Transcript: Thank you for the very generous introduction of me. And I thank all of you for coming this evening to hear my lecture. It is really wonderful to be here - this time Mother Nature finally allowed me to fly into this part of globe. I was very sorry for the postponement of my lecture [which] has inconvenienced many, including my colleagues at the V&A;. Before I left Korea, I went through a Google Search to find out who Henry Cole was – because I did not know about him – and found out really wonderful things about him and felt his contribution was so great in British cultural history, particularly for this eminent museum, and I was very honoured and humbled. My talk today is about the national museums of the People's Republic of China, Japan, and the Republic of Korea and the issue of cultural nationalism at these institutions. Japan was the first in Asia to launch national museums in the late 19th century, starting with the Tokyo National museum, followed by the Kyoto and Nara National Museums. The country now possesses about 4,000 museums. The Republic of Korea (hereafter called Korea) launched its central museum (National Museum) in 1945, absolving the Imperial Household Museum which existed from 1908 and of the Kyongju Museum. Korea now boasts about 1,000 museums. The first national museum which the People's Republic of China (hereafter called China) created was the National History Museum in 1915, followed by the Palace Museum in 1925 and the Museum of Chinese Revolution in 1961. China has set out to have more than 3,000 museums within a few more years. The seats of its 33 provinces already have their own museums, often of impressive scale. The museum fever is spreading in Asia. Economic prosperity and political stability obviously are the major driving force behind such an increase of museums in Asia. These museums have followed the models of the West in their mission to preserve natural and manmade heritage, disseminate knowledge, and educate people, offering authentic experiences though exhibitions and education programmes. Nevertheless, one peculiarity observed from these institutions is the presence of cultural nationalism of varying intensity, which can be discerned from their collections and other programmes. As proven by their birth years, cultural nationalism is indeed their birthmark; a powerful driving force in the colonial and post-colonial era, multilayered but with different agendas, it helped these museums join in nation-building or nation-rebuilding, and in consolidating national identity. But when too prevailing, or when left inmost, it can continue to shape all programmes, knowingly and unknowingly, promoting prejudice and disrespect among the people of three countries. It can even take a form of cultural imperialism in which hegemony (in a cultural sense) is the explicit goal of the nation states in relation to foreign cultures, as seen during the colonial period. National museums are the foremost example of social institutions of these three nations that are shaped in the penetrating process of corresponding (being attracted, pressured, and even forced) and even promoting the values of cultural nationalism. The outcome can be unhealthy and anti-educational, especially for children and the youths. It was this issue of cultural nationalism which was of major concern during my tenure as the Director of Korea's National Museum. The question was how much of it is a necessity, and how much of it should be expelled to make the Asian community a healthier and more friendly one with mutual tolerance and respect. In this rapidly changing social world, there isn't much for us to hang onto. Museums, and perhaps universities and libraries, may remain as the last institutions for spiritual comforts, purification, and the reassurance of human dignity. Now, first, let me brief you on the nature of cultural nationalism in the region. Then I will move on to describe how cultural nationalism was operating in the past, and what sorts of change have occurred to affect these museums in recent years. I must say that the subject turned out to be so loaded that it was like disturbing a beehive. I hope you will bear with me. Cultural Nationalism and National Museums in East Asia The first is the cultural nationalism and the national museums of East Asia. Cultural nationalism in East Asia is deeply rooted in the region’s geopolitical history. While I talk, I shall have on the screen a moving cultural map of 2000 years for the region as a simple historical survey. The dramatic changes in this map are the result of bloody wars, conquests, colonisation, and independence struggles which involved nearly 60 ethnic people-groups in the East Asian region. Included are the Han Chinese, the Korean and the Japanese who became the final winners in the region as of today. Naturally, ethnic solidarity, patriotism and nationalism were the strongest weapons in these struggles for ethnic and national surv

• published: 11 Apr 2011
• views: 3095

Transcript: Thank you for the very generous introduction of me. And I thank all of you for coming this evening to hear my lecture. It is really wonderful to be here - this time Mother Nature finally allowed me to fly into this part of globe. I was very sorry for the postponement of my lecture [which] has inconvenienced many, including my colleagues at the V&A;. Before I left Korea, I went through a Google Search to find out who Henry Cole was – because I did not know about him – and found out really wonderful things about him and felt his contribution was so great in British cultural history, particularly for this eminent museum, and I was very honoured and humbled. My talk today is about the national museums of the People's Republic of China, Japan, and the Republic of Korea and the issue of cultural nationalism at these institutions. Japan was the first in Asia to launch national museums in the late 19th century, starting with the Tokyo National museum, followed by the Kyoto and Nara National Museums. The country now possesses about 4,000 museums. The Republic of Korea (hereafter called Korea) launched its central museum (National Museum) in 1945, absolving the Imperial Household Museum which existed from 1908 and of the Kyongju Museum. Korea now boasts about 1,000 museums. The first national museum which the People's Republic of China (hereafter called China) created was the National History Museum in 1915, followed by the Palace Museum in 1925 and the Museum of Chinese Revolution in 1961. China has set out to have more than 3,000 museums within a few more years. The seats of its 33 provinces already have their own museums, often of impressive scale. The museum fever is spreading in Asia. Economic prosperity and political stability obviously are the major driving force behind such an increase of museums in Asia. These museums have followed the models of the West in their mission to preserve natural and manmade heritage, disseminate knowledge, and educate people, offering authentic experiences though exhibitions and education programmes. Nevertheless, one peculiarity observed from these institutions is the presence of cultural nationalism of varying intensity, which can be discerned from their collections and other programmes. As proven by their birth years, cultural nationalism is indeed their birthmark; a powerful driving force in the colonial and post-colonial era, multilayered but with different agendas, it helped these museums join in nation-building or nation-rebuilding, and in consolidating national identity. But when too prevailing, or when left inmost, it can continue to shape all programmes, knowingly and unknowingly, promoting prejudice and disrespect among the people of three countries. It can even take a form of cultural imperialism in which hegemony (in a cultural sense) is the explicit goal of the nation states in relation to foreign cultures, as seen during the colonial period. National museums are the foremost example of social institutions of these three nations that are shaped in the penetrating process of corresponding (being attracted, pressured, and even forced) and even promoting the values of cultural nationalism. The outcome can be unhealthy and anti-educational, especially for children and the youths. It was this issue of cultural nationalism which was of major concern during my tenure as the Director of Korea's National Museum. The question was how much of it is a necessity, and how much of it should be expelled to make the Asian community a healthier and more friendly one with mutual tolerance and respect. In this rapidly changing social world, there isn't much for us to hang onto. Museums, and perhaps universities and libraries, may remain as the last institutions for spiritual comforts, purification, and the reassurance of human dignity. Now, first, let me brief you on the nature of cultural nationalism in the region. Then I will move on to describe how cultural nationalism was operating in the past, and what sorts of change have occurred to affect these museums in recent years. I must say that the subject turned out to be so loaded that it was like disturbing a beehive. I hope you will bear with me. Cultural Nationalism and National Museums in East Asia The first is the cultural nationalism and the national museums of East Asia. Cultural nationalism in East Asia is deeply rooted in the region’s geopolitical history. While I talk, I shall have on the screen a moving cultural map of 2000 years for the region as a simple historical survey. The dramatic changes in this map are the result of bloody wars, conquests, colonisation, and independence struggles which involved nearly 60 ethnic people-groups in the East Asian region. Included are the Han Chinese, the Korean and the Japanese who became the final winners in the region as of today. Naturally, ethnic solidarity, patriotism and nationalism were the strongest weapons in these struggles for ethnic and national surv

• published: 11 Apr 2011
• views: 3095