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<blockquote type="cite" cite>Josephine Baker performed in Nampo in (I
believe) 1938 on her way from Japan to Manchuria where she performed
in several other cities. The Dong-ah Ilbo published an article on her
visit and included a picture of the performance.</blockquote>
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<div>Steven, are you sure? And not possibly mixing up Ch'oe
Sûng-hûi with Baker -- e.g. because some author is comparing the two
and their roles? When it comes to *politics*, however, it is a bad
comparison, as Baker had been very engaged for the French resistance
(and not just that), went even as far as to work as a spy for them,
had always been very outspoken, while Ch'oe Sûng-hûi (Jap. name
SaiShôki) worked closely with the Imperial Japanese Army and their
war propaganda unit. After the Sino-Japanese War Ch'oe did indeed tour
through the Manchukuo puppet state set up by the Japanese in 1932/33.
After liberation this cooperation worked against her in the South, and
so she left for the North to start over (like many other 'collaborator
artists'). If you look at who was most "efficient" within
the war propaganda art, who hold the leading positions, it was
mostly<i> modernist</i> artists (or dancers, in this case) ... the
overseas elite who had returned from Paris, Berlin, etc. in the late
1930s or in 1940. </div>
<div>Anyway, you are saying that JOSEPHINE BAKER visited not just
Japan in 1938 (!) but also Manchukuo (and Korea). I hear you, but it
much surprises me! Can you please refer to the date this was in the
Tonga ilbo, or to some article or book that makes such a reference and
statement? Baker, upon her arrival in Japan in<b> 1954</b> told
Japanese reporters: "This is my first visit to Japan. Nothing
could make me happier." (Asahi shinbun, 4/14/1954)</div>
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<div>Best,</div>
<div>Frank</div>
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<div>--------------------------------------<br>
Frank Hoffmann<br>
http://koreaweb.ws</div>
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