Here’s something interesting I picked up off a site called DeepGlamour (HT to ExpatJane). What’s interesting is that it’s a site concerned with fashion (and hence, aesthetics):
Taking a leaf from Generalissmo Franco’s political playbook, North Korean semi-strongman Kim Jong Il might be sick, might be dead, might be stuffed. He missed the country’s 60th anniversary parade, leading to increased message traffic at Langley, no doubt.
But he’s got the strength of 10,000 tigers, if the official art of North Korea is accurate. In fact, the whole country is good looking, strong, brave and energetic beyond belief.
North Korean posters are ubiquitous, with strong graphics, bold colors and relentless cheery exhortations, inviting the passer-by to join in… [LINK]
Interesting stuff. Here’s the link they were parsing, which has a lot of interesting examples, along with an excerpt from the author of a book that’s chock full of these fascinating slices of what is inevitably a major aspect of North Korean culture:
“Prevention and more prevention. Let’s fully establish a veterinary system for the prevention of epidemics!”
From Koen De Ceuster, one of the authors:
Stylistically, North Korean art is far more than a mere copy of Soviet Russian socialist realism. As was the case with the revolution itself, North Korean socialist realist art had to accord with Korea’s specific historical conditions and cultural traditions. Kim Il Sung pronounced that “Korean Painting” [Chosonhwa], the indigenous post-revolutionary development of traditional ink painting, was the best representative of Korean styles and emotions. He made the essential features of Korean painting the model for all fine arts. Kim Jong Il in his Treatise on Art (Misullon, 1992) described the qualities of Korean Painting as clarity, compactness, and delicacy. These characteristics have become the standard applied to all art produced in North Korea. As such, they also form the basis and model for poster art. On the latter, Kim Jong Il had more to say in his treatise on art. As important tools in the mobilization of the masses, posters have to have an instantaneous impact on the viewers’ understanding and their desire to act upon this understanding. Their message has to be accessible, clear and direct; informative and explanatory, as well as exhortative. The link between contemplation and action is crucial. A poster artist is ultimately an agitator, who, familiar with the party line and endowed with a sharp analysis and judgment of reality produces a rousing depiction of policies and initiatives that stimulate the people into action. Only if the poster appeals to the ideological and aesthetic sentiments of the people will it succeed in truly rousing the people. Kim Jong Il refers to poster painters as standard bearers of their times, submerged in the overwhelming reality and in touch with the revolutionary zeal and creative power of the people, leading the way from a position among the people.
Posters are visual illustrations of the slogans that surround the people of North Korea constantly. North Korean society is in a permanent mobilization. Party and government declarations are stripped down to single-line catchphrases. Through their endless repetition in banners, newspaper headlines, and media reports, these compact slogans become self-explanatory, simultaneously interpreting and constructing reality.
Fascinating stuff.
“Do not forget the US imperialist wolves!”
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