The arts historically have been a fascinating political battleground for all organisations, groups, and variations of political thought. This is no-way less of a consideration for the Democratic People’s Republic of Korea. To be able to comprehend how the current circumstances have been realised in Korea, we have to briefly consider the foundations that have been laid out before them and how Marxist thinking has either been considered or realised.
Significant figures like Lenin, Stalin, Marx, or Engels have not contributed much thought on art as their considerations were elsewhere and priorities in other places. Trotsky did have some thoughts on art, but most of it only really highlights the difficult circumstances artists find themselves in – namely, some of the most impoverished but most celebrated figures in history, he also argues how they are most at risk of the whims of capitalism and its exploitative practices. This is in no way wrong, but merely pointing at a bear calling it a bear does not stop the bear attacking you.
In the Soviet Union, most considerations of the implications of the arts came after 1917, with the victory of the October Revolution. One particular figure who stood out was Plekhanov, who first pointed out the parallels between the arts and the form of society that exists. Namely, in tribal cultures food, strength, wildlife and the seasons play a major part due to the massive impact they have on survival. Then in feudal society, connection to enlightenment, knowledge became more prominent – so figures like kings, gods, and heroes became the central point. So arguably in an utopian society, the arts could in theory be speaking of things we cannot even begin to comprehend. Plekhanov’s texts give us a good background, namely as they do not necessarily try to suggest a certain form of art is gospel, and actually the reality of the arts is as fluid as society can be.
Many art historians and musicologists, point to Stalin as a big ‘enforcer’ of Socialist Realism, which was a in short art which mirrors the reality of socialist life, mostly to embolden the people and not to distract the workers with needless fantasy. Regardless of one’s thoughts on Uncle Joe, Stalin never actually wrote any discourse on art or spoke massively on the subject so we can only assume any line that was enforced was more to do with the unions of writers, composers’ union, and other diplomatic bodies creating a line to follow. Kruschev did produce an article describing the strength of Soviet Art, however most of it is more of a documentary of what artistic figures are doing not necessarily pointing to the philosophical drive behind them. He does interestingly point out that the Soviet Union has never banned any kind of art; which is an interesting observation in itself considering how many highlight repercussions during Stalin’s tenure and how eager Kruschev was to bury Stalin into the past it is surprising Kruschev did not use this as a chance to gain moral points above his predecessor.
One of the first major proponents of discussion on a Marxist approach to art is Mao Tse Tung. Who alongside being a profound political figure, he was also an eager poet. Due to his personal connection to the arts, Mao wrote extensively on how the arts connect to the people. His most striking observation is how the arts are always politicised. This can seem like a controversial statement, however Mao highlights that the idea of ‘Art for Art’s sake’ ultimately betrays the class character behind it. An artist who can afford to stroll the wilderness waiting for inspiration to strike most likely has some semblance of income to be able to spend countless hours waiting. So, regardless of what the art is saying, there is always a class character behind – most often this is the background set up by the individual’s upbringing. Mao also describes that he wants ‘one thousand blossoms to bloom, let a thousand ideas contend’ – what he meant from this, is he wanted artists to be unleashed to show the multitude of ideas individuals have. Once you have a society that is socialist in character – all art comes from a socialist point of view (unless of course it tries to reject it) so the best way for a ‘socialist culture to blossom’ is to encourage a multitude of ideas to be tried and let the a tradition grow from it.
After Mao, there are not really any significant figures within socialists nations describing the role of the arts until Kim Jong-Il. Kim Jong-Il wrote multiple articles on various art forms and platforms including cinema, television, opera, music, and literature. Kim Il Sung has multiple inspiring quotes regarding the arts which adorn most of Kim Jong-Il’s extensive writings. One such quote:
‘Truly realistic and revolutionary literature and art show the most beautiful and the most noble things in life’ – Kim Il Sung
Kim Il Sung, did produce multiple speeches on the role of the arts, however the circumstances were different to Kim Jong-Il’s. Namely, Kim Il Sung was in a fight to not only stabilise the DPRK after the horrific imperialist intervention, but also to push the DPRK from surviving to growing. This meant, speeches included encouraging composers to produce works which can be used as educational tools for the party and the proletariat. However, as the situation was more stable under Kim Jong-Il, thanks to the efforts of Kim Il Sung, this allowed Kim Jong-Il to explore different avenues and see how the role of culture can be expanded into not only something truly new – but also something truly Korean.
Reading Kim Jong-Il’s texts, the key problem that faces the arts in the DPRK is addressing the past. Particularly how do you either come to terms with the imperial impact of Japan on native arts. Due to Kim Jong-Il’s personal skills within directing he is able to give a nuanced opinion that many philosophers fail to grant. As he can grasp the material means of how to produce film he was able to observe particular elements that have been inherited from imperial nations and what elements can be seen as truly native.
Admittedly this question is a complex one, as how far can you separate yourself from the past? However, due to Kim Jong-Il’s constant discussion on the subject it gives Korean artists a lot to consider and a truly fertile soil to till.
In the DPRK there are many cultural outlets for artists in various fields. Be it galleries, theatres, museums, conservatories and so on. The State Symphony Orchestra, like many national orchestras perform works by native and international figures, as well as being involved in national events. The work tends to be what would be considered more ‘high art’ however this should not suggest that there is a pretentiousness or bourgeois sentiment to them.
(Play something by the State Symphony Orchestra).
There is also the Korean People’s Army Band, which once again like many other military bands the world over serve as a figure for national displays and diplomatic events – like welcoming international dignitaries.
(Play something by the Korean People’s Army Band).
The Korean People’s Army Merited Chorus, perform constantly in various different guises either supporting the People’s Army Band or State Symphony Orchestra, or performing on their own.
There are also more ‘popular’ or groups for the masses that perform regularly in the DPRK like the Mansudae Art Troupe, Wangjaesan Light Music, Pochonbo Electronic Ensemble, and the State Concert Ensemble. All of these groups highlight is how much like Mao encouraged, and Kim Il Sung and Kim Jong-Il developed there are thousands of blossoms blooming in Korea – there is not a hegemonic idea of what art is but more once art is a vessel of the proletariat it can have thousands of guises and uses.
On a personal level, I have an extreme soft spot for all of the youth ensembles that exist. One these highly talented groups are pretty adorable to watch – they also highlight some magnificent elements of ingenuity. One it is apparent how accessible arts education is, unlike Britain where the national youth orchestra is dominated by rich families – even managing to have years where no one in the north-east is included – the DPRK has art available to everyone because art is a vital thing to allow a nation to flourish. What is also interesting to observe in the youth groups, is the themes they sing about really display moral/philosophical ideas on simplistic level. The groups also do not force groups into an adult model. Namely the youth groups are often built out of instruments ideal for children – namely violins, melodicas, guitars, singing, some keyboards, small folk instruments and percussion instruments. It may seem like a small touch, however when you build an ensemble for kids out of instruments for kids the sensation of ownership changes. It become entirely their own music – their platform for expression.
(Play something by a youth group.)
The Foreign Languages Publishing House, is a great outlet to bring Korean literature and academic writing outside of the DPRK – however as a small nation their influence can only go so far. However, like People’s Republic of China, and the former USSR, the Foreign Language Publishing Houses are a great example that socialist nations are never truly hermetic. One of the major criticisms in the west of the DPRK, among many other lies and propaganda, is that the DPRK is isolated and cuts itself from the world; why invest in publishing in foreign languages if you do not want foreigners reading your work?
The museums and galleries serve a very particular purpose, like they do in all nations, namely to preserve the history of the nation and to be a platform for art for the public. Yes, the museums serve a certain ideological point of view, but this cannot be seen as something that only happens in the DPRK; no museum is truly neutral.
I hope this fly by view of arts and culture in the DPRK demystifies the state a bit and shows that artists in the state have dreams and goals much like artists the world over. All artists want to create something that connects with the world around them, either celebrating it, questioning it, or bringing their own viewpoint into the discourse. Despite the west’s attempts to isolate the DPRK the arts do thrive in the state and arguably a life in the arts is significantly more stable in the DPRK than they are in Europe or America. Let us hope through the efforts of international groups like the World Federation of Democratic Youth or Korean Friendship Association can shed more of a light on the various cultural outlets and ideas on display within the peninsula.
