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Yun Isang, Media, and the State: Forgetting and Remembering a Dissident Composer in Cold-War South Korea
Published online by Cambridge University Press: 14 March 2025
Abstract
Yun Isang (1917-95) was one of Korea's most prominent composers in the twentieth century. From 1957, the year he moved to West Germany, to his death in 1995, he had an internationally illustrious career, garnering critical acclaim in Europe, Japan, the United States, and North Korea. In South Korea, however, he became a controversial figure after he was embroiled in a national security scandal in 1967. As part of this incident, dubbed the East Berlin Affair at the time, Yun Isang was abducted in West Germany by the Korean Central Intelligence Agency and charged with espionage for North Korea. This experience of victimization, which also included torture, imprisonment, and an initial death sentence, turned him into a vocal critic of Park Chung Hee and an overseas unification activist in contact with North Korea. This article remembers the moral and political framings of Yun Isang in South Korea against a recurring politics of forgetting that masks the magnitude of violence that was wielded in the name of national security. It traces coverage of Yun in several mainstream newspapers from the first mention of his name in 1952 to 1995. It argues that representations of Yun were mediated by a tension between national artistic progress and national security, one of the central tensions that defined South Korea's Cold-War cultural politics.
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Notes
1 Torture of Yun was not revealed to the South Korean public until a full translation of The Wounded Dragon was published in 1988. Under Park's rule, journalists who knew about the use of torture could not report it without risking retribution.
2 “Cheirŭm ch'ajŭn yunisang kinyŏmgwan [Yun Isang Commemoration Hall reclaimed his name],” Hallyŏ t'udei, April 5, 2019.
3 For example, see Shin-Hyang Yun, Yunisang kyŏnggyesŏnsangŭi ŭmak [Yun Isang, Music at the Border Line] (Paju: Han'gilssa, 2005); Jeongmee Kim, “The Angels and the Blind: Isang Yun's Sim Tjong,” The Opera Quarterly 17, no. 1 (2001): 70-93. Yun Isang's musical style has also been one of the most popular dissertation topics among overseas South Korean doctoral students in music performance.
4 Theodore Hughes, Literature and Film in Cold War South Korea: Freedom's Frontier (New York: Columbia University Press, 2012), 3.
5 “Kagŭkkwa yŏnghwaŭmak palp'yoginyŏmhoe [commemorative concert of operettas and film music],” Kyŏnghyang Sinmun, March 3, 1952.
6 For example, “Han'guk chakkokka hyŏphoe [Korean composers association],” Kyŏnghyang Sinmun, September 19, 1954.
7 “Tongyangjŏgin sinbigam [a sense of Eastern mystery],” Kyŏnghyang Sinmun, July 21, 1955.
8 See Luise Rinser and Isang Yun, Yunisang sangch'ŏ ibŭn yong [Yun Isang, the wounded dragon] (Seoul: RH Korea, 2004), 43-7. First published 1977 by S. Fisher.
9 For example, “Yunisang tobul hwansonghoe [farewell gathering for Yun Isang's trip to France],” Tonga Ilbo, May 23, 1956.
10 Martin Iddon, New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez (Cambridge: Cambridge University Press, 2013), 224.
11 Amy Beal, New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification (Berkeley and Los Angeles: University of California Press, 2006), 123. Peter M. Chang, Chou Wen-Chung: the Life and Work of a Contemporary Chinese-born American Composer (Lanham, MD: Scarecrow Press, 2006), 34.
12 “Sogwanhyŏnakkok sŭk'oŏ kanhaeng [publication of chamber music],” Kyŏnghyang Sinmun, May 21, 1960.
13 “Han'guk ch'usanghwajŏn [Korean abstract art exhibition],” Kyŏnghyang Sinmun, August 29, 1960.
14 Rinser and Yun, 104.
15 Chunman Kang, Han'guk hyŏndaesa sanch'aek 1950nyŏndaep'yŏn 1kwŏn [a stroll through Korea's contemporary history, 1950s, no. 1] (Seoul: inmulgwa sasangsa, 2004), 327.
16 For example, “Nurwŏn munhwasang [nurwŏn culture award],” Kyŏnghyang Sinmun, January 12, 1961.
17 “Mugunghan pyŏnhwaryŏk [constant change],” Tonga Ilbo, April 10, 1964.
18 “Chakkokkadŭrŭi kyŏngsa [a festival for composers],” Tonga Ilbo, May 8, 1965.
19 “Haeoeesŏ ttŏlch'in chŏngjin'gongjŏk [overseas accomplishments],” Tonga Ilbo, December 27, 1965; “Sŏdoge ttŏlch'in uriŭmak [our music making a mark in West Germany],” Tonga Ilbo, November 17, 1966.
20 “Aakkwa hyŏndaeŭmak [Korean court music and modern music],” Kyŏnghyang Sinmun, February 22, 1967.
21 “Yunisang chakkok kamsahoe 22ilbam [Yun Isang music appreciation event to be held on the evening of the 22nd],” Kyŏnghyang Sinmun, December 21, 1960.
22 This scholar, Im Sŏkchin, was known in South Korea mainly as a leading scholar of Hegel until his death in 2018. He completed a doctoral degree at the Goethe University Frankfurt in 1961. In 2003, Im testified that his disclosure of some overseas South Koreans' visit to North Korea was greatly exaggerated by the KCIA. See “Minjuhwa paljach'wi [the traces of democratization],” Han'guk Ilbo, May 30, 2003.
23 Chunman Kang, Han'guk hyŏndaesa sanch'aek 1960nyŏndaep'yŏn 3kwŏn [a stroll through Korea's contemporary history, 1960s, no. 3] (Seoul: Inmulgwa sasangsa, 2004), 150-165.
24 “Tongbaengnim kŏjŏmŭrohan pukkoegongjaktan kŏmgŏ [arrest of North Korea's East Berlin communist espionage operation],” Kyŏnghyang Sinmun, July 8, 1967.
25 See, for example, “Pukkoedaenam chŏkhwagongjaktan chŏkpal chŏngbobujang palp'yo [the KCIA's exposure of North Korea's communist espionage operation against the south],” Maeil Kyŏngje, July 8, 1967.
26 Kang, Han'guk hyŏndaesa sanch'aek 1960nyŏndaep'yŏn 3kwŏn, 111.
27 For example, “P'yŏngyangdo tanyŏwatta [I even went to Pyongyang],” Kyŏnghyang Sinmun, November 15, 1967; “Kongso kŏŭi siin yunisang [Yun almost admitted the charges],” Tonga Ilbo, November 15, 1967.
28 From the perspective of the South Korean government, the most damning response was the West German government's decision to discontinue its aid program toward South Korea. This was not reported in South Korea at the time of suspension. Only when the suspension was reversed did Tonga Ilbo cover the incident. The article commended Park for resolving a foreign relations crisis. “Taehan wŏnjo kŏmt'o chaegae [review of aid program for South Korea reopened],” Tonga Ilbo, March 2, 1968.
29 Chunman Kang, Han'guk hyŏndaesa sanch'aek 1960nyŏndaep'yŏn 2kwŏn [a stroll through Korea's contemporary history, 1960s, no. 2] (Seoul: inmulgwa sasangsa, 2004), 329.
30 Rinser and Yun, 197-200.
31 “Okchungesŏ yŏkkŏnaenŭn nabiŭi kkum [spinning a butterfly's dream in jail],” Tonga Ilbo, December 4, 1967.
32 “Okchungjakkok nabiŭikkum [a butterfly's dream composed in prison],” Kyŏnghyang Sinmun, December 7, 1967.
33 “Haoe kuhyŏng kongjaktan hangsosim [this afternoon, the appeal court rules on the espionage case],” Kyŏnghyang Sinmun, March 27, 1968.
34 For example, “Sŏdok hamburŭk'ŭ yesurwŏn [West Germany's Hamburg Art Academy],” Kyŏnghyang Sinmun, July 4, 1968.
35 “Segyeŭi sisŏnmoŭn yunisangssiŭi chakp'um [world's attention on Yun Isang's work],” Kyŏnghyang Sinmun, November 13, 1968.
36 One known case of execution involved Pak Nosu, a researcher at Cambridge University who was visiting Seoul at the time of arrest. He was executed in 1972. In 2017, the South Korean supreme court pardoned Pak and ordered the state to pay 2.3 billion won to Pak's family. “Sahyŏng 45nyŏnmane [45 years after execution],” JoongAng Ilbo, September 1, 2017.
37 “Yunisangssi t'ŭkpyŏl samyŏn [special pardon for Yun],” Maeil Kyŏngje, August 12, 1970.
38 “Chŏnt'ongjŏgin chubŏp pŏsŏna [going beyond traditional techniques],” Tonga Ilbo, November 20, 1970.
39 “70nyŏndae munhwagyeŭi cheŏn [recommendations for the cultural community in the 1970s],” Tonga Ilbo, February 17, 1970.
40 “Segyeŭi simch‘ŏng [Simch‘ŏng of the World],” Kyŏnghyang Sinmun, August 9, 1972.
41 “Ŭmnyurŭi kŭkch'i [music's highest reach],” Tonga Ilbo, August 3, 1972.
42 “Twiŏp'ŭn op'era kyenyŏm [concept of opera, subverted],” Kyŏnghyang Sinmun, September 6, 1972.
43 “Che3hoe sŏul ŭmakche [the third Seoul music festival],” Maeil Kyŏngje, February 11, 1971.
44 “Sŏul kukche hyŏndae ŭmakche [Seoul international contemporary music festival],” Tonga Ilbo, September 15, 1971.
45 These included Cello Concerto (premiere in Royan, 1976), Flute Concerto (Hitzacker, 1977), Violin Concerto No. 1 (Frankfurt, 1981), and Clarinet Concerto (München, 1981).
46 Rinser and Yun, 236-7.
47 Bonnie C. Wade, Composing Japanese Musical Modernity (Chicago: University of Chicago, 2014), 75-6.
48 Gavan McCormack, “The Park Chung Hee Era and the Genesis of Trans-Border Civil Society in East Asia,” in Reassessing the Park Chung Hee Era, 1961-1979: Development, Political Thought, Democracy, and Cultural Influence, eds. Hyung-A Kim and Clark W. Sorensen (Seattle: University of Washington Press, 2011), 189.
49 Abbreviation of Chaeil han'guk minju t'ongil yŏnhap.
50 Abbreviation of Han'guk minju minjok t'ongil haeoe yŏnhap.
51 Both groups are still classified as anti-state organizations in South Korea under the National Security Law.
52 Rinser and Yun, 105.
53 For example, “Panhanhoeŭijangsŏ ch'ungdol [confrontation in an anti-Korean meeting],” Tonga Ilbo, August 15, 1977.
54 “Ilbonŭn panhanhwaldong kyujehara [Japan should restrict anti-Korean activities],” Kyŏnghyang Sinmun, August 17, 1977.
55 Sŭnghak Yi, “Sasiriramyŏn ihaehal su ŏpta [if it's true, I can't understand it],” Wŏlgan ŭmak (May 1979), 56.
56 Hongyŏl Yi, “Kugoerago kongsanjuŭie hoŭnghal su ŏpta [even when abroad, one cannot answer to communism],” Wŏlgan ŭmak (May 1979), 57.
57 Tuhoe Ku, “Ttŏttŏt'i kal kirŭl salp'yŏya ketta [being vigilant in our path],” Wŏlgan ŭmak (May 1979), 57.
58 Chunman Kang, Han'guk hyŏndaesa sanch'aek 1980nyŏndaep'yŏn 1kwŏn [a stroll through Korea's contemporary history, 1980s, no. 1] (Seoul: inmulgwa sasangsa, 2004), 108.
59 Kang, Han'guk hyŏndaesa sanch'aek 1980nyŏndaep'yŏn 1kwŏn, 12-3.
60 “Taehanmin'guk ŭmakche naedal 14il kaemak [Korea music festival to open on the 14th of next month],” Tonga Ilbo, August 20, 1982.
61 For example, “Yunisangssi akpo 60yŏjong p'anmae [scores of more than 60 works by Yun for sale],” Kyŏnghyang Sinmun, September 13, 1982.
62 “Tongaŭmak k'ongk'ŭrŭ yogang [Tonga concours outline],” Tonga Ilbo, December 22, 1982.
63 “Ollimp'ikkwa ŭmak [the Olympics and music],” Maeil Kyŏngje, March 25, 1982.
64 “Han'gugŭi ki yerŭl segyee [Korea's energy and propriety to the world],” Tonga Ilbo, September 17, 1982.
65 “Ŭmagi chŏnbu [music is everything],” Kyŏnghyang Sinmun, May 19, 1993.
66 See Kyongboon Lee, “Yunisangŭi ŭmakkwa p'yŏnghwasasang [Yun Isang's music and the ideology of peace],” T'ongilgwa p'yonghwa 9, no. 2 (2017): 91-120; Hyejin Yi, “National cultural Memory in Late-Twentieth Century East Asian Composition: Isang Yun, Hosokawa Toshio and Zhu Jian'er,” The World of Music 6, no. 1 (2017): 73-101.
67 “Yunisang, ruijerinjŏŭi taedam [Yun Isang and Louise Rinser's conversation],” Kyŏnghyang Sinmun, December 3, 1988.
68 For example, “Nambukhan haptong ŭmak ch'ukchŏn [South-North joint music festival],” Tonga Ilbo, July 2, 1988.
69 For example, “7.7 sŏnŏn [July 7 Statement],” Kyŏnghyang Sinmun, July 9, 1988.
70 “Nambuk ŭmakch'ukchŏn chŏngbu ipchang p'yomyŏng ch'okku [urging the government to respond to the South-North music festival],” Hankyoreh, August 24, 1988.
71 “Nambugŭmakche pukhansŏ surakt'ongbo [North Korea accepts South-North music festival],” Kyŏnghyang Sinmun, July 23, 1988.
72 “Kŭmmyŏng chŏngbubangch'im kyŏljŏng [the government will make a decision soon],” Tonga Ilbo, July 26, 1988.
73 “Isunjassi chŭnginch'ulssŏk yogu [Yi Sunja to appear as witness],” Kyŏnghyang Sinmun, October 6, 1988; “Kukchŏnggamsa imojŏmo [the various sides of the congressional hearing],” Hankyoreh, October 7, 1988.
74 “Nambuk ŭmakch'ukchŏn sasilssang musan [South-North music festival cancelled],” Kyŏnghyang Sinmun, March 4, 1989.
75 “Yunisangssi sillaeakkok p'yŏngyangsŏ yŏnjuhoeyŏllyŏ [Yun's chamber music performed in Pyongyang],” Tonga Ilbo, February 13, 1989.
76 “Pukhan kyohyangaktan yŏnju 4kaeŭmban suip purhŏ [import of four records by the State Symphony Orchestra of DPRK prohibited],” Kyŏnghyang Sinmun, February 25, 1989.
77 For example, “Yunisang ŭmakch'ukche 9wŏre yŏnda [Yun Isang music festival in September],” Tonga Ilbo, July 12, 1994.
78 “Yunisangssi 8wŏl han'gugonda [Yun Isang will come to Korea in August],” Tonga Ilbo, July 19, 1994; “Yunssi ‘kwiguk kyŏljŏngandwae’” [Mr. Yun, ‘have not decided on return’],“ Tonga Ilbo, July 19, 1994.
79 For example, “Chomunbangbuk kyop'o nugun'ga [who are the overseas condolence visitors],” Kyŏnghyang Sinmun, July 16, 1994.
80 “Irwŏjin yŏmwŏn yunisangssi [realized aspirations, Mr. Yun],” Tonga Ilbo, September 1, 1994.
81 “Yunisangssi kwiguk ‘p'yoryu’ [Yun Isang's return adrift],” Hankyoreh, September 2, 1994; “Yunisangssi kwigukchwajŏl [Yun Isang's return, frustrated],” Tonga Ilbo, September 3, 1994.
82 “Irwŏjin yŏmwŏn.”
83 “Ipkukhŏga sinch'ŏng ajik motpadatta [entry application not submitted],” Kyŏnghyang Sinmun, September 1, 1994.
84 “Yunisangssi ilmunildap [Q and A with Yun Isang],” Kyŏnghyang Sinmun, September 2, 1994.
85 “Yunisangssi hwanyŏng yogu [Yun Isang's demand for welcome],” Tonga Ilbo, September 3, 1994.
86 For example, “Orhaeŭi ‘koet'emedal’ chakkokka [this year's Goethe model recipient'],” Maeil Kyŏngje, March 1, 1995.
87 For example, the performance of Angel in Flame led to some objections from the classical music community. “Yunisang ‘hwayŏmsogŭi ch'ŏnsa’ kungnaech'oyŏn nollan [controversy over the national premiere of Angel in Flam],” Tonga Ilbo, April 12, 1999.
88 See, for example, “Yesan sakkam yunisangŭmakk'ongk'urŭ ‘chwach'o’ wigi [budget cut for Yun Isang Competition, under threat of running aground],” Kyŏngnam Ilbo, December 29, 2016.
89 “Togirŭi yunisang yuhae, 25il t'ongyŏngŭro onda [Yun Isang's remains to come to Tongyeong after 25 years],” Chosŏnilbo, February 24, 2018.
90 Research for this article was first presented at a symposium on Yun Isang that was part of the 2017 Tongyeong International Music Festival (TIMF). I thank Dr. Heekyung Lee for inviting me to present at this event.