The New York Philharmonic will do more than just a performance as they travel this winter to North Korea, arguably the world's most secluded and repressive country. The philharmonic, using the arrangements of Bach and Beethoven, will also shatter the silence of expression and art imposed by the regime, which has dehumanized North Koreans into a mass of unfeeling, soulless, starving victims for over 50 years. Imprisoned within the geographical and ideological confines of the country, these people continue to suffer from brutal despotic rule, endless poverty and our inexcusable ignorance. Yet, in realizing their plight and the power of music, the philharmonic will seize this opportunity to speak life, hope and liberty through language that transcends both censorship and translation.
As expected, the philharmonic faced intense external and internal criticism as they accepted the invitation from North Korea to perform in the capital city, Pyongyang. Some believe this move condones the country's atrocious human rights violations while others claim the regime will exploit this event as a validation of its political legitimacy. However, the critics seem to forget that the philharmonic has only decided to perform after the North Korean government agreed, upon the band's request, to make their performance accessible for all North Koreans, not just for the regime's exclusive, ruling minority. The government will allow the philharmonic to play American pieces and offer the North Koreans a rare chance to experience foreign culture without the government's interference.
Although the regime's intentions are questionable, the effect of this event is not. Primarily, this concert will signal the end of America's non-engagement policy that has hurt the North Korean people more than their government. In retrospect, the lack of communication between the United States and North Korea only resulted in a lack of progress for the regime's transparency and the humanitarian crisis in the country. Waiting for regime change or regime collapse in North Korea was as wise as waiting for China to overthrow its communist system overnight for a Western-style democracy. Only active diplomatic engagement will pull the country from its comfortable seclusion and turn the regime more self-conscious and vulnerable by making their repressive system more visible to the larger world.
Even Bush, a fanatical war hawk, seems to understand this reality of diplomacy as he wrote a letter directly to North Korean leader Kim Jong Il in an effort to further resolve the nuclear issue. Moreover, it is clear this bold, daring move will confront the regime by engaging with the people and promoting cultural dialogue between two sparring societies. We have all witnessed the aftermath of military engagement in the "democratization" of Iraq, and therefore, we must give diplomacy a chance. However, this diplomacy will be novel in the sense that music, not words, will connect ordinary citizens, not politicians.
Obviously, this concert will not initiate a nationwide revolution against the North Korean government. It is also certain that this event will not end all the problems afflicting the country. However, this small gesture of cordiality will build a bridge of dialogue between our citizens and the Korean people who are victimized by their regime and demonized by our president. To the disappointment of some, the sound of freedom in this unique occasion will not transfix the country with shock and awe. Rather, the sound of freedom will resonate beyond the walls of the performance hall and penetrate into the hearts and minds of all North Koreans, providing a glimpse of hope and inspiration to a forgotten people.
—Soo Yang is a sophomore in the College of Arts and Science.
