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Vol. 9, Issue 1, Spring 2021 Colorado Journal of Asian Studies A publication of the Center for Asian Studies at the University of Colorado Boulder Painting Identity on the Peninsula: A Century-Long Search for “Korean” Art Anne Feller Institutional Barriers and Temporary Shanghai Migrants Renee Gagne Sexuality and Gender Expression in Male K-Pop Groups: Queering Hwarang Culture and Contemporary Korean Masculinity Reilly Gabel Emissions Trading in India: A Policy for Combating Toxic Air and Global Warming Colton Zadkovic Investing in Equitable Development in Post-Conflict Sri Lanka Thomas Raney CAS Executive Committee AY 2020-2021 Tim Oakes, Director of the Center for Asian Studies, Geography Lauren Yapp, Instructor and Program Director, Center for Asian Studies Katherine Alexander, Asian Languages and Civilizations Loriliai Biernacki, Religious Studies Brianne Cohen, Art and Art History Emmanuel David, Women and Gender Studies Kathryn Goldfarb, Anthropology Mithi Mukherjee, History Ex-Officio Manuel Laguna, Leeds School of Business Xiang Li, University Libraries Adam Lisbon, University Libraries Lynn Parisi, Director of the Program for Teaching East Asia Danielle Rocheleau Salaz, Executive Director, Center for Asian Studies CAS Curriculum Committee AY 2020-2021 Lauren Yapp, Chair, Center for Asian Studies Katherine Alexander, Asian Languages and Civilizations Loriliai Biernacki, Religious Studies Emmanuel David, Women and Gender Studies Mithi Mukherjee, History Ex-Officio Sylvie Burnet-Jones, Director of Education Abroad Christine Luft, Academic Advisor Danielle Rocheleau Salaz, Executive Director, Center for Asian Studies Note from the Editor The Center for Asian Studies is pleased to publish five research papers from 2020 and 2021. The journal accepts outstanding Asia-related papers written by students in various disciplines at CU and other universities in Colorado, covering a wide range of topics. This issue contains papers written by students in the ASIA 4830 Senior Seminar class, an excerpt from an honors thesis in International Affairs, as well as a special section featuring two policy-oriented papers from the IAFS 4500 Culture and Conflict in South Asia course. These papers cover a wide range of issues and cultures, including “Sexuality and Gender Expression in Male K-Pop Groups: Queering Hwarang Culture, Contemporary Korean Masculinity, and Fandom Desires” by Reilly Gabel, “Painting Identity on the Peninsula: A Century-Long Search for ‘Korean’ Art” by Anne Feller, “Institutional Barriers and Temporary Shanghai Migrants” by Renee Gagne, “Investing in Equitable Development in Post-Conflict Sri Lanka” by Thomas Raney, and “Emissions Trading in India: A Policy for Combatting Toxic Air and Global Warming” by Colton Zadkovic. Cover image credit: Pixabay, 2017, CC0 license CJAS Spring 2021, Vol. 9 Issue 1 following the North-South divide in 1953, Painting Identity on politically charged nationalism served to unite the masses. the Peninsula: With increasing importance throughout the twentieth century, the exploration of Korean A Century-Long identity became a significant concern to local cultural and artistic scenes.2 An urgency to Search for “Korean” search for, define, and (re)claim a collective “Korean” identity, whether ethnic or national, Art defined Korea’s modern and contemporary art history for over a century, as artists on the Anne Feller peninsula aimed to understand an authentic Koreanness detached from established foreign Over the first half of the 20th century, standards. The pursuit of Korean identity national identity on the Korean peninsula was through artistic expression would reach an apex in the decades following the establishment of shaken to the core with decades marked by struggle, oppression, and violence. Japanese North Korea and South Korea. annexation in 1910 and the subsequent thirty- five years of suppressive colonization had Suppression of Creativity: Art Under the widespread, crippling effects for the communal Colonial Period At the start of the new century, national identity of the Korean people. No less important, after Korea’s liberation from indications surfaced that Korea’s monarchy was weakening. At the same time, the strength and Japanese rule, celebration was short lived as the Korean War erupted and the single Korean confidence of the Japanese Empire were soaring following victory in the Russo-Japanese War.3 As nation was violently split in two. The hardships the Japanese military passed through Korea, experienced by the Korean people during this time have left a lasting imprint on the country’s familiarity with the land and interest in the potential resources the peninsula could offer collective consciousness, thus creating a catalyst for intellectuals to search for and define a increased. As a result of these circumstances, unique “Korean” identity. Korea was annexed by Japan in 1910. The nation would be recognized as a Japanese colony until Sparked by questions about what it meant to be “Korean,” intellectuals on the the end of World War II in 1945. The first stage of Korean colonization was known as Military peninsula began to formulate strong nationalistic identities starting in the late 19th Rule, which lasted from 1910-1919. This period century. In response to this exploration, the was marked by “administrative dominance and physical brutality,” and few freedoms were term “Koreanness” emerged in the 1940s in 4 debates surrounding national characteristics.1 given to the Korean people. To justify colonization, the Japanese Ethnic origins would define Koreanness prior to the liberation of Korea in 1945; however, Empire recognized the importance of “self- 1 Charlotte Horlyck, Korean Art: From the 19th Century to Identity 1945-1962,” Visual Resources 28, no. 2 (2012), the Present. (London: Reaktion Books Ltd, 2017), 123. 139. 2 Ibid, 71. 4 Horlyck, Korean Art, 32. 3 Christine Hahn, “Unearthing Origins: The Use of Art, Archaeology and Exhibitions in Creating Korean National 1 CJAS Spring 2021, Vol. 9 Issue 1 representation” through international style of Impressionistic art.10 In order to retain exhibitions. At the time of annexation in 1910, the school’s learning, Koreans were restricted the Japan-British Exhibition was at its peak. This from overseas travel to any other countries.11 type of international exhibition brought This narrowed the access to art outside of together countries from around the world, Japanese influence, providing an opportunity for providing space to showcase the best aspects of the government to single-handedly tailor the each country. Within the section “Palace of the Japanese aesthetic to the Korean art scene. Oil Orient,” Japan was able to frame the worldly paint was the primary medium taught, as it was view of its empire and colonies through art.5 recognized as Western and thus associated with These displays of “self-representation” allowed concepts of modernity.12 Japan to simultaneously create an image of the Notably, the first recognized Korean oil power and modernity of its empire while painter to graduate from the Tokyo School of projecting an attitude of benevolence and Fine Arts was Go Hui Dong, who was known for betterment to its “backward” colonies.6 These his self-portraits. A unique approach to exhibitions effectively elevated Japan into its combining old traditional Korean imagery with place as a world power.7 the new techniques of Western painting can be With the international acceptance of seen in his piece “Self Portrait with Hat”. This Japanese colonial rule and methods of piece made in 1915 features Go Hui Dong in a modernization, the next objective became the classic half-bust pose wearing traditional Korean assimilation of the colonized population under attire against a monochrome backdrop. This Japanese reign. Assimilation policies throughout portrait would have fulfilled Go Hu Dong’s final Korea’s colonial period underwent many stages requirement for graduation, which requested all of reform; however, specific attention to fine art students to paint a self-portrait to be cultural assimilation began with the Cultural hung together in a final student exhibition. “Self Rule starting in 1920 and extending into the Portrait with Hat” would have been a shocking 1930s. The art scene was valued by Japan as an contrast to the portraits prepared by his important means of assimilation if promoted Japanese peers. While his peers depicted properly. As a result, the Korean art scene themselves in Western clothes, associating became inseparable from the political agendas themselves with modernism, Go Hui Dong’s of the Japanese Empire.8 depiction of traditional Korean culture through The assimilation of cultural identity took clothing was one of pride in identity. Art root in Korean education and national art historians now view Go Hui Dong’s portrait as an exhibitions. Korean artists were encouraged assertion of ethnic identity amidst colonial rule with scholarships and grants to study abroad at in his own search for Koreanness.13 the Tokyo School of Fine Art in Japan.9 This The Japanese government was not renowned art school taught a French academic interested in such representations of the “old” 5 Shim Ji-won, “Constructing Images Through Art 9 Jin Han, “Ambivalent Representations of Nationalism Exhibitions: Chosn Art Exhibition and Inventing the and Regionalism in Early Modern Korean Art,” The Colonial Image of Chosn,” Story & Image Telling 13 Review of Korean Studies, no. 11 (2008), 136.. (2017), 288. 10 Horlyck, Korean Art, 55. 6 Horlyck, Korean

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