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Minjung Misul in Dissident Nationalism of South Korea

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Minjung Misul in Dissident Nationalism of South Korea DEMOCRACY AS THE LEGITIMATE “FORM” AND “CONTENT”: MINJUNG MISUL IN DISSIDENT NATIONALISM OF SOUTH KOREA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Hyejong Yoo May 2011 © 2011 Hyejong Yoo DEMOCRACY AS THE LEGITIMATE “FORM” AND “CONTENT”: MINJUNG MISUL IN DISSIDENT NATIONALISM OF SOUTH KOREA Hyejong Yoo, Ph.D. Cornell University 2011 This study delineates minjung misul’s (“the people’s art”) sotong (“dialogue”) in re- envisioning Koreans’ modernism and nation-state during the 1980s’ democratization movement of South Korea. Aligned with the postcolonial dissident movement and the democratization movement, the minjung artists’ multilayered dialogue with the sociopolitical, economic, cultural-intellectual, and spiritual realms articulated the artists’ underlying operational logic and aspirations—the creation of a legitimate Korean modernism and modernity—in the form of dissident nationalism. In contrast to the state’s ethnic nationalism, dissident nationalism, which inherited the Korean desire for democracy from the nationalist movement, engaged in political and aesthetic- ethical contemplations of democracy. With democracy as their central principle, the minjung artists radically reexamined and reconceptualized democracy and other “familiar” yet ambiguous and multi-layered notions/discourses in their reworking of Korean modernism and everyday/national community. In exploring the minjung artists’ aesthetic, discursive, and activist endeavors, I demonstrate that the minjung artists attempted to create a competing model of modernism and modernity that would have moral legitimacy over the existing Western and Korean modernisms and modernities. I explore how their structural critique of art ideology and of the art establishment developed into a reenvisioning of everyday community and of the democratization of the Korean nation-state. By interrogating the minjung artists’ principle values, humanism/democracy, the study shows that the artists’ imagining of the people’s nation-state sows the seeds for a new vision of the transnational. BIOGRAPHICAL SKETCH Hyejong Yoo holds a B.A. in Art History from the University of California at Los Angeles, awarded in 2002. She completed her M.A. in the Department of Art History and Visual Studies at Cornell University in 2006. iii DEDICATION This dissertation is for my mom and my dad. iv ACKNOWLEDGMENTS I have been imagining the blissful moment of writing my acknowledgments from the day I began writing my dissertation. At last, I have reached that moment, and I am thrilled to acknowledge the people who have supported and nurtured my work over the years. Most of all, I wish to thank my advisor, An-yi Pan, for his enthusiastic guidance, and for his warmest encouragement and patience during my graduate study at Cornell. I began to contemplate my future dissertation project in my engagement in Taiwan’s political history and contemporary art, similar to South Korea’s, through his fascinating exhibition Contemporary Taiwanese Art in the Era of Contention. I was able to further develop my interests in contemporary Korean art in his excellent direct reading of modern and contemporary Chinese art in comparative terms. He has supported my project tremendously and gave me crucial suggestions for in-depth investigation. Furthermore, despite my long contemplation on (and confusion over) the project, he unwearyingly waited for me to bring out my own voice in the writing. My committee member Iftikhar Dadi has provided and shaped the foundation of my study on Korea’s modernism and modernity through his superb seminars, direct readings, and casual discussions. His groundbreaking works on Muslim and Pakistani modernism have continued to inspire me and guide my project. My committee member Thuy Tu has helped me to conceptualize my project through her trans- disciplinary approaches to her exciting seminar and direct readings with me. Her suggestions were very helpful as I revised my dissertation. I feel truly blessed to have met my committee member Jacqueline Pak and to be working with her. Although I didn’t meet her until the later phase of my writing, her untiring commitment and generosity made the experience of writing the dissertation extraordinary, and so humane. She has invited me into fascinating discussions, challenged me with her intellectual fierceness and originality, and shared her joy and passion for learning. And v her unwavering faith and infectious visions have kept me working through the tough times, focused on my project. Professor Daniel McKee, who graciously agreed to be a reader, opened and engaged in my dissertation in comparative terms by bringing to it his expertise in Japanese studies. His insightful suggestions were very helpful to thinking through my project with more careful, balanced viewpoints. I would like to extend my thanks to Rich Keller, Keeley Boerman, and Jessica Smith for their warmth and administrative support, which made my school life much easier. In addition, I wish to thank my editor, Kristen Ebert-Wagner, for her excellent editing and insightful comments. Her timely and effective collaboration has been invaluable to clarifying my ideas and to crafting my writing. I would like to deeply thank Yu Yeongpyo, the vice chairman of the Permanent Committee of the Korea Democracy Foundation, and Jo Seongwu, the assembly president of the Permanent Committee of the Korean Council for Reconciliation and Cooperation. They have introduced me to people who helped me conduct my research, clarified facts about the dissident movement, and encouraged my project with the utmost enthusiasm. The dissident journalist and ex-vice president of Han’gyeore Daily, Yim Jaegyeong, patiently listened to my rough idea on Korea’s modernity and shared his insights. I would very much like to thank the dissident pastors Park Hyeonggyu and Won Gijun for extensively sharing their minjung church mission through interviews. I wish to acknowledge the staff members Yun Hyejun and Yun Sohee at the Archives of Korean Art at the Hoam Art Museum for their support of my research. Kim Yongtae, the ex-president of the National Artists Federation, especially helped me to meet minjung artists in the National Artists Association. Many minjung artists, not all of whom I can acknowledge here, genuinely welcomed and invited me vi to their meetings, for which I cannot thank them enough! I wish to acknowledge the minjung artists Yim Oksang, Hwang Jaehyeong, Kim Bongjun, Ju Jaehwan, Gang Yobae, Ryu Yeonbok, Hong Seon’oung, Shin Hakcheol, Park Heungsun, Yeo Un, Choe Byeongsu, Mun Yeongtae, and others and the art critic Seong Wan’gyeong for providing me with interviews/casual meetings, research materials, and their generosity with their time and their openness. I would also like to show my profuse thanks to several minjung artists, Yi Jongryul, Kim Unseong, Kim Seo’gyeong, and their child, Kim Soheun; and Kim Seongsu, Yi Guyeong, Wi Jongman, and Han Yujin for their warmest support and friendship. In particular, Kim Yun’gi helped me immensely during every part of my project; without his help, I could not have come this far. I have been fortunate to be surrounded by wonderful friends and colleagues at Cornell. My beautiful friend Thembinkosi has been there for me always, sharing humbling moments with silly jokes and laughs, and sympathetic hearts. His brilliance and visions have constantly inspired and moved me. Fun-loving Claudia has lightened up my life so much with her wicked humor and endless “weird” ideas. Also, being an innovative thinker, she made our conversations intense learning experiences. My dear friends Soraya and Derek have been heartfelt mentors, and exemplars of scholarly work and integrity. In particular, Soraya has been so caring and wise in giving me advice and suggestions at every important stage of my study here. Isaak and Esther have been the joy and comforts of my heart and have been walking with me from the first day I arrived at Ithaca. I cherish their friendship immensely! Saam and Lily, and their beautiful baby Aslan, have been so generous and supportive. Saam’s passion for and perseverance of his study and Lily’s strength and compassion have continued to inspire me. I also wish to extend my great thanks to Arshiya, Soumya, Bo, and Abe, for their friendship and support. vii My parents in South Korea have been the most steadfast supporters of my project and study in the United States. I cannot quite express how thankful I am for their years of immeasurable devotion to, faith in, and patience with me. Their profound interest in my study and personal growth has been my greatest encouragement and inspiration. Most of all, their life principles and values have always given me a firm foundation for my action and thoughts, and as a result I am able to carry on my work with conviction and sincerity. I dedicate my dissertation to my mom and dad with my deepest appreciation for their love and faith. My sister and brother also deserve many thanks for their support and inspirations. viii TABLE OF CONTENTS BIOGRAPHICAL SKETCH.........................................................................................iii DEDICATION ..............................................................................................................iv ACKNOWLEDGMENTS..............................................................................................v TABLE OF CONTENTS ..............................................................................................ix
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