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Korea: A Defector’s Experience, North and South

North Korea will always have a problem when it comes to the world’s perspective. With the two halves of the Korean peninsula long embroiled in a bitter propaganda war in which neither side can be trusted to any real degree, South Korea comes out on top simply by virtue of having the louder, more internationally recognized voice. Most unbiased historians would probably come to the conclusion that there’s more truth to the South’s (relatively down to earth) claims, too, but very few people have the kind of genuine perspective – or even the access to it – that allows an honest appraisal of the true nature of the situation.

The Korean border is a blockade. Over fifty years ago, a line in the sand – now a heavily fenced sea-to-sea stand off – was drawn, instantaneously splitting families in half and tearing a once powerfully united country into two. At the time, North Korea was the marginally richer half of the country, a trend that continued for several years, with the democratic South’s poverty at the time comparable to some of the poorest countries in Africa. Now South Korea’s capital Seoul is not all that different to Tokyo, a glittering neon jungle that’s home to some of the world’s foremost technological companies and littered with big name chain stores. Just 50 miles North, over the 38th parallel, aid agencies estimate several million people recently starved.  With the two countries seemingly ever closer to coming to blows over the past few years, only a few thousand people have ever escaped from the North, and opted – by choice – to settle in the South. Still fewer are prepared to risk their newfound status in order to tell us about it. On the condition of anonymity, however, we did find one…

Lee (name changed at the request of the interviewee) lived in North Korea until the age of nine, and – after escaping the country with her mother via China – now studies in South Korea, attending a major university. She’s one of around 20,000 North Korean refugees currently claiming residence in the South, as well as being one of a impressively small number of people who can claim genuine life experience both sides of the border, especially once the very elderly ‘North Koreans’ (who, obviously, never lived under the current North Korean regime) have been eliminated. Lee lives a life of not insubstantial prejudice, with the tag ‘North Korean’ forever following her around the South, and has since returned to her homeland – by way of bribery at the northern border with China – a number of times. For this act of governmental insubordination, she could be shot on arrival, though the tendency of the local force is to overlook this is far as possible. When Lee sporadically arrives home, she brings with her news of a world that’s often utterly incomprehensible to those she left behind.

Lee grew up as the daughter of a doctor, getting along fairly well north of the border until ‘96/ ’97, when she reports ‘I knew we were going through a rough time. I saw classmates gradually stop coming to school. I heard that some left the country, and others couldn’t come to school because they were starving. The teachers stopped coming, too, and so the school faded away’. Lee’s referring, of course, to the mid 90s famine which – with Kim Jong Il focusing all his funds on nuclear development – left many ordinary people starving. ‘They stopped giving us food rations, and people were not used to the hunger and did not have the means to survive. People were literally passing out in the streets, but I was young, and I just thought that was life’.

Lee saw North Korea’s social disparity – presumably with the exception of the leadership – as being far less than that found in the South. ‘When I was young, economic disparity in North Korea was basically those families that had the next meal and those that didn’t. Now it is between those select few who get to go abroad and have foreign currency, and those who don’t have anything’. Life in North Korea was notoriously sheltered, of course. Lee remarks that her history books were ‘so distorted they sounded like legends, like prophecies from the bible. People don’t believe them anymore, but they used to. The books are still written that way, though.’

North Korean defectors face a number of issues living in the South. Lee arrived via a period in China, and experienced South Koreans animosity towards her immediately on arriving at the airport. Asked why she has come to the South, Lee’s mother told officials ‘we want to have a good life’, to which the immigration staff sarcastically replied ‘good luck’, and Lee’s been wary ever since. ‘South Koreans assume people from poorer countries are not well educated’, she argues. ‘Some South Koreans assume we’re naïve and good-natured. The older generation don’t like us because of communism, while the younger people did not grow up with a specific ideology, but see us as foreigners from a poor country, who don’t have much’.

Perhaps the biggest issue Lee has to face on an everyday basis is what she describes as South Korean ‘indifference’, though she does lay the blame at the door of North Korean refugees to some extent, too. ‘There are only a limited number of people who take the time to spread the word about North Korea. If all the defectors worked together to activity endorse/ promote, wouldn’t that draw attention?’ Another, slightly surprising issue for Lee has been language. ‘Korean spoken in South Korea is non-pure Korean, with Konglish (Korean incorporation of English) and what not. For six months I toiled’.

South Korea, of course, runs at a manic pace of life compared to the North, and even Lee’s buffer time in China hadn’t prepared her entirely for what was to come. ‘If you miss a day on the Internet in South Korea you feel like you’re behind on trends. South Korean students talk about sitcoms all the time, and I find them rather silly. I didn’t use to worry about getting a job, but now I feel really pressured and so I cave in and start looking for one. Also, watching the news is hard for me.  Everything is bad news. Subconsciously it stresses me out’.

Lee risks being shot as a traitor every time she tries to return to North Korea, but despite the issues, she does get news through her North Korean contacts regularly, on top of her own trips. Things are very different from the days of famine now: ‘these days, many North Koreans talk secretly to people in China to learn Chinese. They also learn to type in school, on a limited number of computers with no Internet access’.

Perhaps due in part to her reception in the South, Lee recently wrote a poignant essay summarizing her role in South Korea as that of ‘an exchange student’. ‘It is based on the belief that I will return to North Korea to live in the future’, Lee argues. ‘It is obvious that I love North Korea more than I love South Korea. That is why I continue to educate myself on North Korea and collect information on North Korea here. I hope to play a role in North Korea’s economic and social reform’.

North Korea’s economic and social reform… isn’t it a bit early for that? ‘Frankly speaking, the North Korean regime can’t survive in the modern world. Countries are opening their doors, but North Korea’s doors remain closed. Also, Kim Jong Il is not going to live forever, so a change is going to come. People think of reunification as the two governments coming together, but for me reunification is when Koreans from both sides of the peninsula can travel to and fro without constraints. I think it’s possible. People want political assimilation. The political aspects of reunification will be an arduous task, but I don’t think that’s impossible either.’

‘People talk about a lot about how South Korea’s GDP will drop by 50%. However the money that South Korea spends on its military — most of which is for protection against North Korea — can be invested into her economy. This is not a task that can be accomplished in a decade or two but in the long run, it is definitely possible. I believe it will be an opportunity to revive traditional Korean culture, the language, for one. There are differences that will be a challenge. Confucianism is so deeply rooted in South Korean society as opposed to China or North Korea that are influenced by socialism. Women and men play the same role in the workforce in North Korea. In that sense, North Koreans are more forward.’

Lee has views on Communism that  - should she choose to be more vocal about them – would go down extremely badly (perhaps even leading to arrest) in the South. Asked to describe what communism means to her, Lee replies ‘Utopia. I’m not a philosopher, but from what we know of human nature, communism cannot be achieved. Perhaps, as Marx said, if socialism came after capitalism and all the countries were wealthy, then maybe…’

The key factor in change when Kim Jong Il passes away, of course, may revolve around how much North Koreans actually want it. Lee’s response is unequivocal: ‘ North Koreans definition of change may not be quite the same as in the South, but North Koreans do know that a change ought to come. They do want it.’ People like Lee, isolated from their homeland, will no doubt be pivotal when that day arrives.

As published in AU Magazine, May 2010

Interview: Sleep Thieves

Having formed from the remnants of a number of defunct local bands, Sleep Thieves first caught State’s attention supporting Midori Hirano in early 2009, a gig the band had the initiative to set up themselves by reaching out to Hirano’s management. It was a move typical of the Dubliners, who have been working their way up through the ranks ever since, promoting their subtle brand of electro through a combination of hard graft and well-earned local knowledge.

The ‘Thieves have been working so hard, in fact, that when State took the chance to catch up with them, we found the three-piece glued to their instruments in their Temple Bar practice room on St Patrick’s day, ignoring the mayhem unfolding all around them and preparing for their biggest date so far. Sleep Thieves headline slot at Whelan’s this coming Wednesday will be something of a breakthrough for the band, marking their arrival amongst the upper echelon of local acts. Singer Sorcha jokes ‘we might play to an empty room’, a concern that seems only half tongue-in-cheek. Given the series of stunning performance the trio have reeled out upstairs in the same venue, though, there’s little doubt they’ll perform. Much as they did in interview, taking each question and running with it until we had an entire lengthy story on the band themselves, the Dublin music scene and making it on your own to recount to you. Here are the (heavily edited) highlights:

According to your MySpace page, you all met through a newspaper ad. Did you not know each other at all before that?

No, we didn’t. Obviously we romanticized that, at least the bit about the tea. It was an ad on the Thumped music message board, when Butterfly Explosion had just broken up. They’ll be copies of the original ads on the bootleg series (laughs). It just worked, we had lots of songs straight away. Things had never worked like that before, where a full song just clicked straight away and we thought it could be something. The first songs that we wrote are the ones that we put on the EP. There was no pain or blood in it. We didn’t have rehearsal rooms so we just took turns going to each other’s houses. It was weird, because we didn’t know each other, yet that helped. Lyrically, it made us comfortable that we didn’t have any judgment, we didn’t know anything about each other’s lives. We could just try anything and see what happened. We were able to be both supportive and honest. We became friends really quickly and we actually had a lot of fun. We had this mad set up with keyboards just on the couch and stuff. That’s where a lot of the swapping instruments came from.

Was being in your old bands and important part of your progress?

In terms of contacts and knowhow, definitely. It’s a lot about knowing how to conduct yourself, and what needs to be done when. Contacting people, booking gigs, knowing how to put out an EP or a single… it’s almost easier when you first form a band, as you can say ‘this is my new band’ and people check you out, and know who you are from before. But we’re finding it harder now to do the press stuff. You don’t want to have to spend hours on the Internet every night emailing people, you just want them to hear your music. We really believe in this band, and we really want people to hear it, but actually getting out there is really hard. We don’t like approaching our friends and saying ‘can you do this for us’, either. When it was just a contact name on the end of an email it was a lot easier, but it has to be done. You have to be a musician and a businessman. The days of playing gig after gig and hoping Mr. big from Sony’s in the crowd and will come by afterwards and offer you a contract are gone. There are a million roads, and fitting it all in to actually being creative is difficult, making things like the video, and a regular stream of new tracks…

Was that video shot at two in the morning or something? There are amazingly few people in it…

Actually that’s about one o’ clock on a Saturday night. Derek couldn’t make it to the second shoot, as he got stuck working at the rugby, and there were supposed to be all these people helping out, but they didn’t turn up either. So it ended up being Wayne’s girlfriend doing the makeup, and Killian the director. But we didn’t want one of those story-based videos, as after you’ve seen them once you know what happens, and you just don’t go back to them. As a first video, it’s a good introduction to what we are. There are a lot of outtakes that are quite funny.

It’s been quite a while since the EP ‘It Was Only A Satellite’ was released. What’s changed since then?

The EP was quite lo-fi. We didn’t think it was at the time, but if we were making an album it would be much more in your face. We’ve got louder and a little bit dancier. We don’t really allow ourselves to stop writing in a certain vein, so if it’s going to be rocky or going to be dancey, we just go along with that. But maybe we’ve got a little bit more confident in our vocals. A lot of the time people will write a whole new song of music and the vocals will just be sat on top of it. We’re trying to get the vocals a bit more intricate. We did that more at the beginning. With songs like ‘Exit’, we messed around with a lot of vocoder, that’s something we’re trying to get back into. Another thing with the new stuff is it’s a little bit barer, there aren’t so many different layers, it’s just the instruments you see on stage. If anything it’s a little more energetic for that.

Is it easier to play live?

It is easier to play live. But the thing with a young band is if someone sees you today and sees you again in a month’s time and you play all the same songs… you can get away with that if you’re a big band playing the hits, but as a new band you have to keep adding to the set. We’re trying to think more about the live show. Having keyboards is like a barrier. We’re not one of those bands that can move freely, and to make it feel live and exciting we have to think about improving the lighting and visuals. It doesn’t work for Whelan’s, but we’re trying to be a bit more focused on how it will feel live. We might have a bit more of a party vibe to the lighting. We want to be a pop band, in the sense that the music’s upbeat and dancey. It’s not going to be throwaway, but enjoyable. There are a lot of bands that are all about creating one big atmosphere. We’re more about having songs that you can go away and listen to separately and still enjoy.

What do you think of the Dublin music scene right now?

Well obviously we don’t want to criticize anyone because they’re our contemporaries, but we genuinely think it’s great. There’s so much choice. Ten years ago you were a singer songwriter or you were nothing. That was it. Now we have all these young promoters – club AC30, Clockwork Apple, Yours Truly, Hefty Horse – there’s a lot of space for different types of bands. Even five or six years ago it was really hard to get a gig. It’s really positive. Take Cast Of Cheers. They just came out of nowhere. They’re a great example of what the Richter Collective do for Irish music. We’d love to be working with other Irish bands. We have loads of connections in a way, but we’d love to do something experimental and electronic. We’re at a small loss as to how that actually works. But people are so supportive of each other these days, we had so much help from total strangers when we launched the EP.

What does the future hold for you guys, in terms of albums etc?

Well, you have to constantly put new things out to keep people interested. It’s a scary thing when you’re looking to make an album, to have the confidence to go away and know that when people come back they’ll want to hear it. You have to get the balance between writing an album that people want to hear and keeping people’s attention in the meantime. It’s a weird time for electronic bands, too. We started in 2008 and in about January last year all these electronic bands turned up with women fronting them. It’s great, but especially the English press is already getting sick of them. If you’re good enough, though, it doesn’t matter. Like Cast Of Cheers. This interview might turn into the Cast Of Cheers fanpage…

Are you tempted to follow their ‘free download’ model?

There are a lot of advantages. Our first EP wasn’t free, but within two weeks it was on every file-sharing site. For Cast Of Cheers, people went to see them play live and then came back and typed them into Google and found they could download an entire album for free. Downloading is stealing, but it’s also promotional, and you have to look at it that way. The MySpace thing is a bit false, though. If you have an office job, you can just let your songs play all day every day, keep refreshing, and you can have 100,000 plays in a year, and you create an illusion that you’re massive. Last.fm’s good as a barometer. It shows particular people listening to the tracks, and we have no idea where they hear of us from. We really would consider putting the album up for free, but maybe sell it too, with amazing artwork or some extras or something, to persuade people to still buy it. It seems a shame to focus too much on digital. My dad gave me his record collection, I don’t want to be handing down my external hard drive!

Were you tempted to go to SXSW?

Our drummer was invited at the last minute, and Sorcha went with Butterfly Explosion a few years ago. If we had an album to promote, we’d love to go. Our drummer didn’t get to either; remember to renew your passport if you might get to play a gig in Texas!

Is the Whelan’s gig something of a landmark for Sleep Thieves?

Yeah it kind of is. We originally booked upstairs, but we decided to step it up. There’s a sense of security upstairs, we’ve done loads of gigs up there and it’s great. If you have thirty people up there dancing, that’s a great gig. But stepping onto Whelan’s stage to headline, if you look down and there’s tumbleweed blowing across, that is horrible. We’re hoping that people will turn up, every so often even great bands play to very few people in there. We’re just hoping it’s not one of those nights. Even if it is like that, the people who come deserve a good show. We’ll be going for it regardless.

Sleep Thieves play their first ever Whelan’s main room headline show on the 24th of March 2010.

As published in State Magazine, March 2010. Click here to view original.

Tiger and Bear in Jung Gu – South Korean Cultural Cartoon.

I was offered the chance to write a cartoon on South Korean culture, and who am I to argue? This is the result. It’s intended as a commentary on how Korea’s original aims have been twisted into a kind of avid commercialism, something that we’ve used ‘Tiger and Bear’ – the characters in the traditional story of the country’s creation – to show. The artist is a Korean-based American called Matt Broadhurst, and the title ‘Tiger and Bear in Jung Gu’ refers to a major shopping district in Korea. Cartoons aren’t my usual specialty, but I’m all for a bit of variety!

The Phone Box Experiment

On spotting a hidden sign in amongst Rob’s belongings on the live web feed, callers were invited to call and ask for any item on the screen as a gift, with Rob’s random assortment including a ten pin bowling set, oversized lounge lamp, leather couch, guitar, fairy lights that kept the phone glowing all night long, and even a football (we can only assume Rob’s supremely talented, as had he kicked the ball out of the frame at any stage, game over…). Amazingly, Rob’s post-challenge review video shows him walking away from the scene and returning to London with at least one entire set of clothes still intact.

Review: Marina & The Diamonds – The Family Jewels

It’s ‘Hollywood’, in fact, that’s got the ‘love her/ loath her’ debate going in State’s household. With a similar obnoxious edge to Beyonce’s infamous ‘if you like it than you should have put a ring on it’ lyric, it will either hit a big red ‘repel’ button or go straight in as your song of the year. As utterly insufferable as that particular line is, though, it will no doubt get her noticed. Besides, Marina’s lyrical poetry – in this case an ability to reach inside the public consciousness and put into words our simultaneous disdain and fixation with celebrity culture – hits home.

AU Magazine Album Reviews

It’s a head-spinning whirl of vibes that in tracks like the haunting ‘Cloud’ and melancholy ‘Snow Globe’ feel like the world’s a kaleidoscope, and Hunter-Gatherer’s slowly churning the colors. Largely pedestrian but exceedingly heartfelt, this is the kind of album that’s whole is significantly more than its constituent parts, and while you might not want to listen to it every day, it’s a textbook soundtrack to all things wistful and scenic


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