The 1st Jeju 4·3 Journalism Awards Ceremony

 

Co-hosted by the Jeju 4·3 Peace Foundation, Journalists Association of Korea, and Journalists Association of Jeju

 

– Winners selected in gratitude for helping set Jeju 4·3 history right

– Reports of high standards recognized befitting the dignity of the awards

 

Editing Office

“History is an unending dialogue between the present and the past.” Not even approaching the spirit of the well-known quote, the history of Jeju 4·3 remained interrupted for a long period of time. During that time, which spanned from the killing of some 30,000 people by state violence through the tyrant military regimes established in Korea, Jeju 4·3 was considered taboo and the families of the victims were forced to live a silenced life. Meanwhile, there have been journalists who attempted to resume the long-halted dialogue of history, unearthing what had been buried from the eyes of the public. This gives great significance to the Jeju 4·3 Journalism Awards launched by the Jeju 4·3 Peace Foundation. The statutory foundation committed to the matters concerning Jeju 4·3 inaugurated the awards this year in recognition of efforts by journalists and media agencies and organizations. The winners were selected from the candidates that contributed to ▲ Revealing the truth of Jeju 4·3 and restoring honor to the victims; ▲ Inheriting and uplifting peace, human rights, democracy, and justice, which are the spirits valued throughout Jeju 4·3 and its successive movement; and ▲ Raising awareness of the historical event in Korea and in the world beyond. – Editor

 

The winners of the 1st Jeju 4·3 Journalism Awards were announced on Dec. 16, 2022, in the Grand Auditorium of the Jeju 4·3 Peace Memorial Hall. The award ceremony was co-hosted by the Jeju 4·3 Peace Foundation (President Koh Hee-bum), Journalists Association of Korea (President Kim Dong Hoon), and Journalists Association of Jeju (President Jwa Dong-cheol).

▲ The Grand Prize was given to KCTV Jeju for its report “Jeju 4·3 Special Report – Memories of the Land” (by Kim Yong-min, Kim Yong-won, and Moon Su-hee). ▲ The Excellence Award announced the winner in the categories of △ Newspaper/Publication: The Hankyoreh “Special Coverage: The 70th Anniversary of Jeju 4·3 – Asking Camellias” (by Huh Ho-joon) and △ Broadcasting/Film: KBS Jeju “Investigation K Trilogy: Jeju 4·3 and Fabricated Spy Cases – Memories That Fade” (by Kang Jae-yoon, Na Jong-hoon, Bu Su-hong, and Shin Ik-hwan). ▲ The Rookie Award was presented to Chung-Ang University Magazine “Chung-Ang Culture” for “Recalling Jeju 4·3 with the Revised Bill on the Jeju 4·3 Special Act” (by Kim Hyeon-kyeong). Award plaques were given to each winner, along with the prize money of △ 10 million won for the Grand Prize, △ 5 million won for each Excellence Award, and △ 3 million won for the Rookie Award.

Key politicians and scholars attended the award ceremony, including Kim Dong Hoon, president of the Journalists Association of Korea; Jwa Dong-cheol, president of the Journalists Association of Jeju; Kim Kwang-soo, Jeju Superintendent of Education; Han Kwon, chairperson of the Jeju Provincial Council’s Jeju 4·3 Special Committee; Cho Sang-beom, director of Jeju Provincial Special Self-Governing Administration Bureau; Yang Jo Hoon, member of the National Jeju 4·3 Committee; Lee Moon-gyo, former president of the Jeju 4·3 Peace Foundation; Oh Im-jong, chairperson of the Association for Bereaved Families of 4·3 Victims; and Heo Young-sun, director of the Jeju 4·3 Research Institute.

Koh Hee-bum, president of the Jeju 4·3 Peace Foundation, delivered an opening address to recognize and appreciate the strenuous efforts made by the winners of the 1st Jeju 4·3 Journalism Awards. The prominent journalist also said, “It is my anticipation that journalists will always stand with us to set the history of Jeju 4·3 right.”

 

** The winners and the organizers of the 1st Jeju 4·3 Journalism Awards take a commemorative photo after the award ceremony.

 

■ Grand Prize: “Jeju 4·3 Special Report – Memories of the Land”, KCTV Jeju

“Jeju 4·3 Special Report – Memories of the Land” covers the stories of those who not just lost their loved ones but were also deprived of the land where they had lived for generations, due to the scorched-earth operation during Jeju 4·3. It was the first coverage of their stories by a local broadcasting station.

The “newsmentary” report, combining the formats of news and documentary, highlights those villages that were burnt down or ruined due to the eviction order and the scorched-earth operation, the damage caused especially concerning the ownership of the land, the subsequent efforts to restore ownership by the victims’ descendants, and the need for relevant institutional improvements.

The KCTV Jeju reporting unit (Kim Yong-min, Kim Yong-won, and Moon Su-hee) said in their acceptance speech that they feel empathy for the victims and their families who were unlawfully dispossessed of their homes. According to the Grand Prize winners, their report was planned with high hopes of raising awareness of the need to investigate the property and material damage due to Jeju 4·3. “We consider our winning the Grand Prize as a call for continued attention to Jeju 4·3, rather than a simple accolade for our work,” they said, expressing gratitude for winning the 1st Jeju 4·3 Journalist Awards. Concluding their remarks, the journalists pledged that they will keep working to help resolve Jeju 4·3, meeting the expectations for the role of local media.

** The Grand Prize-winning report and the KCTV reporting unit giving the acceptance speech.

 

■ Excellence Award (Newspaper/Publication): “Special Coverage: The 70th Anniversary of Jeju 4·3 – Asking Camellias”, The Hankyoreh

The Hankyoreh released “Special Coverage: The 70th Anniversary of Jeju 4·3 – Asking Camellias” in a series of 65 articles in Korean, English, Japanese, and Chinese, both in the newspaper and on the internet.

This long series report had not been attempted by any other central media outlet. Part 1 of the report focused on revealing the truth, present, and future of Jeju 4·3, while Part 2 interpreted the revealed truth from a current perspective through various interviews with those who directly and indirectly experienced Jeju 4·3.

Specifically, the articles covered the causes and background of Jeju 4·3, the diaspora of those who migrated to Japan in avoidance of the turmoil, the ongoing retrials of those who were unlawfully convicted and served prison terms, and the efforts to clarify the responsibility of the United States.

Huh Ho-joon, the author of the mass-scale series report, said, “Every time I interview a victim or a victim’s family, it reminds me of the responsibility of media because their deep-rooted sorrow and the true nature of Jeju 4·3 have not been fully understood.” Thanking his colleagues at The Hankyoreh who steadfastly supported him through input and assistance in translation, Huh anticipated that the Jeju 4·3 Journalism Awards will provide great impetus to reporters and help uplift the value of peace, human rights, democracy, and justice.

 

** The Excellence Award-winning report (for the newspaper/publication category) and journalist Huh Ho-joon giving the acceptance speech.

■ Excellence Award (Broadcasting/Film): “Investigation K Trilogy: Jeju 4·3 and Fabricated Spy Cases – Memories That Fade”, KBS Jeju

“Investigation K Trilogy: Jeju 4·3 and Fabricated Spy Cases – Memories That Fade,” by KBS Jeju, identified the correlation between Jeju 4·3 and fabricated espionage cases, calling for public attention to the need for reflection on the past wrongdoings and for monitoring on a continued basis. The content covers the story of a man that made headlines on various media platforms, where his exoneration was confirmed in retrial 43 years after he was convicted for acts of espionage by disguising himself as a Korean-Japanese businessman. In the trilogy, the KBS Jeju reporting unit revealed that 30% of the nation’s fabricated espionage cases targeted those who were born and raised in Jeju. The reporters also interviewed judges and prosecutors that were once involved in fabricating North Korean spy cases, asking if they are willing to apologize to the victims. It is noticeable that the special report was followed by responsive measures and institutional improvements. Winning the Excellence Award, the KBS Jeju reporting unt (Bu Su-hong, Kang Jae-yoon, Na Jong-hoon, and Shin Ik-hwan) recalled how they felt producing the report. “It was regretful that the news on the espionage cases gained the media spotlight while the news on the belated exoneration of the falsely accused spy was considered insignificant.” According to the broadcasting team, their report led to the enactment of the nation’s first municipal ordinance specifying the provision of support for the victims of fabricated espionage cases, as well as the onset of relevant investigation. “We will always work to remember and record the truth so as to prevent the painful history from recurring,” they added.

** The Excellence Award-winning report (for the broadcasting/film category) and the KBS reporting unit giving the acceptance speech.

 

** The Rookie Award-winning report and journalist Kim Hyeon-kyeong giving the acceptance speech.

 

■ Rookie Award: “Recalling Jeju 4·3 with the Revised Bill on Jeju 4·3 Special Act”, Chung-Ang University Magazine “Chung-Ang Culture”

The Chung-Ang Culture, the official magazine of Chung-Ang University, published an article titled “Recalling Jeju 4·3 with the Revised Bill on the Jeju 4·3 Special Act”, winning the Rookie Award. The article contained nine photos of Jeju 4·3 reporting footage, which specially covered the topics of state violence, retrials of unlawful convicts, and female victims. Kim Hyeon-kyeong, the Jeju-born author, shared her personal experiences as a victim’s descendant and divided the seven-year-long period of Jeju 4·3 into three stages: the resistance, the killings, and the aftereffects. Positive changes were also addressed that are expected to follow the revision of the Jeju 4·3 Special Act. Additionally, the article pointed out the limitations of resolving the Jeju 4·3 issues, such as the difficulties holding the United States Army Military Government responsible for counterinsurgency operations and the unrecorded damage to those women who fell victim to the brutal acts committed during Jeju 4·3. According to the report, the case of resolving Jeju 4·3 can serve as a precedent for other similar events and help build peace and trust in Korean society.

During the acceptance speech, Kim said that she had long wished to cover the topic of Jeju 4·3 if given a chance. She also expressed her pleasure at winning the award, learning that her article meant something significant. “It is my wish that we will move one step closer to the resolution of Jeju 4·3 in the true sense so that it can become a hopeful precedent for other unresolved events of the past,” she concluded.

 

To select the winners, the 1st Jeju 4·3 Journalism Awards reviewed the media content on Jeju 4·3 that was released for the time span of four years from Jan. 1, 2018, to Dec. 31, 2021. A total of 29 nominees included nine articles for the Newspaper/Publication category, 15 shows for the Broadcasting/Film category, and five reports released by university papers and magazines. The nominated works met the high standards of the inaugural event and even featured emerging media content. Individual and group applicants also included promising undergraduate journalists that can contribute to passing down the values of Jeju 4·3 to the coming generations. The Jeju 4·3 Peace Foundation will receive applications for the Jeju 4·3 Journalism Awards and announce the winners on a biannual basis.

Kim Dong-hyun

Chairman, Federation of Artistic & Cultural Organizations of Jeju

[Jeju 4·3 Art Festival held an on-site art performance at Darangshi Cave in April 2022.]

Jeju, an island of memories

Jeju is an island of memories. The April 3 uprising and the subsequent massacres (Jeju 4·3) engraved memories of resistance and tragedy throughout the very land of Jeju. The transfer of memories regarding Jeju 4·3 was also a critical task in the truth-revealing movement. Along with the movement to uncover the historical truth of Jeju 4·3, efforts have also been made to share and pass down the local collective memories. Since the early days of the truth-revealing movement, projects have steadily been carried out to identify the sites of uprising and the places of massacre, while recording the factual history. Despite these efforts, however, substantial issues have been raised concerning the absence of comprehensive and systematic management of the Jeju 4·3 historical sites.

In this regard, it is noticeable that a comprehensive management plan for Jeju 4·3 historical sites was established in 2019. The comprehensive management plan suggests the need to create commemorative spaces by “spatializing” and “enculturating” memories, pointing out that the historical sites of Jeju 4·3 need “to be reborn as vibrant learning centers for human rights and peace that can elevate a sense of peace and human rights within young generations.” It is significant, though belated, that the latest plan noted the delay in promoting maintenance projects that were proposed in the 2005 Master Plan for the Comprehensive Maintenance of Jeju 4·3 Historical Sites and the Exhumation of Victim’s Remains.

However, there are still areas that need to be supplemented. First of all, it is necessary to refine the matters suggested in the 2019 comprehensive management plan in more detail. The comprehensive management plan presents the order of priority in promoting projects, while emphasizing the need for consistency of information boards and the need to install commemorative sculptures and small-scale memorial halls. Although the plan presents the direction for the public management of memories, it regretfully reaffirms the legitimacy of the formerly suggested ultimate goal and reason for preserving the historical sites.

In particular, it is necessary to be precise about the suggested need for commemorative spaces, such as small-scale memorial halls. Marking the 30^th anniversary of the excavation of victims’ remains in Darangshi Cave, discussions have taken place concerning “sacredization” of the area around the cave. Under these circumstances, various public opinions need to be gathered on whether the construction of memorial spaces such as sculptures and small-scale memorial halls is the ultimate goal of maintaining the historical sites.

The newly established local administration under Governor Oh Young-hoon seeks a qualitative shift in the truth-finding movement by pledging to give Jeju 4·3 a legitimate name, instead of the current incomplete term. However, the proposed project of “sacredizing the historical sites” is still likely to be limited to the tangible results of building small-scale memorial halls without systematic measures for operation and management. Given that the term “sacredization” presupposes the irreversibility of memory, if importance is placed on that “sacredization,” it will be highly probable to lose the purpose of preserving historical sites, that is, the public management and intergenerational transfer of memory, especially the public diffusion of the present value of Jeju 4·3.

A shift from the taxidermied memories toward the present memories

The memory of the April 3 uprising and the subsequent massacres is not limited to certain regions. All over the very land of Jeju are the sites of historical scars, with Jeju a wailing witness. The memory of Jeju 4·3 was a specific experience based on place. Individual places known as historical sites are also places of shared memories of experiences.

In this regard, the Jeju 4·3 historical sites should be the sites that help people remember Jeju 4·3 and the legacy of memory that helps confirm the present discourse and value of Jeju 4·3. The term “sacredization” evokes the necessity of preserving the historical sites and the urgency of maintaining them, and this is why we should not cage the memory itself “in the time of the past.”

In 2022, a project was promoted to build a memorial tower near Jeongbang Waterfall, the massacre site that resulted in the largest number of victims in the areas south of Mt. Halla, but was canceled due to opposition from nearby residents. This indicates the need for discussions on another level concerning the direction and goal of maintaining the Jeju 4·3 historical sites.

From the perspective of victims’ families, it could have been embarrassing to be faced with the resistance of residents in nearby areas. According to the media reports at the time, there were largely two reasons for the resistance of residents. One was their sentiment against building a memorial tower on a food-specialized street that attracts many tourists; and the other was the unsatisfactory procedure that failed to consult with nearby communities when establishing the memorial tower construction plan.

It is not appropriate to attribute the opposition to the memorial tower construction to being a result of residents’ misunderstanding of Jeju 4·3 or of local selfishness. As the 2019 comprehensive management plan pointed out, many of the historical sites are privately-owned land, thus requiring consultation with landlords on the maintenance and preservation of the sites. The plan also clarifies that land purchases require legal procedures. Should the historical site maintenance project be centered on bereaved families, cases such as the failure to build the Jeongbang Waterfall Memorial Tower will highly likely recur at any time. The fundamental reason for the Jeju 4·3 massacre lies in the damage to democratic values, the “people’s right to self-determination.” This is why the U.S. Army Military Government and the Rhee Syngman administration must be held accountable for the unprecedented massacre. The “anti-communist ideology” was a means and purpose of hegemonic power. Focusing only on the tragic aspect of the massacre, you cannot question the root of violence that enabled the massacre. This gives a reason for the present value of Jeju 4·3 to be different from the consolation for sadness that honors “death” itself. Governor Oh Young-hoon mentioned the appropriate naming of Jeju 4·3 for the same reason, and discussions have long taken place on holding the U.S. responsible for the massacre because of the local community’s reflections as to the root of that violence.

Sympathy has been achieved concerning the need to pass down the memory through the preservation of historical sites. Still, there have been insufficient discussions on what to commemorate and what memories should be shared. These limitations are revealed in the local government’s Ordinance on the Preservation and Maintenance of the Jeju 4·3 Historical Sites. The basic principle of managing the historic sites is to “keep the sites intact”. It stipulates that restoration and/or maintenance are allowed on inevitable occasions (Article 3). It also recognizes the responsibility of residents for the preservation of the original historical sites (Article 6). However, it presents the necessity of residents’ efforts to preserve the archetype of the historical site, while failing to mention what these efforts are aimed at. The absence of discussions on the ultimate goal and value of preserving historical sites inevitably leads to the absence of institutional considerations on how to manage and resolve the confronting values of implementing various development projects and preserving historical sites.

To paraphrase, the Jeju 4·3 historical site maintenance project needs to take the form of restoring the sites, which are of shared memories. It should not only provide consolation for the damage caused to the victims by state violence, but also become a locus of discovery that actively summons the present value of Jeju 4·3. That would be the beginning of diverting Jeju 4·3 from a taxidermied memory toward a contemporary one.

A place of memories where greater democracy is practiced

We should not blame only nearby residents as the reason for the cancellation of the Jeongbang Falls Memorial Tower. The disconnection of memory and the damage to the place was first begun by the state and local governments. It was in 2003 that the Seobok Exhibition Hall was built near Jeongbang Waterfall, the site with the greatest number of people slaughtered in the areas south of Mt. Halla. Obviously, the intention of building the Seobok Exhibition Hall, a cultural tourism development project promoted by the Ministry of Culture and Tourism in 1999, was to attract Chinese tourists. It was also the Seogwipo City government that declared the nearby area as the Chilsimni Specialized Food Street (2008). This is why we should not just blame the front-and-rear relationship where attempts were made to honor the memories of Jeju 4·3 after the sites of shared memory were damaged to a substantial extent.

How should we honor local memories and how should local times be remembered? The current controversy is caused by the absence of philosophy. If the present value of Jeju 4·3 should be the “practice of a greater democracy,” the maintenance of the related historical sites should also be a process of actively practicing the same value. Likewise, efforts to secure budgets for urgent tasks, such as city or province-registered cultural properties and academic surveys, should not focus on the transmission of “taxidermied memories” that only remember atrocious deaths. We have to actively discuss the present value of Jeju 4·3, while utilizing the discussions as venues for democratic practice that enables more participation of local community members. Efforts should be made to share present, living values, rather than preserving dead memories. To this end, a public-private cooperation organization needs to be established to practically guarantee everyone’s participation. If established, the organization should not be a superficial body that takes advantage of experts’ “advice” as a shield against procedural legitimacy, as it does in the present.

 

A grand stage was set at Gwanghwamun Plaza. A singer’s finger points to the U.S. Embassy, and the lyric says, ‘We cried under the shadows of the star-spangled banner – Oh, the time we spent being suffocated.’ It was a moment the audience could feel the retching from the inside. At the plaza, numerous actors, singers, poets, and the audience let fall camellia flowers while singing ‘The Song of Baby Camellia Blossoms.’ Performances such as ‘Yeoksamaji Geori Gut’ and ‘Halla, the Collective Drama’ were also performed. A collection of about one hundred flags that used to be hung across Mudeungiwat, the lost village in Donggwang-ri, was erected. A small stone pagoda was raised. Here, the songs the singer sang and the performances he directed were not only for the audience. They were a devotion to the spirits lost. It was a shamanistic ritual for the victims. The performers worked tirelessly, thanks to the singer’s devotion. I followed the trails of the arts of Jeju 4·3, and it led to the Jeju 4·3 Peace Park, where Choi, Sang-don, the singer, had his wedding ceremony.

Interview arranged and photos taken by Yang Dong-Gyu, a photographer and screenwriter

 

Choi, Sang-don, an artist, has directed several concerts and performances related to Jeju 4·3, such as the events of the eve of the commemoration of Jeju 4·3 and the cultural and art festivals for Jeju 4·3. He took part in the songwriting, lyrics, and story-telling in a ‘pilgrimage’ on the history of Jeju 4·3. His works in Japan include the Jeju 4·3 memorial services in Osaka, Tokyo, as well as performances held at the Jeju 4·3 Memorial Monument in front of the Tokoku-ji (temple) in Osaka. Until now, the artist has been a member of the Korean People’s Artist Federation Jeju Branch (JEPAF), a member of the steering committee of the Jeju Dark Tours, a chair of the music committee, a director, and an art director of the JEPAF.

<Most-renowned songs>

The Song of Baby Camellia Blossoms, Time, The Song of the Descendents of Jeju 4·3, Five Rules for the Nation’s Foundation, Remember 3·10 General Strike, Promise, Sangook, The Song of Yamada(山田), Halla-san, Yellow Cactus, The Lullabies of Moksimul Cave, You, Silver Grass and the Sunflower, Wind Blowing in the Prison, Jeongteureu Airfield, Fossils, Hyeoneuihapjang (graveyard), In the Village of Darangshi, Bukchon Gobeulak, Resentment of Seotal Oreum, Ieo-do Yeonyu, Birds of Korea Strait, Here We Live, and many more.

 

It has been a while since your last visit to Jeju. How have you been faring in Osaka?

It’s been about 10 months since I last came to Jeju, and I must say that I was not feeling well, especially with all the presidential and local elections. If I had been in Jeju, I would have met people and talked with them over a drink. In Osaka, I could not do so. I longed for Jeju and the people.

I would say it has been a relatively short span of time, but much has changed in Jeju, which makes me nervous.

 

The name Choi, Sang-don comes with the subtitles of the Jeju 4·3 singer and folk singer. You have sung songs of resistance and peace for the truth-finding of Jeju 4·3 and protests against the construction of the Jeju naval base. What caused you to become interested in such activities?

When I was young, I often saw my parents playing drums and janggu. When I got into college, I joined a folk music club. It turned out the club was an activist one. The nation was ruled under a military regime in the 1980s. It was a time when every university student had to face the political situation directly. In the club, I became interested in social issues as all the members discussed, argued, and sometimes fought over the issues.

By the time I was nearing my graduation, I heard news that human remains were excavated near Darangshi cave on Jeju. It was a shock to me. I made a pilgrimage to the site. That is when I first wrote a song about Jeju 4·3, feeling sad and noting the landscape. Upon graduation, I swore to myself never to lose the ties I had made regarding Jeju 4·3 in the club and in the social activities. I organized a singers’ activist group. I also requested consultations with the Jeju 4·3 Research Institute. This made me who I am now.

 

[Choi Sang-don and Yang Dong-gyu are talking about how Choi became interested in Jeju 4·3 while they visit the special exhibition on the Darangshi cave excavation at Jeju 4·3 Peace Park.]

You have been writing songs and lyrics yourself. When and how did you first write a song?

When I was in my third year of high school, there was a guitar that my older brother (does he mean his real older brother, or just friend? If it was his brother, it seems that it would just be ‘gave me.’) brought to my room. I wanted to play it and sing. I taught myself music, utilizing the knowledge I learned in primary school and middle school. I wrote my first song based on letters I exchanged with a girl I liked at the time. Its melody was later used to create the song, ‘Flame Fighter,’ which I presented while I was at Jeju National University. I met many people who played music from that time on and learned more.

It wouldn’t have been easy to make music using historical issues like Jeju 4·3. What has Jeju 4·3 meant for you in creating music?

Jeju 4·3 is something you cannot miss if you are from Jeju. You hear from your parents and older generations. The Jeju 4·3 story I was told by my mother, when I was a boy, (commas maybe not necessary) was about how the Imperial Japanese forces were ousted from Jeju. However, what I found out after I grew up differed. The stories I heard in college were about justice and the reunification of Korea, not about suffering and ordeals. They were slogans for peace. That inspired me to write songs about emptiness.

I was motivated to write music while visiting the ruins and sites of the mass killings of Jeju 4·3. Especially the atmosphere at the sites like the Darangshi cave overwhelmed me. I listened to the victims’ stories and the village’s lost history. It inspired my imagination, which led to creativity. Looking up Hallasan from a stream, I thought about the lives of the people during the incident. Those were important elements in the creation of my music. They become alive, unlike what you feel from reading a script about Jeju 4·3.

‘Singing April’ was your group. Then, you moved onto JEPAF, where you continued your ‘Jeju 4·3 music pilgrimage’ until now. We want to know more about it.

Even while I was in the group, there was at least one music concert in commemoration of Jeju 4·3 once a year. After that, I joined the JEPAF and came to a turning point in my career in 2001. I assumed the role of music director for the song, ‘The Song of Baby Camellia.’ It was then that I became more interested in plays and various music. That’s when I began studying about Jeju 4·3, visiting lost villages and oreums myself.

I listened to the stories of the survivors to write scripts and make music, and I loved the work. I felt that the spirits of the lost ones would be fond of it when I went back to the fields and sang my songs to them. At least, it allowed me to think I could contribute to healing those suffering. So, I gathered up a group of people a couple of times a month. When we first entered the fields, we held a ritual before the performance. The official version of this series of actions was the Jeju 4·3 music pilgrimage. Although it started out as a personal resolution, I had company every time I made my pilgrimage.

Was there a memorable moment during the pilgrimage?

There was a friend named Kim, Hyeon-mi with whom I traveled together. One time, we decided to walk from the 1,100-meter point all the way to Donggwang-ri. The path was to pay respect to the people who ran away from Donggwang-ri, as far as Doloreum and Bolleoreum. The idea was to bring those people back to their homes. The problem was we were lost in the middle and barely made it back. It was way more difficult than I thought. As we reflected, maybe it was a bit immature to bring the fugitives back home.

I can also still remember visiting prisons with the Association of the Bereaved Families members. It was in the middle of a hot summer day. Kim, Kyeong-hoon, a poet, kept saying that a hierophany of a spirit emerged from my sweat-soaked shirt. It seemed he saw a face of the spirits coming from my shirt.

On the daybreak of July 7, I walked from Moseulpo and climbed up Seotal oreum, from which one could see the streets, the towns and the landscape that victims might have seen. The red rising sun, along with the hot wind blowing from the still, dark land, came to me, totally different from what I had imagined in front of my desk.

I was also inspired by a rubber shoe worn by a baby in the cave of Moksimul, and came up with the song, ‘Lullubies of Moksimulgul.’

[Choi in the middle of the interview. The singer maintains seriousness as long as the talk is about Jeju 4·3.]

Personally, I can think of several songs such as ‘Time,’ ‘Ieo-do Song,’ and ‘Song of Baby Camellia,’ the most famous being the last one.

The ‘Song of Baby Camellia’ was not allowed to be sung at the commemoration event during the former regime of Park Geun-hye. The song became even more famous because of it. I first participated in the historical play as a music director in 2001 at JEPAF. It was a song I was asked to write upon a request by the general director, Kim, Soo-yeol. The play was supposed to be performed in April, and it was already February when I was asked to begin the work. At first, I was at a loss and wandered around many sites. I went to my childhood neighborhood. I imagined a boy waiting for his mother to return from fieldwork there. Also, the village was abundant with camellia trees. The symbolic flower of my former primary school was also the camellia, so I naturally focused on the camellia flowers while I was working on the song. Many people were separated during Jeju 4·3. They were waiting for their fathers, mothers, brothers, sisters, sons, and daughters who ran away to the mountains. I couldn’t shake the feeling that all of those who ran away or waited died because of the incident.

That’s how the verse, ‘When it snows white in the mountains, the red flowers bloom in the field – the girl who went to meet her family burned and became the red flowers’ was made. I cried after writing the first one. I thought it was a great verse. I still think it was a good one. The verse is naturally good when you’re telling even an elementary school student about peace and the environment.