Seodaemun Prison History Hall

My dear friend Pam was about to leave Korea so we decided to do some touristy things before she left. She chose to visit the Seodaemun Prison History Hall, which was a real prison, but is now a National Historic Relic of Korea (no.324). This prison was used by the Imperial Japanese Army during their occupation of Korea (1910-1945) and was used specifically to hold independence activists and those who rebelled against the Japanese rule.

The Seodaemun Prison was run by the Japanese until their surrender in August of 1945. Three months later it was renamed as Seoul Prison and returned to the hands of the Korean people. In February of 1988 the grounds were declared a National Historic Relic to honour and preserve the Korean people’s struggle for an independent nation. Ten years later in 1998 it officially re-opened as the Seodaemun Prison History Hall. In 2010 a lot of renovations were made and replicas were built, especially in the basement of the grounds where the torture chambers once were.

Today, these grounds are viewed as a symbol of Korea’s 80 year journey to freedom. It’s a dark park of Korea and Japan’s history, but it is history regardless and has become a place of pride for the freedom fighters who gave their lives. For younger generations who don’t understand war and the fight for liberty, this place is hugely educational for Koreans and people all over the world. Although the tour may leave visitors with a heavy heart, the historical importance, layout of the prison and information provided was well represented. I’ll let the photos tell the rest of the story from here.

Mairi, myself and Pam, outside the prison walls where modern day media advertisements mark the doors.

Mairi, myself and Pam, outside the prison walls where modern day media advertisements mark the doors.

An overview of the prison grounds. The fan shaped structures are the exercise facilities for prisoners.

An overview of the prison grounds. The fan shaped structures are the exercise facilities for prisoners.

Yoo Kwan-Sun, a young female independence activists who later became a martyr for her country.

Yoo Kwan-Sun, a young female independence activist who later became a martyr.

On top, a sword used by General Gwak Han-il. Below, a sword-cane used for self protection.

On top, a sword used by General Gwak Han-il. Below, a sword-cane used for self protection.

Below is a look at National Resistance Room 2, which is dedicated to the Koreans who were captured and died in the name of freedom. The walls are covered floor to ceiling with photos and records of over 5,000 men and women who gave their lives for an independent Korea.

This room, known as Memorial Hall, is dedicated to the Koreans who were captured and died in the name of independence. The walls are covered floor to ceiling with photos and records of over 5,000 men and women who gave their lives for national freedom.

A closer look at the prison records, as shown on the walls of Memorial Hall.

A closer look at the prison records, as shown on the walls of the National Resistance Room 2.

The National Resistance Rooms (1-3) can be found on the second floor. Once the second floor had been seen, we were guided to the basement where the underground torture and interrogation chambers were. This is where things got heavy and at times, hard to breathe.

A torture box where prisoners would be placed inside. Their captors would then shake the box until the activists gave up information.

A torture box for prisoners. Once inside, captors would shake the box until the activists confessed.

A typical cell where prisoners would be held while awaiting their torture.

Above, a typical cell where prisoners would be held while awaiting their interrogation. Below, another form of torture where the prisoners were kept in these boxes for hours, unable to fully stand up or sit down properly, causing extreme discomfort.

Another form of torture, where the prisoners were kept in these boxes for hours, unable to fully stand up or sit down.

Once outside and back to street level, we were led to the prison buildings to see what life was like in an everyday cell.

Inside prison building no.11. A school group tour looks into the cells in the background.

Inside prison building no.11. A school group tour looks into the cells in the background.

Inside cell no.20.

Inside cell no.20.

Pictured below are some above ground solitary cells, with a space of less than 12 square feet. These rooms were made small to induce psychological and mental trauma.

Above ground solitary cells, with a space of less than 12 square feet. These rooms were made small to induce psychological and mental trauma.

From the prison buildings we went to the engineering work building, where prisoners were forced to labour for long hours in the prison. Inmates produced many goods, including textiles, bricks and military supplies. An example of forced labour on the prison grounds seen below. Some made the very bricks that held them captive. The bricks with embossments were made by the inmates of Seodaemun Prison (click photo to enlarge).

Inmates were forced into labour on the prison grounds. Some products included textiles, while others made the very bricks that held them captive. The bricks with the embossments were made by prisoners of Seodaemun Prison.

A view from inside looking out.

A view from inside looking out.

Outside we got to see other smaller buildings like the execution building, the leper’s building where the contagiously ill were taken and the exercise facilities.

A view of the grounds.

A partial view of the grounds.

This next photo was taken outside the execution building where the Wailing Poplar stands. This tree was planted in 1923 and has deep emotional ties to the Korean activists. Those about to be hanged were said to have run to the tree and cried out their frustrations at not achieving independence.

Outside the execution building where the Wailing Poplar stands. This tree was planted in 1923 and has deep emotional ties to the Korean activists. Those about to be hanged were said to have run to the tree and cried out their frustrations at not achieving independence before entering the building.

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Inside the execution building.

Mairi inside the exercise facility, where inmates walked up and down this narrow path.

Mairi inside the exercise facility, where inmates walked up and down this narrow path.

Myself, Mairi and Pam get a taste of the exercise facility below. To prevent communication between inmates, the exercise area was made into rows divided by stone walls and prisoners had to “exercise” separately.

Myself, Mairi and Pam get a taste of the exercise facility. To prevent communication between inmates, the exercise area was made into rows divided by stone walls and prisoners had to "exercise" separately.

Back towards the main hall, our last stop was the women’s prison. The original women’s prison was demolished in 1979. It was rebuilt in 2009 based on the original blueprint. It opened in April of 2013 as the exhibition hall. Inside the exhibition hall of women activists, was a small darkened room with mirrored walls as seen below. Glowing from walls are prison photos of the female activists over the 35 years of occupation.

Inside the exhibition hall of women independence activists, a small darkened room with mirrored walls. Glowing from walls are prison photos of the female activists.

As I mentioned, parts of this tour were hard on the soul as it was difficult to even begin to imagine what these people went through. That being said, I also found it inspiring to see what the human spirit can achieve, as the collective efforts of all these people and more, eventually led to Korea’s liberation from Japan in 1945. Soon after they had to deal with the Korean war from 1950-1953 and it wasn’t until then that Korea could really start to rebuild their identity and their nation. Korea has walked a long road to freedom and after seeing this place, I understand Korean pride a little bit better.

To get to Seodaemun Prison History Hall, take the subway to dongnimmun station on line 3 and go out exit #5.  Admission is only 3,000 won (approx.$3) for adults and 1,500 won for teenagers and soldiers. Group discounts are also available for more than 20 people. Hours from March ~ October: 9:30-6pm. November ~ February: 9:30-5pm.

How to Make Dakgalbi Sauce

Back in March I went to a Korean cooking class with the Food & Culture Academy of Korea. At the time of that posting a friend of mine, Darren Keeley, had asked for specific details on how to make the traditional red sauce used to season dakgalbi and many other Korean dishes. So this week’s post goes out to Darren and everyone else who would like to spice up their meals this summer. I apologize for the delay my friend, but here you are. (Keep in mind this sauce can be used to marinate meat or veggies for any dish, it doesn’t have to be dakgalbi.)

The Dakgalbi we made.

The dakgalbi we made at the Food & Culture Academy.

The coveted red sauce for marinating chicken and later, the veggies.

The coveted dakgalbi sauce for marinating the chicken and later, the veggies.

Ingredients for dakgalbi sauce:

Water: 100ml

Red pepper paste (in Korean, gochujang): 1.5 tablespoons

Corn syrup: 1 tablespoon

Soy sauce: 2 teaspoons

Sesame oil: 1 teaspoon

Minced garlic: 1 teaspoon

Cooking liquor: 1 teaspoon

Red pepper powder (in Korean, gochu garo): 1 teaspoon

Green or red peppers (if desired): 1/8 teaspoon

Add all ingredients above into one bowl and mix well. Once mixed, add meat to marinate for however long you desire. When ready to cook, add vegetables into the marinade and mix. Let veggies and meat sit for a few minutes, then throw it in the pan and get cooking!

Mixing in the cabbage, carrots and onions.

Mixing in the cabbage, carrots and onions.

Pictures of most ingredients are below for those in Korea who may struggle with the Korean language (hangul).

Red pepper paste (gochujang).

Red pepper paste (gochujang). There is also the thicker paste you can buy in a stout red container. This one shown is vinegared red pepper paste but works just as well.

Corn syrup.

Corn syrup.

Soy sauce and sesame oil.

Soy sauce and sesame oil.

Garlic (not yet minced).

Garlic (not yet minced).

Cooking liquor.

Cooking liquor.

Red pepper powder (gochu garo). Beware: this stuff can be expensive if you're buying in Korea.

Red pepper powder (gochu garo). Beware: this stuff can be expensive if you’re buying in Korea.

As mentioned, this sauce can be a base for any meat and/or veggie invention you want to make so feel free to whip this up and get creative. As our cooking instructor taught us, many Korean people make big batches of this sauce and leave it in the fridge for future cooking. It can keep for a couple months at a time so that is always an option as well. Happy cooking dear Readers!

Expats and Elites on Film

The test screening for the indie films The View From Here & Caliban’s showcased at Seoul Cinema last Friday to a full audience and received warm reception. Both shorts were filmed in South Korea and directed by an American in Korea, Kevin Lambert.

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The View From Here

The night kicked off with The View from Here, written and directed by Lambert. The View from Here is a dark comedy/drama, deeply set in feelings, both underlying and apparent. This film follows an expat couple living in South Korea who are faced with complications in their relationship due to pornography addiction. The topic seems heavy, but it wasn’t the dominating theme of the film which allowed room for humour and affection to be seen in the main characters, played by Miles Meili and Wendy Taylor.

Meili and Taylor in The View from Here.

Meili and Taylor in The View from Here.

One of the elements that made The View from Here seem authentic was that the film wasn’t totally scripted. Although this film was rehearsed many times over 6 months, there was a lot of open dialogue. According to Lambert, the idea was to establish, “this is what happens in this scene, these are the beats we need to hit,” but the rest was organic, making every take different from the last. There was a lot of witty conversation and expat life observations between Meili and Taylor, giving the film some lighter moments in an otherwise heavy environment. One of the sound guys, Edward Burgos, said he found the filming emotionally straining to be a part of. “I was just the sound guy and I was tense,” said Burgos, on the topic of shooting some of the more heated scenes.

Taylor in the mudflats in one of the most intense scenes of the film.

Taylor in the mudflats in one of the most intense scenes of the film.

The filming of The View From Here was approached with a documentary style, with all handheld shots and no tripods. “The idea was that we wanted it to feel natural and unsettling,” said Lambert, much like real life often is. Caliban’s, in contrast, was approached with the classical film style, being in black and white and with less hand-held shots, ‘harking back to a different era of film,” said Lambert.

The cast between takes on the set of Caliban's.

The cast between takes on the set of Caliban’s.

Caliban’s

Caliban’s was originally a play, written and directed by Ray Salcedo two years ago. Transforming it into a short film piece, Lambert chose black and white for the classic glamour, since it showcases the elite 1% and their decadent lifestyle. This short film is set in a high-class restaurant filled with rich socialites where anything can be bought for a price – including human meat for dinner. Caliban’s was shot at a place called Trick Magic Bar in Myeongdong, Seoul, where they do magic tricks as part of the evening entertainment. The film’s set designer transformed the bar into a place of fine dining for those with a taste for the macabre on their palette.

Back: Susan Morgan & Ray Salcedo Front: Rae Dohar & Lindsey Higgins.

Caliban’s: Back row, Susan Morgan & Ray Salcedo.    Front: Rae Dohar & Lindsey Higgins.

As for the origins of this story, there are dark roots which led to this dark comedy. While reading a book on the North Korean famine a few years ago, Salcedo came across a passage where one North Korean woman is explaining to another why she should be eating human meat instead of animal meat. The salesmanship of this woman boasting the benefits of human meat seemed so ludicrous that it garnered a chuckle out of Salcedo, which gave him the spark. He remembered thinking, “if something that desperate can be twisted into something that can make you laugh, maybe a dark comedy could come of that.” That spark led to further research on cannibalism and the rest you’ll have to see for yourself.

I had a few questions for director Kevin Lambert about The View from Here:

Kevin Lambert taking questions from the test screening audience.

Kevin Lambert taking questions from the test screening audience.

What made you want to tell the story of The View from Here?

I needed to address the issue of porn addiction which I felt (at the time) wasn’t getting any airtime. This was before Don Jon’s Addiction and even a few of the popular documentaries on the subject. I remember about a decade ago all you heard was “porn is healthy for men and relationships” and that never sat well with me. Of course, I didn’t want to hammer it over anyone’s head so there’s really not much mention of it. I just used it as a catalyst.

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Was the topic of addiction for the sake of art or was it something more personal that you wanted to get off your chest?

It’s personal. Well, it was for art too of course. You have to challenge status quo, even if the idea is incorrect. I can’t be afraid to be wrong, but I am. Truly fearless films challenge everything and make a reasoned argument. I’m terrible at arguing so I let my characters do that for me.

In a sense, there is no final resolution in The View from Here. Did you consciously choose to let the viewer decide or did it happen organically?

It’s definitely an organic process. Just as a tomato plant grows however the hell it wants to, your film will inevitably take turns that are in ways out of your immediate control and lend to decisions that change the final version.

The cast and crew of The View from Here.

The cast and crew of The View from Here.

The handheld shooting style for The View from Here used two cameras to capture the scenes, one long lens and one short. The resulting imagery is unique as many shots fade in and out from blurry to sharp, often drawing your eye to a different part of the screen that what you’re used to. On that filming technique, Lambert said the filming was shot to feel like an untrained hand. He said, “it shouldn’t feel like a film crew even if it feels like someone’s there. People think they’re supposed to empathize with the characters, but in some ways I think they’re really empathizing with the lens.  Averting their gaze, trying to get out of the room at times.”

Now that there’s finished copy of both The View from Here and Caliban’s, Lambert will be submitting the film to international film festivals around the world, so keep an eye out for the next screening.