Exilic suffering: music, nation, and protestantism in cold war South Korea

In Cold War South Korea, the unmarked term “music” (eumak) came to signify Western classical music, and a host of ambiguous terms, including “folk music” (minsogeumak), “traditional music” (jeontongeumak), “indigenous music” (hyangtoeumak), and “national music” (gugak), emerged to categorize traditional practices that were rapidly disappearing from everyday cultural terrain. This West-centric development in musical culture has been euphemistically called “cosmopolitanism,” and in some cases, considered an index of national progress in the “race to modernization.” This paper attempts a critical reckoning of a specifically Cold-War form of cosmopolitanism by examining musicians who were at the center of this mid-century development: Christian Korean composers who left the North to flee the persecution of Christians by communist officials between 1945 (Korea’s independence from Japan) and 1953 (the end of the Korean War). I argue that the exiled composers were strategically positioned to construct secular and sacred music practices that reinforced the official cultural policy of the nascent U.S.-South Korea coalition. This exilic cultural work involved not just reconciling anticommunist nationalism with Western music idioms but also a related project of discouraging alternative conceptions of national (and nationally important) music. I first investigate how Christian exiles became the poetic voice of Cold War official culture through their elevated status in this culture’s institutions and narratives. Secondly, I consider the politics of this official culture, examining the music styles, genres, and compositions that were promoted or repressed. As I will show, Cold War music culture in South Korea was shaped by a confluence of mid-century international and intra-national politics, and Christian exiled composers were situated at the convergence of these mid-century concerns.