Joy's Story: Part 1 - Growing Up in North Korea
I didn’t have a dream for my future when I was a child because my family was just trying to survive. My dad ran a farm, but one day the regime took all of his property. We had to start illegally selling wood to make money. We were always worried that we would get caught. We lived in constant fear and anxiety.
I remember not being able to eat for two days. My parents went into the mountains to find grass to boil and eat. Once we couldn't find grass, so my dad and I went to someone's cornfield. He carried me on his back and, when we got there, we pretended that I had to pee so I could go into the field and eat the unripe corn.
Eventually things got too hard for my mom, so she divorced my dad and left us. Life was so hard back then.
Because we never had enough money, there were a lot of arguments between my dad and my stepmom. There were other issues too—my sister’s husband tried to rape me. My father and stepmother also tried to marry me off when I was a teenager. I understood that they couldn’t keep taking care of me because of the economic situation, but I didn’t want to get married. When they set up a meeting with a prospective partner, I didn’t go but lied to my parents that I had and didn’t like him at all, mentioning a lot of bad things about the guy although I had never met him. I felt bad for him, but I had to do that because I didn’t want to get married.
Eventually, I decided to leave for China, hoping that I would have a better life there. I didn’t want to go to South Korea at the time because I heard a lot of rumors about how difficult living there was for North Korean people. Instead, I wanted to find an old Chinese couple, like my grandma and grandpa, who would let me live with them in exchange for taking care of them. I was naive.
I cried a lot at the idea of leaving my family and friends. I couldn’t tell my family that I was going to China, but I did tell some of my close friends. I asked them to give my goodbye letters to my family. I felt so apologetic to my father that I didn’t do much for him as his daughter. Before then I didn’t like my father because, after the regime took away his farm, he started drinking a lot and not taking care of our family, yet I just couldn’t help feeling heartbroken leaving him. I also got to spend 3 days with my mom who lived far away from my family before I went to China. At the time I got to have a lot of conversations that brought us a lot of healing and reconciliation.
I wasn’t sure if I would see my family again because of the possibility of getting caught while escaping to China. Before I left, I got some opium and carried it underneath the collar of my shirt so I could take it to kill myself in case I got caught.
I found a broker who gave money to the border guards so they didn’t patrol when I was supposed to cross the Tumen river. When I got to the middle of the river I felt that the ice was quite thin so I had to crawl to cross the rest of the river that was covered by snow. I didn’t realize that moment but later after I arrived I realized that my feet got so swollen because they got frozen from crawling the river in the snow. I couldn’t feel my feet for a while.
Continue reading Part 2 of Joy's story, focused on her time spent hiding in China.
You can support North Koreans like Joy by donating to our work. To date, we have helped over 1200 North Korean refugees reach freedom and safety through rescues. Learn how you can help.
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.
