This achievement of historical research will serve as a basis for listening to testimonies in depth beyond the narrow standard of “fact verification.”
Lee Jieun
This is where the validity of the questions posed by this tangible AI interactive testimony content to the viewer lies: bringing up issues again about what to ask, not what to listen to. That’s because asking well must be accompanied by the constant consideration of the questioner. This, of course, would be to restore asking within the process of listening, not a reconversion or return to asking.
Bae Ju-yeon
Similar to what the researchers considered in the fourth collection of testimonies, the line placement and long pauses in Emily Jungmin Yoon’s poems would be the mimesis for the testifiers’ persistent pain, long silence, faltering, and hesitation that are manifested through poetic deviation.
Lee Hye-ryoung
the blanks in written language can connect us to the past more powerfully than the original voice, depending on how we relate to the testimonies.
Song Hye-rim
Kim Soon-ak was referred to by countless names throughout her life: As we can guess from her multiple names, her life was full of twists and turns we didn’t know or didn’t want to know about.
Purplay Kang Purm
The documentary film , directed by Cecilia Kang, a second-generation Argentine of Korean descent, follows the journey of the protagonist, Melanie Chong, as she confronts and grows increasingly aware of the issue of the Japanese military “Comfort women.”
Cecilia Kang
Bae Ha-eun
More than 10 years after the publication of the picture book “Flower Granny,” which tells the story of Sim Dalyeon, a victim of the Japanese Military “Comfort Women,” author Kwon Yoon-duk released “Yong, Maeng Ho,” the main character of the Vietnam War veteran. What is the story left by the author who has pointed out violence in Korean history through her works?
What can art accomplish beyond aesthetics? Randy Jayne Rosenberg examines how it can preserve marginalized histories, support survivor testimony, and move audiences from observation toward ethical responsibility.
Randy Jayne Rosenberg
The author – an ethnomusicologist – invites us to listen to “Comfort Women” survivors’ songs as a way to understand their lives and to remember them.
Joshua D. Pilzer
