우물 안 개구리

Hi,

I’m new to the blog, and just wanted to introduce myself.  I just completed a Ph. D. in the History of Science (2007) on the formation of “state science” in the ROK. 

I’m primarily a Historian of Science / Medicine, with a significant investment in East Asia (South Korea and Japan). I recently started at NUS (National University of Singapore), and will be teaching in the former area (Social History of Disease), while assisting with the latter as we offer our first Korean History classes in Spring 2009. NUS also hired two language lecturers for Korean, and appears to be quite motivated about getting involved with Korean Studies.

In terms of interests, this translates into spending a lot of time in hospitals, and I’m currently working on a book project about the formation / tranformation of a South Korean health care system following the war (1945-1972).

I’m also interested in the messy “in-between” years of about 1945-1965 in terms of the transformation of Korean technology and material culture (engineering, agriculture, the transition from the electrical grid to nuclear power by the late 1970’s), but run into frequent limitations here in terms of a lack of documents.

In any case, I’ll be posting again soon, and look forward to participating–you can also find me at:

  http://www.fas.nus.edu.sg/hist/hisjpd.htm

John

I had a chance to watch a Korean movie from the colonial period, called “Homeless Angels (집없는 천사, 家なき天使),” at the Korean Film Archive (KFA) in Susek, Seoul, the other day. This movie was made by the infamously pro-Japanese director of the time, Choi Inkyu, in the late 1930s, and released in 1941. The Korean Film Archive listed it as one of 100 representative works that reflect Korean cinema, “because it is one of the very few surviving movies from the Japanese colonial era” despite the fact that the last scene (where all the children recite the pledge of allegiance to the Japanese Emperor) was propagandistic for the  Japanese imperialist cause.

The movie is about the founder of an orphanage called 香隣園 and the Korean boys who joined the orphanage. Conversations took place mostly in Korean, except for some occasional code switching with Japanese. Since Matt at GUSTS OF POPULAR FEELING has featured this movie a while ago, giving details of the plot and pictures of various scenes, I will not explain the story in detail here. I would rather like to point out the key historiographical issue in the discussions related to this movie among Korean film scholars, the KFA and GUSTS OF POPULAR FEELING.

The KFA interprets this movie as mostly a humanist story of enlightenment by Koreans for Koreans, and argues that “the propagandistic sequence is inserted irrespective of the plot and thus does not pose a substantial threat to the text’s actual subject.” In critique of this interpretation, Matt has highlighted the militaristic nature of the training that children receive, and indirect expressions that praise Japanese military advancement in the film. His interpretations suggest that children could represent Koreans in general, and that the film could leave the audience with the lesson that Koreans could have become real Japanese citizens if they had made a great effort.¹ The interpretations of this movie among film scholars today are similarly divided on how to interpret the nature of this movie in the same way as the Japanese imperial authorities were bewildered.² Is this a mere Japanese propaganda? Or is this a ‘Korean’ humanist story of rescuing and enlightening homeless children?

Let’s step back from this question for a moment. There are many elements in this movie that reflect the global trends at the time. The first thing to notice is that in the movie there is clear pastoral idealism depicted as a reaction to industrialization. The film shows the decadence and corruption of urban culture, and its contrast to the healthy, disciplined, frugal and simple rural life. The idealization of rural agricultural life is found in media and intellectual discourse, not only in Korea and Japan, but also in Britain, Germany and other places in the world since the 1900s. Secondly, the special role of children as ‘our future’ and ‘our hope,’ but at the same time, as those that adults have to lead in the right direction, can be considered as a new concept that rapidly spread around the world in the 1910s. Historians often point out Stanley Hall’s theory of developmental child psychology as having helped create and spread such an image of children. With these two elements combined, it is not surprising to see that large-scale youth movements were launched around the world around the same time — the Boy Scouts, Hitler Jugend, Japanese Seinendan, Communist Komsomol, etc. All these youth groups praised militarized discipline and pastoral ideology. Lastly, while idealization of rural life is clearly a rejection of modern consumerism, the movie seems to imply that Western Enlightenment itself was the basis of their activities. In the movie, the founder of the orphanage gains support from his brother-in-law, a rich doctor who owns an empty Western style house, a sizable farm and a farmhouse outside of Seoul available for use. There was a quick flashback scene in which this brother-in-law was spending time with his German girlfriend there, showing that he was educated in the Western style and is familiar with European culture. More interestingly, the founder names his son and daughter “ Johann (요한)” and “Mary (마리아)” respectively, which we can’t help but see as bizarre given the setting of Japanese colonialism. Overall, the adults who help the children in this film are all “Westernized.” This close relationship between the Enlightenment thought and anti-industrial youth movements was also prevalent in other parts of the world.

Coming back to the question of how to interpret the nature of the movie “Homeless Angels,” it is clear that the film was not simply about “Koreans helping Koreans.” At the same time, the question of “to what extent it was Japanese” has become a much harder question to answer because Korea, as well as Japan, was embedded within the larger historical trends of the time. The same difficulty of separating “Japanese” colonial modernity from world-historical trends is a common problem with many of the writings about the Korean colonial history. I wish that historians had better tools to capture the interaction of all the world, regional, national, provincial, and personal contexts instead of endeavoring to fit all the elements into narrower national terms. 

1. I would add the fact that the orphanage was available only for boys. It reflects the tendency of Japanese colonialism that regarded Koreans as military and labor human resources at the time. [↩]
2. See 강성률, 영화로 보는 우리 역사 3 [집 없는 천사]와 찬일: 계몽을 가장한 자발적 친일, 내일을 여는 역사, no. 20, 2005.6, pp.227-232 [↩]

The Asian History Carnival #20 is now up at Jottings from the Granite Studio! It comes in three parts:

Asian History Carnival #20 Part I

Asian History Carnival #20 Part II

Asian History Carnival #20 Part III

We are looking for volunteers to host the September and November installments. Read more on the carnival homepage.

I’ve recently been looking through 한국전쟁과 집단학살 (Organized Massacres and the Korean War) by 김기진. The work focuses primarily on crimes against civilians carried out by United States forces or Korean forces and has a large section which reproduces, in a regretfully somewhat badly edited form, a lot of US archival documents found at the National Archives.

My impression, and that is all this is since this is not my area of expertise, is that the documents themselves don’t really reveal anything earth-shatteringly new. A lot of the documents included reproduce contemporary media reports of atrocities and consist of internal debates about investigations into whether the accusations are true, or are responses to letters by the UN or the International Committee of the Red Cross.

I was interested in these conveniently collected documents for a number of reasons, but one of the documents in the collection that may be of interest to readers here was responding to a report submitted by Gregory Henderson on an alleged atrocity against forty captured “Communists” many months before the opening of the most violent stage of the Korean War in June of 1950.

(more…)

I had a chance to look into two primary sources on ’school strikes (同盟休校)’ (mostly in common schools) in the colonial period of Korea (the Kominka period in particular), and translated some of the records from Japanese to English. The documents I looked at are: 高等外事月報 (朝鮮総督府警務局) and 朝鮮思想運動概況(朝鮮軍). It is quite interesting and I would like to share some of the anecdotes here.

<Students’ Complaints in 1937-1939> The main complaints throughout these years were about the excessive amount of ‘practice (jisshū)’ classes at the expense of academic training. Many went on strike because they perceived that they were not receiving adequate education or were not provided with qualified teachers. In many of these cases, the quality of education mattered more than ethnicity. To give a few examples;

• 69 male students out of the total of 80 fourth graders were discontent about the educational policy of the new Japanese principal who emphasized only ‘practice’ classes and disregarded academic courses. The class president and 5 other students gathered all the male students and decided to go on school strike during that week. They carried out the strike the next day. But after the local police and the school caught the six instigators, all the rest attended school the following day. (Kyŏnggi, Common School, May 1937)
• 32 forth graders went on strike in the hope that the school would hire an additional teacher and reduce the number of self-study hours. The police detected the plan, and dissuaded them from carrying it out. (North Ch’ungch’ŏng, Common School, March 1937)
• Students were discontent with a Korean teacher of Buddhism and the Korean language for his short temper and ineffective pedagogy. 32 students went on strike for two days. (South Kyŏngsang, Buddhist School, May 1937)
• Civil engineering students were discontent with the Japanese principal’s decision to hire a new Japanese teacher to replace a resigning Korean teacher since the new teacher lacked adequate educational background. 101 students went for strike, but after the principal explained his intention to promote school reform and discipline by hiring a Japanese teacher, and promised to hire another Japanese teacher with higher technical knowledge, the students were satisfied and resumed attending school. (South Ch’ungch’ŏng, 1939)

(more…)

I reported in my recent posting on the Korean National Archives that online registration for the site is broken for all non-Koreans.

This is unfortunate since the National Archives advertises that it is for “everyone” to use. Registration online is required for many of the services provided, including the printing of online documents (which in any case, seems to be broken), and the online requesting of materials and reservations for visits (not necessary, you can go directly there, but this feature was also broken when I tried it with Windows and Internet Explorer).

After reporting this problem to archivists at both the Daejeon and Seoul offices of the National Archives, they appear to have made it possible for foreigners to register. The original English language page (broken) that I reported on seems to have disappeared. Here’s how to register if you are not Korean:

1. Go to the new membership registration page here. You can also reach the page by going to the homepage for the Korean National Archives and pressing 회원가입 in the navigation bar.

2. Press 동의 for the licensing agreement

3. Next you will be presented with a screen that asks you to enter the citizen registration number that Koreans have but foreigners don’t. While there is nothing on this page that suggests this is possible, you do not have to enter anything into the fields for the name or registration number. Simply press the 다음에하기 button and fill out the form on the next page with you personal information and press 확인 when you are done.

Jeremiah Jenne over at Jottings from the Granite Studio¹ will be hosting an Asian history carnival sometime during the week of May 5th. If you have postings you would like to nominate for the carnival, please send them directly to Jeremiah. You can reach him at jgjenne at ucdavis.edu. Another way to submit nominations is to tag it on del.icio.us with the tags ahcarnival for regular blog postings or ahresources for Asian history related online resources.

1. The site is currently down, but Jeremiah will work to get it back up for next week [↩]

The relationship between Korean martial arts and Japanese martial arts is usually a touchy one. This is because, like the history of so many other things in modern Korea, it is susceptible to what I like to call the “Colonial Death Touch.”

The Colonial Death Touch works like this. Any practice which can be demonstrated to have its origins in the Japanese colonial period, was reborn during the colonial period partly out of inspiration or imitation of some Japanese practice, or was significantly influenced by similar Japanese practices is ruled to be inauthentic. Inauthentic things, of course, cannot be authentically Korean, and thus risk, at the very least, losing its place in the national cultural or historical repository. At most, it can destroy any popularity such practices might enjoy.

The Colonial Death Touch is sometimes delivered by, for example, Japanese nationalists who want to anger their Korean neighbors. However, it is also often used domestically. For example, practitioners of Korean martial art X might claim that they are superior to martial art Y because they are “pure” Korean while martial art Y is soiled by its evil Japanese roots. I’m sure many readers familiar with Korean martial arts can think of some examples of this.

These sorts of exchanges, whoever their participants might be, are silly childish games of nationalist mudslinging. They depend on a simplistic idea of authenticity, a laughable faith in cultural uniqueness, and a conception of the colonial period as cultural and economic black hole out of which only the bright shining light of Korean national resistance can possibly shine.

One martial art that became popular during the colonial period which remained popular in the postwar period is 검도(劍道, J: Kendō) or swordsmanship. In recent years, perhaps partly due to the ever present threat of the colonial death touch, the martial art has undergone some degree of “Koreanization” while other innovations in technique, uniforms, etc. probably are more simply attributable to the evolution of all such arts across time.

Reaching back to the time of liberation in 1945, however, I did find it remarkable that 검도 seemed to remain particularly popular among the Korean police. Like the popularity of Kendo among the Japanese police down to this present day, Korean police publications from the late 1940s and 1950s show pictures of 검도 practitioners gathered in huge numbers. This is somewhat surprising since the sword of the police in the colonial period was one extremely hated symbol that often gets mentioned in anti-police newspaper articles. The post-Liberation police stopped carrying the sword after a reform of November 8, 1945 and replaced it with a police stick. Admittedly, one could argue that the symbolic weight of a sword carried is different from that of the bamboo 죽도(竹刀 J: Shinai) used by 검도 practitioners, but I find the resilience of 검도 to be impressive and admirable all the same. Others, however, might point to this as yet another expression of the “pro-Japanese” tendencies of the police.

It is not surprising to learn that many Korean police during the colonial period were also working hard at various martial arts. In a 1938 Japanese imperial government report on the colonial police, there is an interesting table listing the number of Japanese and Korean police holding various degrees of skill in three martial arts: Judo (유도), Kendo (검도), and Kyudo (궁도, Japanese archery).¹ The degrees are listed by dan beginning with shodan (in some martial arts this is often now called the first degree “black belt”). Below are the number of police holding first degree or higher in the three martial arts for 1938: (more…)

1. 日帝下 戰時體制期 政策史料叢書 第67卷 警察과 思想統制 4(昭和13年 警務要覽 外) p.45 (40 in original report) [↩]

I just came back from a day at the Korean National Archives headquarters in Taejŏn (Daejeon) and thought I would share some details of the experience in case someone comes across this posting who will be making the trip down there at some point in the future. I also plan to get around to making a detailed entry on the East Asian Libraries and Archives wiki. Read on for the meat. (more…)

Thanks to a posting at The Marmot’s Hole I learned about a project being undertaken by the National Archives to display a variety of information, archival documents, and media about school architecture during the colonial period. The project home page can be found here:

일제시기 학교건축도면 컬렉션

You can also read more about the 3D materials being put up related to Keijo Imperial University (경성제국대학). Whether in movies like “Radio Days,” commercials with people in colonial-period attire, or projects like this, I think there is a healthy trend of starting to reclaim the colonial period as part of Korean history rather than simply a black hole from which it emerged reborn.

On the technical side it was remarkable to discover that the whole site seems to work fine on non-IE browsers and on a Mac. I can only hope this is also a new trend since full operability with non-IE browsers is almost non-existant in Korea. In fact, one can see the Macintosh imprint on the website itself. Someone who has more time on their hands than I might want to send the project an email and let them know their web designers engaged in a little bit of artistic theft as they nabbed three Macintosh OS icons for their buttons:

Here you can see the icons for three Apple applications that come with every new computer: iMovie, iChat, and iPhoto. As Mac users may recognize, the designers decided to make a few changes to the iPhoto icon, perhaps because the palm tree in the background didn’t fit the website’s theme. Compare to the original here: