The noise between us: Nam June Paik, K-pop, and the politics of performance
Better to be the head of a dog than the ass of an ox. This was what Nam June Paik believed. And yet today, as Korean music, dramas, and movies gain international traction, many have seemingly strayed from such provocation. The Hallyu phenomenon, and K-pop in particular, is celebrated as Korea's great cultural export. And there is a genuine truth to that, obvious in the passionate concert attendances and outbursts of emotion from women who have finally found community, acceptance, and themselves. But beneath the glitz and the choreography of this product lies something more insidious: a tacit obedience to global norms and Western tastes. A bending of the knee to cultural hegemony. Where once Paik screamed at the television and tore it apart to ask, "Who is in control?", today far too many bow to the screen and ask it to love us. “Democracy is about talking back”, he said. It is not about repeating the ideas and words of others. The Past Creates the Future Nam June Paik (1932-2006) was a Korean artist — but he was never just that. He was a product of colonial trauma, a child of for