Women in North Korea: At the Forefront of Social and Political Change
By Lindsey Miller
Lindsey Miller is a musical director, award-winning composer, author, and photographer originally from Glasgow, Scotland. From 2017-2019, she lived in Pyongyang, North Korea, while accompanying her husband on a diplomatic posting. For Women’s History Month, she shares a rare glimpse into the experiences of North Korean women, who are finding ways to live life on their own terms despite the circumstances.
Her name is Min Jeong*.
She’s bright, funny and has a dry and cutting sense of humour that rivals that of any professional stand-up comedian. The kind that makes you worry for the heckler in the front row.
‘Why do you keep singing? You’re terrible at singing!’ she says with a straight face to the regular punters at The Beer House, a bar in Pyongyang, before taking their glass and kindly refilling it. ‘And don’t wear those shoes, they’re ugly.’ The other punters burst out laughing while Min Jeong allows a slight silly smile to make its way across the corner of her mouth. That’s the thing about Min Jeong, she has a magnetic and honest energy about her. It was refreshing in a place where simple honesty and truthfulness felt so packed down.
Min Jeong and I spent a fair bit of time together over the two years I lived in Pyongyang. I would go to the bar mainly to just talk to her and spend time with her. She was interesting. She loved hair accessories and jewellery – an increasingly common way for North Korean women to explore self-expression. I’d show her photographs of me and tell her about my different outfits while she’d rate them. I didn’t fare very well in her opinion. I often gave her my wedding or engagement ring to try on and she’d pose with them, comparing them to other things she’d seen foreigners wear. She’d tell me about the cosmetics that she liked to wear and make herself.
One of her favourite things was a face mask which I remember involving eggs. I never tried it but she swore by it, telling me how important it was to look after my skin and reminding me that there was nothing more important than my health. Min Jeong was very bright and regularly bounced between speaking in Korean, fluent English and often Mandarin. She loved animals and we spent a lot of time looking at photographs of dogs on our phones.
Min Jeong was in her early thirties and unmarried. She’d twirl her half-tied-back beautiful shiny black hair in her fingers while telling me about how much her parents were desperate for her to ‘find a boy’. She wasn’t interested and she didn’t have much time given that she only had one day ‘off’ a week which would have been taken up in part by state-enforced self-criticism sessions among other things. Having gone on many dates, the outcomes of which she summarised with a simple wrinkled nose, she seemed to be quite content being single. It was an attitude which I was surprised to learn was shared by a couple of Pyongyang female urban elite whom I met; women who spoke openly about their lack of desire to have children, who wanted to pursue a career. This directly contradicted my understanding of North Korean women’s experiences.
But I forgot that the experience of women is diverse and North Korea is no exception.
It’s very easy to think that North Korea isn’t changing but that is not the case. To say that there have been no social changes in the country would be insulting to the creativity, tenacity and drive of the North Korean people, particularly women who continue to be a major driving force of change. Driven by necessity following the devastating famine in the 90s, ordinary women had to become more economically independent in order to survive. While North Korean men were chained to jobs in faceless party offices, women had the time to create their own economic opportunities which could feed their families and keep them alive. Even now, in spite of living in a country gripped by widespread and pervasive human rights abuses including the most extreme forms of sexual and gender-based violence, women are often the breadwinners, women are the ones driving the private markets, women are the ones winning back more agency over their own lives and futures.
I only had to go to Tongil Market to see it for myself. Every vendor standing behind every one of the stalls laid out in long rows across the indoor market hall was a woman. Every staff member taking payments from the vendors for selling in the venue was a woman. The people counting the money in the cash exchange office were women. The people unloading sacks of vegetables and meat were women. Most of the customers were women.
Through having no choice but to fight to survive, North Korean women have driven changes that few could have predicted would last.
I sit at the bar and Min Jeong passes me a cup of black tea. She starts to scroll through her phone and goes back into her own world. I think about what is going through her mind and all the things she is experiencing but cannot talk about. I think about the millions of other North Korean women with names, voices and stories to tell; who we, on the outside of North Korea, will never get to meet. I think about the world who will never get to meet this generous, kind, extraordinary woman in front of me - my friend.
Min Jeong lifts her head and looks at me,
‘You really shouldn’t wear those shoes, Lindsey. They’re awful.’ She waits a moment and that same slight silly smile starts to creep across the corner of her mouth. ‘I’m kidding. They’re only a little better than yesterday’s.’
Lindsey Miller shares more extraordinary photos and stories from North Korea in her debut book, “North Korea: Like Nowhere Else," a testament to the hidden humanity and dynamism of the people. She also joined LiNK for a virtual Q&A in 2021 and continues to be a friend and advocate for this issue!
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*Name has been changed to protect the privacy and safety of the individual
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.
