A North Korean’s Promise to his Father | Joseph’s Story: Part 1
Most of you may know me as Joseph, but my Korean name is Kim Kwang Jin. It means, “walking forward with brightness.” My father gave me this name, full of the hopes and expectations many fathers have for their sons.
But hope is a hard thing to have, especially in a country like North Korea, and as a child, I certainly didn’t make it any easier for my father to believe in my brightness. Even in elementary school, I was a poor student.
The first time I remember making my father proud was through my cooking, not from studying. That day, he and my older sister had gone to the mountains to collect firewood. It was getting close to midnight, but they still hadn’t come home, so I decided to make dinner for them—rice and kimchi soup. At the end of dinner, my father said, Son, this is the best rice I’ve ever had. I had never made rice before, and I knew it was undercooked. That night I realized how much my father loves me. I promised myself that next time I would make him better rice.
But next time never came. When I was 12, my father died of starvation.
To save us from the same fate, my mother and sister left for China in search of work and food. My mom ended up in a North Korean prison. But my sister never returned. Within one year, I had lost my entire family. I was alone—helpless, homeless, and orphaned on the streets.
After three years of barely surviving, I decided to escape. The journey would be risky, but staying in North Korea would be a risk too. I knew I could die of starvation. So I took a chance. Unlike most people, I decided to escape during the daytime, thinking that the border guards would become complacent because why would anyone be crazy enough to cross the border in the middle of the day with nowhere to hide?
Fortunately, I made it to China without being caught.
In China, I slept in the mountains and went to towns begging for food to survive. One day, while crossing a bridge in Yanji, I remember it started to snow. Everyone around me started walking fast.
I remember being so envious because walking fast must have meant they had a home they were rushing toward. I, too, wanted to walk fast, but I had no home and no one waiting for me.
Later on, I was lucky enough to be taken in by a halmoni, an older grandmother. She fed me and let me live with her for six months but I still lived in hiding, fearful that at any moment I could be arrested and sent back to North Korea. The halmoni eventually connected me with Liberty in North Korea and I had an opportunity to escape China and be the first North Korean refugee minor to come to the United States.
I was placed with a foster family and began attending an American high school, which felt a bit ridiculous at first. Even in North Korea, I was an F student. I barely finished elementary school so jumping straight into high school in a foreign country felt overwhelming.
One evening, my foster mom made chicken wings. They were so good that I wanted more, but I realized there wasn’t enough for everyone to have seconds. So I held back, thinking no one would notice. As I stared at my plate, my foster dad placed his last wing in front of me. I looked up, and he smiled, urging me to eat without saying a word. In that silence, I felt the depth of his love and care.
At that moment, I thought of my biological father. Even during our hardest times, he used to share what little food he had with me. I wished more than anything that I could cook for him one last time and share one more meal together.
That night, I promised myself that I would study hard and go to college. I believed that was the best way to honor my father’s sacrifice and make him proud.
Continue reading part 2 of Joseph’s story
Years before Joseph would reach freedom, talk on the TED stage, write a memoir, and pursue his master’s at Harvard Kennedy School, Joseph’s father saw the brightness in his son. While he may not have been able to witness Joseph reach these milestones, none of it would have been possible without the depth of his love that became the foundation for Joseph’s life.
His family’s support, both in North Korea and in the US, has given Joseph the confidence to believe in and fulfill his brightness.
When recalling his past, warm childhood memories and gripping hardship are shared in the same breath. Joseph often says that North Korea is not a land of darkness, merely a land with darkness. Both can exist. But what matters is what we choose to focus on—the shadow cast by the regime or the brightness of the North Korean people.
Help more North Korean refugees reach freedom and share their brightness with the world.
Film Review: Under the Sun
Spoiler alert: The North Korean government suffers from a severe transparency deficit.
How do you reveal the reality of a society where government representatives script each scene you're allowed to shoot?
Simple: leave cameras rolling at all times, and show your audience the scripting and retakes of "real life" in all their glory.
You end up not with a documentary about a family going about their lives, but a behind-the-scenes reveal of a family whose dinner-table conversations, workplace interactions, and even expressed emotions are curated by government propagandists for external consumption.
No North Koreans question this process out loud--except to check their lines.In this system everyone knows the role expected of them, especially with government officials overseeing everything. So before our very eyes, we observe the theatrical production of an ideal 'Kimilsungist socialist society', played out by real citizen-actors. And when citizens know the risks of not playing the part they’re asked to play, they become good actors.
This is of course a very real aspect of life in North Korea, even when no cameras are rolling. The everyday ritualised theatrical production of 'obedient citizens willingly striving as one for the socialist cause' is one of the key means by which the state perpetuates itself. Everyone knows what to say, how to say it, and that you have to say it. Whatever your innermost thoughts may be, it's hard to break role publicly when everyone else is sticking so closely to a ‘script’.
Revealing the nature of this production, warts-and-all, is one of the key contributions of Under the Sun.But as with any behind-the-scenes look, cracks in the facade, tired actors and cock-ups are apparent.'Off stage', strategically placed cameras record poor Pyongyang kids scavenging from a trash can. We see commuters disembarking to push a tram. A government 'set manager' shoos away two women approaching the back door of a milk processing plant with a big jug; we can only guess they were looking for an off-the-books top up, unaware there were foreign filmmakers present that day.
We see a forgetful factory worker reporting they have exceeded production targets by 150%, and in the next take 200%. It doesn't matter to any of her coworkers which fiction is used, and no one bats an eyelid.
And of course, children being less practiced in their roles within the system than adults, the best scenes feature North Korean kids. A small girl struggles to keep her eyes open while an aging war veteran wearing far too many medals bumbles through an anti-American propaganda lecture, punctuating tales of shooting down planes with praise for Kim Il-sung.
Jinmi, the star of the film, breaks down in tears when the pressure of performance becomes too much. Elsewhere, on-screen text tells us that she unwittingly revealed her parents' true occupations of journalist and restaurant worker before the government co-producers scripted them as the more socialist-appropriate textile factory technician and soy milk plant worker.
It's hard to not recall The Truman Show, and it boggles the mind to think there are 25 million people living out their lives in this theater state.
But unlike a Hollywood Movie, the enemy here is not represented by a snarling on-screen character. The propagandists are unnamed and we rarely even see their faces properly. The enemy is in fact the system itself, whose quiet tyranny forces every citizen - including the propagandists - to become complicit in its perpetuation by allowing the expression of only a singular narrative of what it is to be a North Korean.
