{"id":21867,"date":"2024-04-17T21:57:07","date_gmt":"2024-04-17T21:57:07","guid":{"rendered":"https:\/\/www.writemyessays.app\/blog\/questions\/how-and-why-did-minjung-artists-make-references-to-korean-identity-in-their-artworks\/"},"modified":"2024-04-17T21:57:07","modified_gmt":"2024-04-17T21:57:07","slug":"how-and-why-did-minjung-artists-make-references-to-korean-identity-in-their-artworks","status":"publish","type":"questions","link":"https:\/\/www.writemyessays.app\/blog\/questions\/how-and-why-did-minjung-artists-make-references-to-korean-identity-in-their-artworks\/","title":{"rendered":"How and why did Minjung artists make references to Korean \u2018identity\u2019 in their artworks?"},"content":{"rendered":"<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">The dominance of Dansaekhwa continued into the 1970s. However, by the<br \/>\n1980s it was seen as being elitist and out of touch. This decade saw the rise<br \/>\nof politically active artists, who argued that art should reflect social<br \/>\nreality. Their art became integral to the Minjung movement and its call for<br \/>\nsocial and political change. Chapter five examines the characteristics of Minjung<br \/>\nart and explores its broader significance. In their search for a visual<br \/>\nlanguage that spoke for the Korean collective also Minjung artists turned to<br \/>\nKorean traditions. <\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">&nbsp;<\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\">\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Minjung (<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\ubbfc\uc911<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">, <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\u6c11\u8846<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">) means the<br \/>\npeople or the masses, and the Minjung cultural movement was based on the<br \/>\ncommunality of the oppressed masses. Minjung art was initially not an art<br \/>\nmovement but a radical reaction to the political dictatorship and the Gwangju uprisings<br \/>\nof the 1980s. As such it was the subject matters and messages of the art works,<br \/>\nrather than their style and technique that linked the artists. Like Dansaekhwa artists,<br \/>\nMinjung artists were interested in expressing Korean identity in art, but in<br \/>\ncontrast to Dansaekhwa artists, for them Korean identity was found in folk art<br \/>\nfrom pre-colonial times.&nbsp;<\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><b style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Artists:<\/span><\/b><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/p>\n<p><\/span><\/p>\n<ul style=\"margin-top: 0mm; cursor: auto; color: inherit;\">\n<li style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Ha Chong-hyun <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\ud558\uc885\ud604<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/>\n     (1935-)<\/span><\/li>\n<li style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Kwon Young Woo<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"> <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\uad8c\uc601\uc6b0<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"> (1926-2013)<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/span><\/li>\n<li style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Lee U-fan <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\uc774\uc6b0\ud658<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/>\n     (1936-)<\/span><\/li>\n<li style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Lim Ok-sang <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\uc784\uc625\uc0c1<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/>\n     (1950-)<\/span><\/li>\n<li style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Oh Youn <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\uc624\uc724<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"> <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">(1946-1986)<\/span><\/li>\n<li style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Kim Bong-jun<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"> <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\uae40\ubd09\uc900<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"> (1954-)<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/span><\/li>\n<li style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Shin Hak-chul <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\uc2e0\ud559\ucca0<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/>\n     <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">(1943-)<\/span><\/li>\n<\/ul>\n<div><span style=\"font-size: 14.6667px;\">readings<\/span><\/div>\n<div><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Choi<br \/>\nChungmoo. \u201cThe Minjung Culture Movement and the Construction of Popular Culture<br \/>\nin Korea.\u201d In <i style=\"cursor: auto; color: inherit;\">South Korea\u2019s Minjung Movement. The Culture and Politics of<br \/>\nDissidence<\/i>, edited by Kenneth M. Wells, 105-118.<i style=\"cursor: auto; color: inherit;\"> <\/i>Honolulu:<br \/>\nUniversity of Hawai\u2019i Press, 1995.<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/>\n<\/span><span style=\"font-size: 14.6667px;\"><br \/><\/span><\/div>\n<div><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/><\/span><\/div>\n<div><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Horlyck, Charlotte. \u201cArt and Politics of the 1980s and<br \/>\nmid 1990s.\u201d In<i style=\"cursor: auto; color: inherit;\"> Korean Art from the 19<sup style=\"cursor: auto; color: inherit;\">th<\/sup> Century to the Present<\/i>,<br \/>\n133-164. London: Reaktion Books, 2017. <\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\">&nbsp;<\/span>[detailed discussion of Minjung art, and arts<br \/>\nof the 1990s, including Kwangju and Venice Biennales]<\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Han, Jin <\/span><\/span><span style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\ud55c\uc9c4<\/span><\/span><span style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">. <i style=\"cursor: auto; color: inherit;\">Modernization and Nationalism:<br \/>\nThe Rise of Social Realism in South Korea (1980-1988).<\/i> PhD thesis, City<br \/>\nUniversity of New York, 2005.&nbsp;<\/span><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/><\/span><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Hoffmann, Frank. \u201cImages of Dissent.<br \/>\nTransformation in Korean Minjung Art.\u201d <i style=\"cursor: auto; color: inherit;\">Harvard Asia Pacific Review<\/i> 1,<br \/>\nno. 2 (Summer 1997): 44-49. <\/span><\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\">&nbsp;<\/span><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\">&nbsp;<\/span><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Miyoshi Jagger, Sheila. <i style=\"cursor: auto; color: inherit;\">Narratives<br \/>\nof Nation Building in Korea: A Genealogy of Patriotism<\/i>. Armonk, N.Y.: M.E. Sharpe,<br \/>\n2003. DK320.54 \/861497<span style=\"cursor: auto; color: inherit;\">&nbsp; <\/span>[this links to<br \/>\nthe discussion of national heroes]<\/span><\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">&nbsp;<\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Kim Bok-young <\/span><\/span><span style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\uae40\ubcf5\uc601<\/span><\/span><span style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">. \u201cThe Period of Conflict and<br \/>\nConfrontation.\u201d In <i style=\"cursor: auto; color: inherit;\">Korean Contemporary Art, <\/i>edited by Korean Culture and<br \/>\nArts Foundation, Hexa Communications, 39-92. Seoul: Hexa Communications, 1995.<\/span><\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">&nbsp;<\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Kim Jeong-hwan<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">\uae40\uc815\ud658<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">.<br \/>\n\u201cPainter Lim Ok-sang: A People&#8217;s Artist Mediating Between the Everyday and the<br \/>\nMounumental.\u201d <i style=\"cursor: auto; color: inherit;\">Koreana<\/i>, 17, no. 1 (Spring, 2003): 44-49. <\/span><span style=\"cursor: auto; color: inherit;\"><a style=\"cursor: auto;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">https:\/\/issuu.com\/the_korea_foundation\/docs\/2003_01_e_b_a<\/span><\/a><\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"> <\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">&nbsp;<\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><i style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Korean Rhapsody. A<br \/>\nMontage of History and Memory.<\/span><\/i><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"> Exh. Cat.<br \/>\nSeoul: Leeum, Samsung Museum of Art, 2011.<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">&nbsp;<\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Lee, Namhee. <i style=\"cursor: auto; color: inherit;\">The Making of<br \/>\nMinjung. Democracy and the Politics of Representation in South Korea<\/i>.<br \/>\nIthaca and London: Cornell University Press, 2007. [excellent discussion of<br \/>\nMinjung]<\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/span><\/p>\n<p style=\"margin: 12pt 0mm; cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Sung, Wan-kyung. \u201cThe Rise and Fall of<br \/>\nMinjung Art.\u201d In <i style=\"cursor: auto; color: inherit;\">Being Political Popular: South Korean Art at the<br \/>\nIntersection of Popular Culture and Democracy, 1980-2010<\/i>, edited by Sohl<br \/>\nLee, 188-203. Irvine, CA: UCI Irvine, 2012.<span style=\"cursor: auto; color: inherit;\">&nbsp;<br \/>\n<\/span><\/span><\/p>\n<p style=\"margin: 12pt 0mm; cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Wells, Kenneth M. (ed.). <i style=\"cursor: auto; color: inherit;\">South Korea&#8217;s<br \/>\nMinjung Movement: The Culture and Politics of Dissidence. <\/i>Honolulu:<br \/>\nUniversity of Hawaii Press, 1995. [Electronic resource in SOAS Library] <\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/p>\n<p><\/span><\/p>\n<p style=\"margin: 12pt 0mm; cursor: auto; color: inherit;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">Yim Haksoon. \u201cCultural Identity and Cultural<br \/>\nPolicy in South Korea.\u201d <i style=\"cursor: auto; color: inherit;\">The International Journal of Cultural Policy<\/i> 8,<br \/>\nno. 1 (2002): 37-48. <\/span><span style=\"cursor: auto; color: inherit;\"><a style=\"cursor: auto;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">https:\/\/www.tandfonline.com\/doi\/abs\/10.1080\/10286630290032422<\/span><\/a><\/span><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"> <\/span><\/p>\n<p style=\"margin: 12pt 0mm; cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\"><a style=\"cursor: auto;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><br \/><\/span><\/a><\/span><\/p>\n<p style=\"margin: 12pt 0mm; cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\"><a style=\"cursor: auto;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\">idea of essay content&nbsp;<\/span><\/a><\/span><\/p>\n<p style=\"margin: 12pt 0mm; cursor: auto; color: inherit;\"><span style=\"cursor: auto; color: inherit;\"><a style=\"cursor: auto;\"><span style=\"font-size: 11pt; cursor: auto; color: inherit;\"><\/span><\/a><\/span><\/p>\n<p style=\"cursor: auto; color: inherit;\"><span style=\"font-size: 10.5pt; cursor: auto; color: inherit;\">&#8220;Minjun<\/span><span style=\"font-size: 10.5pt; cursor: auto; color: inherit;\"> Art, an art movement, was born in the 1980s amid South<br \/>\nKorea&#8217;s semi-dictatorial democratization movement. It is a realist art that attempts<br \/>\nto express the political oppression and social contradictions that have become apparent<br \/>\ndue to the continuation of dictatorships, rapid industrialization, and changes in<br \/>\nthe social structure from the standpoint that the subject of history is the people.<br \/>\nThis artistic expression, which was born in the field of struggle with the emergence<br \/>\nof various groups, is not merely transient, but inherits the culture of resistance<br \/>\nthat the Korean people have nurtured throughout modern history in their quest for<br \/>\nhuman liberation. It is precisely Korean minjun art that has created an expression<br \/>\nthat connects history and the present, and it can be said that it is not a product<br \/>\nof the past, but an ongoing process. In this essay, through the works of Minjun<br \/>\nartists, we will decipher the unique and vivid visual language that emerged in<br \/>\nthe independent and self-imposed context of Koreans, which is not a transplant of<br \/>\nWestern art.&#8221;<\/span><span style=\"font-size: 10.5pt; cursor: auto; color: inherit;\"><\/span><\/p>\n<p><\/span><\/div>\n","protected":false},"excerpt":{"rendered":"<p>The dominance of Dansaekhwa continued into the 1970s. However, by the 1980s it was seen as being elitist and out of touch. This decade saw the rise of politically active artists, who argued that art should reflect social reality. Their art became integral to the Minjung movement and its call for social and political change. [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","template":"","meta":[],"disciplines":[],"paper_types":[],"tagged":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/questions\/21867"}],"collection":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/questions"}],"about":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/types\/questions"}],"author":[{"embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/comments?post=21867"}],"version-history":[{"count":0,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/questions\/21867\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/media?parent=21867"}],"wp:term":[{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/disciplines?post=21867"},{"taxonomy":"paper_types","embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/paper_types?post=21867"},{"taxonomy":"tagged","embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/tagged?post=21867"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}