On Liberation Day, I attended the 81st anniversary celebration in Seongnam. Despite the rain, the enthusiasm of the citizens filling the seats was heartening. This was the same venue where, two years ago, I composed the independence musical 'Pechika,' and the songs 'Jangbuga' and 'Chuljeongga' resonated powerfully, bringing tears of determination and joy to the audience.
However, as I listened to Elgar's grand 'Pomp and Circumstance March,' a poignant question crossed my mind. Why, on this sacred altar where we celebrate the restoration of our nation's light, must we borrow the melody that embodies the expansion and hegemony of the British Empire to honor our liberation? This very piece faced fierce criticism and debate from local intellectuals and the cultural community in 2020 during the UK's largest classical festival, 'BBC Proms,' for being an anachronistic anthem praising colonial rule and slavery.
Throughout the music, I was reminded of the countless independence fighters and patriots who bled and perished in the harsh winds of Manchuria and Primorye. What they sought to protect was not a foreign symphony but the songs of their homeland, imbued with the scent of the earth and the essence of our people, blending the sorrows and joys of the marketplace.
Before this strange and shameful scene, akin to placing British food on the ceremonial table for our patriots, I painfully realized that we have long lost the rightful questions we should have been asking, hidden behind the cowardly name of 'familiarity' and the powerless silence of 'tradition.'
◆ The Shadow of K-Culture: National Music and Cultural Sovereignty Ignored
How can we deny the noble value of Western classical music? I do not intend to blame specific local governments or arts organizations. Rather, this reflects a regrettable self-portrait born from a historical lack of awareness and uncritical practices in the music industry. Public symphony orchestras and conductors funded by taxpayers should, at the very least, research and perform a robust repertoire of national compositions on Liberation Day as part of their public duty.
Yet today, national music has been pushed out of the public arts and cultural foundations, precariously relying on the tearful sacrifices of small private artists. As the world revels in K-Culture, our roots and soul—national music—remain coldly marginalized in the darkest corners behind the dazzling lights of K-Pop. A tree with withered roots cannot bloom for long. We must no longer tolerate this contradiction of the K-Culture era in the name of cultural sovereignty.
However, we cannot solely blame the system and environment. I humbly acknowledge that performances dealing with national spirit have been dismissed as 'boring and stiff.' Therefore, creating dynamic and sophisticated stages that anyone, regardless of age or gender, can cheer for is the true responsibility bestowed upon today's artists.
◆ Breaking the Silence Before the National Anthem: A Complete Liberation Through 'Discerning Intelligence'
Whenever we confront the national anthem, entangled with the controversies surrounding composer Ahn Ik-tae's pro-Japanese stance and the allegations against lyricist Yoon Chi-ho, we are met with a heavy wall of silence.
This is not a call to immediately deny and overturn everything. I only hope that with each time we sing the national anthem, we awaken our 'discerning intelligence.' If this does not lead to a 'transformative intelligence' that breaks the old familiarity and corrects practices, the day we dream of complete independence, liberation, and cultural freedom will never come.
◆ Reflection Beyond Conflict and Defense: The Courage of Future Generations to Advance History
The recurring controversies in the entertainment industry regarding family ties to pro-Japanese collaborators reveal that the scars of unresolved history continue to shake us today. We cannot hold descendants accountable for the burdens of a lineage they did not choose.
However, moving beyond silence and defense to leave a proud legacy for future generations is an urgent task of our time. If the descendants of pro-Japanese collaborators find the courage to participate in the great journey of cultural independence and liberation, it would mark the true beginning of historical healing and reconciliation. This would be the most moving stage of reconciliation our society could face and a significant advancement in history.
◆ The Unyielding Melody of K-Spirit: The First Step Toward the Centennial of Liberation
Last year, for the 80th anniversary of liberation, I planned a symbolic performance with an 80-member orchestra, investing 20 million won of my own money, but I was met with indifference. This year, I prepared 30 million won to apply for a project, but only received cold rejections.
Recalling the dedication of our independence fighters who bled and perished in the harsh snowfields, the despair and loneliness of today do not justify halting my steps. Moreover, I believe it is my duty and calling as an educator to show my students an unwavering spirit in the face of any trials.
As the Year of the Red Horse approaches, before the 81st anniversary of liberation comes to a close, I wish to awaken the spirit and vitality of our nation, obscured by foreign influences, and dedicate a grand stage of liberation infused with our unique breath and the essence of Arirang to the spirits of our forebears. On this exhilarating journey toward the 100th anniversary of liberation, I eagerly anticipate the joyful participation of the K-Culture independence fighters of this era, proclaiming, 'Here are the independence fighters.'
However, as I listened to Elgar's grand 'Pomp and Circumstance March,' a poignant question crossed my mind. Why, on this sacred altar where we celebrate the restoration of our nation's light, must we borrow the melody that embodies the expansion and hegemony of the British Empire to honor our liberation? This very piece faced fierce criticism and debate from local intellectuals and the cultural community in 2020 during the UK's largest classical festival, 'BBC Proms,' for being an anachronistic anthem praising colonial rule and slavery.
Throughout the music, I was reminded of the countless independence fighters and patriots who bled and perished in the harsh winds of Manchuria and Primorye. What they sought to protect was not a foreign symphony but the songs of their homeland, imbued with the scent of the earth and the essence of our people, blending the sorrows and joys of the marketplace.
Before this strange and shameful scene, akin to placing British food on the ceremonial table for our patriots, I painfully realized that we have long lost the rightful questions we should have been asking, hidden behind the cowardly name of 'familiarity' and the powerless silence of 'tradition.'
◆ The Shadow of K-Culture: National Music and Cultural Sovereignty Ignored
How can we deny the noble value of Western classical music? I do not intend to blame specific local governments or arts organizations. Rather, this reflects a regrettable self-portrait born from a historical lack of awareness and uncritical practices in the music industry. Public symphony orchestras and conductors funded by taxpayers should, at the very least, research and perform a robust repertoire of national compositions on Liberation Day as part of their public duty.
Yet today, national music has been pushed out of the public arts and cultural foundations, precariously relying on the tearful sacrifices of small private artists. As the world revels in K-Culture, our roots and soul—national music—remain coldly marginalized in the darkest corners behind the dazzling lights of K-Pop. A tree with withered roots cannot bloom for long. We must no longer tolerate this contradiction of the K-Culture era in the name of cultural sovereignty.
However, we cannot solely blame the system and environment. I humbly acknowledge that performances dealing with national spirit have been dismissed as 'boring and stiff.' Therefore, creating dynamic and sophisticated stages that anyone, regardless of age or gender, can cheer for is the true responsibility bestowed upon today's artists.
◆ Breaking the Silence Before the National Anthem: A Complete Liberation Through 'Discerning Intelligence'
Whenever we confront the national anthem, entangled with the controversies surrounding composer Ahn Ik-tae's pro-Japanese stance and the allegations against lyricist Yoon Chi-ho, we are met with a heavy wall of silence.
This is not a call to immediately deny and overturn everything. I only hope that with each time we sing the national anthem, we awaken our 'discerning intelligence.' If this does not lead to a 'transformative intelligence' that breaks the old familiarity and corrects practices, the day we dream of complete independence, liberation, and cultural freedom will never come.
◆ Reflection Beyond Conflict and Defense: The Courage of Future Generations to Advance History
The recurring controversies in the entertainment industry regarding family ties to pro-Japanese collaborators reveal that the scars of unresolved history continue to shake us today. We cannot hold descendants accountable for the burdens of a lineage they did not choose.
However, moving beyond silence and defense to leave a proud legacy for future generations is an urgent task of our time. If the descendants of pro-Japanese collaborators find the courage to participate in the great journey of cultural independence and liberation, it would mark the true beginning of historical healing and reconciliation. This would be the most moving stage of reconciliation our society could face and a significant advancement in history.
◆ The Unyielding Melody of K-Spirit: The First Step Toward the Centennial of Liberation
Last year, for the 80th anniversary of liberation, I planned a symbolic performance with an 80-member orchestra, investing 20 million won of my own money, but I was met with indifference. This year, I prepared 30 million won to apply for a project, but only received cold rejections.
Recalling the dedication of our independence fighters who bled and perished in the harsh snowfields, the despair and loneliness of today do not justify halting my steps. Moreover, I believe it is my duty and calling as an educator to show my students an unwavering spirit in the face of any trials.
As the Year of the Red Horse approaches, before the 81st anniversary of liberation comes to a close, I wish to awaken the spirit and vitality of our nation, obscured by foreign influences, and dedicate a grand stage of liberation infused with our unique breath and the essence of Arirang to the spirits of our forebears. On this exhilarating journey toward the 100th anniversary of liberation, I eagerly anticipate the joyful participation of the K-Culture independence fighters of this era, proclaiming, 'Here are the independence fighters.'
* This article has been translated by AI.
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