I have had the signal pleasure of running across a few YouTube snippets from Korean Central Television before on that Zeitgeist-friendly medium of YouTube, but the site maintained by this particular North Korea fan in Mexico (or so it appears) is particularly rich and frequently updated.
Here is the 5-minute coverage of Wen Jiabao’s welcome at the Pyongyang airport:
The above film really does much better justice than photographic sources of how North Koreans are encouraged to perceive the visit. Note the dwelling, at length, of the major (or whatever his rank may be) huffing out his welcome at Wen Jiabao as the military sword quivers at his side. For a Chinese audience used to associated sabers with Japanese imperialism (and a quick perusal through commemorative magazine covers from summer 2005 ought to do the trick), this is potentially intimidating stuff. Which is why the KCNA editors left it in, and Xinhua/CCTV leaves it out.
Similarly, the cuts of the national anthems are interesting, if predictable. The wind band plays the opening salvo of the PRC national anthem (“March of the Volunteers,” the Nie Er War of Resistance original) which is clipped immedately into the DPRK national anthem and the five-pointed star set in red. No sight of the Chinese flag, symbol of the old Minsaengdan incident!
[Video forthcoming....trouve trouve trouve]
And, since it’s YouTube, I begin to wonder how this particular attack of North Korean soccer goalies against international referees while Chinese fans scream, win, and wave their red flags at the wailing DPRK defense played out at the time among Chinese newspaper readers and netizens. Life is always so calm on that blue No. 2 subway from Guloudajie to Chaoyang (my summer morning bureaucratic and beautiful commute) that it’s hard to imagine someone snorting aloud at the news, but I wouldn’t put it past the Chinese press to emphasize. Wait a minute — depicting North Koreans as wild and out of control? I thought that was something of which only “Western media” was capable!
Finally, here, via is a lovely bit of song from the DPRK, also carried via that prolific Mexican fan of Juche:
Call me easily manipulated, but you just can’t argue with the orchestration, the melody, or the voice. This is lovely stuff which might even surpass Rimsky-Korsakov, the original orchestrator-genius (after the Frenchman Hector Berlioz, that is) whose work trickled down into socialist manuals. Everyone always, always rips on the North Koreans for being all extra Soviet, when in some ways they are more deeply connected in their arts and literature to the Russian romantic tradition, not to mention the pop trends of Japan in the late 1970s.
Finally, mentioning this here, although it could just as well arrive in a Sino-Japanese post, as the man straddles the line of nationality: Japanese conductor Seiji Ozawa [小澤征爾], born in Manchuria in the 1930s and one of the great musicians of our time, has been diagnosed with cancer and is cancelling all performances for the next six months. Time to mount up some intense positive thoughts/prayers for this man and, if you can, amp up your own musical performances. The world is going to lose a bit of expressiveness and intensity for a spell, so let’s connect to cleave the deficit and hurdle the divides.
Gratuitous Citations, or, “How Non-Interactive yet potentially Toxically (or intoxicating in a lockbox) Erudite Print Scholarship with Zero Exciting Hyperlinks Finds its way onto the S.V. Blog”:
If you desire analysis of a more academic vintage of the musical competition and provenance of the respective national anthems within the matrix of der Aufbau des Sozialismus [era of building socialism: 1945-1950], see :
Adam Cathcart, “Song of Youth: North Korean Music from Liberation to War,” North Korean Review Vol. 4, No. 1 (Fall 2008), 93-104.
Adam Cathcart, “Japanese Devils and American Wolves: Chinese Communist Songs from the War of Liberation and the Korean War,” forthcoming in Popular Music and Society, Vol. 33, no. 2 (May 2010).