Diasporic Condition: Jane Jin Kaisen’s Strange Meetings And Its Tracing Of Ambiguous Colonial Vestiges

Abstract

ABSTRACT Jane Jin Kaisen’s 2017 video work, Strange Meetings, documents the inside and surroundings of a former STD (sexually transmittable disease) treatment center for prohibiting the spread of STD among the U.S. GIs as part of the “Clean-Up Campaign” during the 1970s, located near Soyo Mountain in Dongducheon-si, South Korea. This essay questions how the figure of diaspora expressed through art helps trace the contemporary vestiges of colonial violence, and raises a fundamental question to the notion of national community. I argue that Strange Meetings critically revisits South Korea’s nationalist historiography by foregrounding a metaphor of diaspora that, according to Stuart Hall, while signaling its “permanent instability” as a historical marker, exceeds binary structures of representation: such as, literal/figurative, past/present, and them/us. In Strange Meetings, diasporic identities are kaksŏri, a cross-dressed wandering performer, a “vocal” survivor of the camp town prostitution, and the art work itself that is multidimensional, alterable, and globetrotting installation – all of which, I conceptualize borrowing Ann L. Stoler’s terms, constitute “ambiguous colonial vestiges.” The attempts to find fault of the nationalist and misogynous hegemony from within, especially through subaltern voices, have been greatly constrained in South Korea since the Korean War (1950–3). Strange Meetings, however, shows that when they are set in motion, they lend one of the most powerful impetuses for the feminist critique against the intimate tie between the U.S.’s neocolonial occupation of South Korea and Korean patriarchal nationalism.