

Korean Gymnastics Review

Japan has sustained the prejudice attitude, as best remarked by a German literature scholar Kanji Nisho when he commented, “I wonder why they haven’t grown up at all…They don’t change. I wonder why China and Korea haven’t learned anything.” However, with the 2002 World Cup, South Korea emerged as a legitimate rival in East Asian. The spread of the “Korean Wave” phenomenon began to displace Japanese pop culture exports and Japan as the focus of East Asian popular culture in general. The threat of another East Asian culture and sports team equaling Japan created a sense of pressure upon Japanese popular culture. The “Hate Korea” movement commenced, which was best manifested through manga. Surprisingly, despite Japan’s allure to Korean drama and elements of its popular culture, a tremendous number of Japanese generated hostility towards South Korea through expressing their dislike for Korea and its progress, which resulted in a backlash. Withstanding this hostility, Koreans fought to attain the spotlight on the East Asian stage and eventually stand in the limelight of the world stage. This was most evident in the men’s gymnastics venue at the 2004 Olympic summer games.
In this competition, Paul Hamm won for the United States its first All-Around Gold title through the smallest margin in the history of men’s all-around, 0,012 points, triumphing over South Korea’s Dae Eun Kim (silver) and his teammate Yang Tae-young (bronze). Then the controversy exploded when the South Koreans realized the possibility of a first-place title. Apparently the judges began Yang Tae-young’s start value from a 9.9 instead of a 10.0, which cost him the gold; however, although this appears unfair, once the event is concluded, petitioning for recounting the score is prohibited. When asked why Yang did not take the initiative then, both Yang and Kim admitted that they “did not even think they would be on the medal stand at all on that night” but once they knew the possibilities, they did not expect Hamm on the two final events to rise from twelfth to first place. Kim suggested that, “I thought maybe I could get first. I’m rather disappointed and angry in a way.” Yet, notice how he revealed he “could” not “should”. Although these medals were the first two for South Korea in men’s all-around, they were still seeking more, the gold medal. Perhaps their desire for perfection and the spotlight demonstrates their tenacity for gaining world attention and proving that said attention is valid through honest means.
Unfortunately, the Court of Arbitration for Sports ruled that Korean protest was submitted too late and that CAS was not in the position to correct results. Throughout the entire process, the Koreans were “chaotic and dynamic” and Mike Celizic, a commentator for MSNBC, branded U.S. Paul Hamm “selfish and arrogant”. Although Hamm relates, “the decision from CAS confirms what I’ve always felt in my heart, which is that I was champion that night and the Olympic gold medalist,” Celizic notes Hamm’s irresponsibility to his country since yielding the medal was “not something Hamm had to do, but it was something he or anyone in his situation should do.” Instead, according to Celizic, Hamm’s narcissism tarnished American’s reputation more so since, “it’s taken as proof that America is an arrogant and bloated monolith that won’t be satisfied until it owns the world and all the gold medals in it.” However, if this were vice versa, I am positive that any country in the position of losing a gold medal would fight to win it back and be reluctant to renounce the symbol of a country’s superiority.
In addition, this event was adding insult to injury with the previous fall from fame two years ago at the Salt Lake City Winter Games. The U.S. short-track speed skater Anton Apolo Ohno got tangled up with a South Korean skater on the last turn of a race and ended up with a medal while the Koreans got nothing. Therefore, the judge making such an obvious mistake on Yang’s routine reminded them of another loss that could have been a win. Although, the International Gymnastics Federation announced Yang had been wrongly docked a tenth of a point on his second-to-last routine, the parallel bars, Yang still finished third instead of first. Celizic comments, “even though the rules say he should keep the medal, the fact remains that he won it because the judges goofed in rating the parallel bar routine of Yang, giving it a starting value of 9.9 instead of the 10 it should have had”; although the facts lean to Yang as the possible winner, who could say the outcome would have been the same? Paul Hamm could have fallen on his best event and the 0.1 point the Koreans petitioned for would have been in vain, or vice versa, Yang could have fallen. Either way, it was the fault of the Korean’s for not catching the mistake sooner. And speaking from a perspective of a competitive gymnast who has competed at various levels for the past sixteen years, I believe it’s innate to sometimes not question your score, but even still, my coach would still check the judge’s remarks for clarity and accuracy of deductions.
What is the relationship between Korean-Japanese rivalry and the 2004 gymnastics event? Or Ohno versus Kim (speed skating)? Make the relationship more explicit by discussing the world cup and media culture. Or frame your discussion of gymnastics in a different way, so that you will be able to include both issues. What is the larger framework through which you are analyzing these two events which, though could be counted as Korea’s success, ultimately revealed Korea not yet having reached the advanced level to compete successfully and fairly with the most advanced countries and athletes.

(I am sorry for being so delayed in updating. Please feel free to comment and discuss my thoughts. I am curious as to others', especially native Korean's, impression of this situation.)
(EB)

Who are the most influential people of 2006?

Rain has been nominated for the most influential people 0f 2006 for the Artists/Entertainers section.
The more interesting thing is that now Rain is on the second place on the vote. 34% of the voters voted for Ang Lee, the directof of "Brokeback Mountain," and 32% voted for Rain. (9:30pm)
Rain is now a world-wide star, not just a "hallyu" star. :)

The Quest for a Common East Asian Pop Culture

Chua’s lengthy outline of the mechanisms and characteristics of East Asian pop culture is helpful in contextualizing discussions on pop culture within the framework of academia. The author, a Singaporean, outlines and critically analyzes the various interspacing of cultural influences that carved the pop culture landscape of East Asia in music and on-screen (film, drama series primarily) before spelling out the criterions in establishing a so-called common East Asian popular culture identity.

Although I found the article resourceful and informative, I struggled with the shortcomings in definitions and concepts, particularly the idea of “East Asia.” Academia has traditionally incorporated China, Greater China (Hong Kong and Taiwan), Korea and Japan into what we generally call the East Asian sphere, or East Asia. To suggest a common Confucian identity as a base for an East Asian identity might seem plausible, but it creates a significant reality and conceptual disconnect with regards to the degree of intensity of each nation’s experience – from a historical and cultural standpoint - with Confucianism. The author offers a weak justification in this comparative research – a common ethnic heritage (In his case, Chinese). Admittedly, a common ethnic heritage might offer some grounds for lumping nations together, but one has to seriously question the intensity of tradition experienced by Chinese in Singapore and Chinese in the Mainland. While elementary school students in China (sometimes in Taiwan) are forced to memorize Tang poetry and Confucian sayings, students in Singapore slave over English grammar and the perils of Trigonometry (Chua himself alludes to this cultural gap in Pg.10).

When we consider the historical background of Singapore, one can sense an even greater level of cultural disconnect. It is a nation comprised of fourth to fifth generation immigrants (first from China to Malaysia, then through the expulsion of the Singapore state from Malaysia in the 1960s) where almost everyone speaks fluent English and only a handful is fluent in Chinese. Chua admits to the “danger” in suggesting a common East Asian culture, and should have headed that danger by paying more attention in substantiating his cause for such “lumping.” Fourth generation Japanese-Americans will not attest to a common Confucian culture shared by ethnic Japanese in Japan. The same analogy extends to countries with multi-generational ethnic immigrants. The author might have more thought currency if he formed a basis for comparison on similar consumption patterns or even common ideas of aesthetics – at least form my point of view.

But even with that conceptual disconnect, Chua did highlight some interesting characteristics of East Asian popular culture. The pop culture market is fluid, with two “originators” – Chinese and Japanese pop cultures. Entertainment markets are essentially profit machines governed by consumption changes, and not innovators of cultural creativity. For example, the untouchable Hong Kong pop of the 1970s and 1980s has reinvented itself into “Mandarin” pop to cater to the Mainland market, although admittedly it is losing its battle to Mandarin-speaking Taiwan. In the article, Chua speaks of the Korean influence as a relatively new entry. Although Chua wrote the article during the rapid rise of Hallyu in 2004, he does not express much interest in contextualizing the Korean Wave. Rather, he suggests that Korean pop culture was built upon, or at least, mimicked traits pioneered and championed by Japanese pop culture (refer to his comments on Korean listeners attesting to the similarity Kpop has to Jpop). In the same vein, Korean dramas imitate the sleek, urban chic “feel” first conceived in Japan via Tokyo Love Story. Thus, at least from the way I read it, the author did not feel that there is not clear difference or innovation contributed by the Korean Wave. At the same time, it is important to highlight Chua’s point on Japan’s disinterest in exporting its own drama series. They were produced for the domestic market, and exports were not even a consideration in its conception. Contrast this with the export-mentality that influences Korea’s domestic entertainment landscape.

But the larger question is, can there indeed be a common East Asian popular culture agreeable to everyone in East Asia (I am focusing on the traditional definition of East Asia as it is not only more convenient but it is also more relevant to our class’ focus on Korea and its immediate neighbors in East Asia)? Yes and no. For me, there is an apparent set of basic aesthetics that is appreciated by most East Asian folk – from syrupy, easy-listening pop music (meaning anyone with the slightest sense of tonality can predict the tonal progression of each pop chart topper) to physical attributes (for men, tall, built, etc; for women, petite, big eyes, etc.). This common sense of aesthetics enables the relatively free-movement (“fame”-fluidity) of various East Asian artists (Faye Wong, Sang-Woo Kwon, Bin Won, etc.). In drama series, as Chua attests, it is almost impossible to distinguish the set of a Korean drama series from that of a Chinese or Japanese one – they share a general sense of style and design.

However, it gets harder when we travel outside the confines of entertainment aesthetics. Can nations overlook ethnic prejudices and historical sore-points? Japan might hold the answer to appeasing political tension, but I believe elements of ethnic prejudice are also preventing the realization of a common East Asian popular culture. What do I mean by this? The apparent hierarchy Asian individuals “rank” Asian ethnicities. In some sense, popular culture is not just a mere issue of entertainment innovation or profits. It is more than that. It is a cultural export, which is intertwined with national pride. Thus, I can see the sharing of a common set of aesthetics in East Asia, which has already taken place. But the idea of taking this common ground to the next level and structuring it as a collective East Asian pop-culture identity is but an unattainable utopia.

- ARC

South Korean Pop In North Korea

The following is a clip of the South Korean boy band, Shinhwa, performing in Pyongyang. I found it interesting to note, that usually their fans go crazy during their concerts. There are reported rumours that South Korean pop has a strong underground support in North Korea, but viewing this clip it seems dubious. The North Koreans look at Shinhwa almost in a disgusted manner. I was particulary suprised to see that even the young people are not entertained at all. Talk about conflict in cultures....

- Alex Liu