by MARK MORRIS
Kim Ku, 1876–1949
Abstract
The first consciousness that a new Korean cultural wave –hallyu– was in motion began to take shape in different forms and at different times in the rest of East Asia. It was the craze for Korean TV drama that represented a sudden apparition of something new from South Korea. Before long, however, this wave grew bigger and far more complex than anyone might have predicted, including Korean pop music and films, animation, online games, smartphones, fashion, cosmetics, etc. There have been resistances to this inundation notably in Japan, a country where several earlier mini-hallyu now seem long forgotten.
I want our nation to be the most beautiful in the world. By this I do not mean the most powerful nation. . . . The only thing that I desire in infinite quantity is the power of a noble culture. This is because the power of culture both makes us happy and gives happiness to others.
Kim Ku, Baekbeom ilji (1947)
Introduction
Kim Ku (1876-1949), in this rightly famous call to culture published not too long before his violent death, went on to articulate a vision of a Korea in which Koreans would not only be free for the first time in a long while to be Korean, but would as well project their culture out into the world. As he put it: ‘I wish our country to be not one that imitates others, but rather the source, goal, and model of this new and advanced culture. And in that manner, I wish our country to both initiate and embody true world peace. . . . In addition, the historical timing of all this at a time when we are engaged in rebuilding our nation is more than appropriate for fulfilling this mission. Indeed, the days when our people will appear on the world stage as the main actors are just ahead of us’ (Wikilivres).
There is a sense in which Kim Ku called it right, even though he could not have predicted how long or what form this would take. Nor would we feel comfortable associating a modern or post-modern concept such as ‘soft power’ with this veteran patriotic schemer and scrapper. It is, however, certain that Korea – at least South Korea – has over the past decade and more offered up a model for a new and advanced culture; that culture has brought a great deal of happiness to people in many parts of the world; Korean film-makers, TV drama writers and producers, and popular music producers have become main actors in the Korean wave phenomenon in its sweep through East Asia, Southeast Asia then on about the planet. And this is to say nothing about the actual actors, singers and dancers whose skill and physical beauty have captured the imaginations and hearts of millions of mainly but not exclusively young people who have never been to, who may never manage to get to, the nation which generated this propulsive cultural energy.