Dear David,
How bizarre! And yet how well does this request from KT fit into the
government's strategy of "branding Korea"--through culture, hanok,
"han-style," the Cheonggyecheon, cultural districts, etc. I am in the
midst of writing a proposal to further study the tensions this
strategy creates, so I find this request from the KT extremely
interesting.
I attended the hanok exhibition last week when it was up in LA. I'm
not surprised that no one was there (or has googled "hanok" as you
mentioned), because I don't think the exhibition was publicized much
beyond the Korean/Korean-American community, and most of these people
probably know a fair amount about hanok already. I think it was a
first attempt (and there will be others) of the Korean government
trying to market hanok abroad as encapsulated Korean identity, as a
"han-style" product. The exhibition also intended to garner support
and investment from Koreans living abroad, many of whom left Korea
when hanok were still a common form of housing. I think it capitalizes
on the nostalgia and pride some folks in the immigrant community have
concerning the old way of life and Korean cultural identity in
general.
What was most interesting to me was to see how important scholars and
hanok supporters such as Professor Jeon and my uncle Yun (both
organizers of the exhibition) have been active in promoting both
historical and modern hanok abroad. Both are involved in running and
advising the National Trust of Korea, which is trying to establish
itself as the country's pre-eminent National Trust for historic
preservation. Having a hanok exhibition in the US helps to gather
support for the Trust and its work preserving existing hanok in Korea.
Yet there is an obvious contradiction in regards to what kind of hanok
have been chosen for the exhibition. Why were modern, reconstructed
hanok such as Gahoe-dong 31-95 and 31-96 featured alongside preserved
historic hanok such as the Yun Posun Residence? And why was a hanok in
Paris featured? The exhibition has much to do with how Koreans view
themselves, what values they find important, and what image of
themselves Koreans wish to present abroad. This image is not one of
Korea entrenched in the past while meticulously preserving hanok, but
rather a more cosmopolitan and complex view of Korea--Koreans blending
modern lifestyles with traditional building forms, capitalistic
economic goals with Buddhist/Neo-Confucian philosophical values,
"environmentally sensitive" design with consumer goods, trendy
international lifestyles with old-fashioned Korean values. In a sense
it's a thoroughly contradictory exhibition about a place and group of
people struggling to figure out who they are with who they want to be.
These contradictions are completely logical, in a way, given the speed
and scope of urbanization there over the past forty years, and the
previous periods of war and colonial occupation. But it's also hard to
present the case for hanok preservation in the face of such complex
struggles over identity and values.
I would really like to write a review of the show actually. Sol and
Pablo, I never heard back from you about your journal, but are you
still planning to produce it? If so, we could discuss the possibility
of me writing this review for it.
Elise
On Oct 1, 9:07 pm, David Kilburn <
dakilb...@gmail.com> wrote:
> from 부서 <
edi...@koreatimes.co.kr>
> to
dakilb...@gmail.com