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Hi all, great work on this entry. You definitely have added a lot to the stub and done wonderful research. The writing is good throughout, but look at my edits below. I look forward to reading your revision. – Prof. Marino
Chung Chil-sung (정칠성, 1897-1958), also known by her art name Geumjuk (금죽) was a Korean dancer, feminist, and independence activist. She was a former Kisaeng who became a major figure in Geunuhoe (근우회) and Samwolhoe (삼월회). She was active in women’s labor, literacy, and socialist movements in the 1920s-30s. After 1945, she joined socialist women’s organizations in the South and later moved to North Korea, where she continued political activity until she was believed to have been purged around 1958.[1]
Chung Chil-sung was born in Daegu in 1897, but later relocated to Seoul in 1915.[1] She was trained as a Kisaeng from a young age with the stage name “Geumjuk” (금죽). After her relocation to Seoul in 1915, she became affiliated with major Gwonbeon or Kisaeng Guilds, including Daejeong Gwonbeon and Hannam Gwonbeon.[2]
As a performer, Chung was known for her skill in Gayageum, traditional singing, and board games such as baduk (go). Her first public performances were in Daegu after being noticed at local events.[3]
As she began getting more into political work, Chung distanced herself from her past in entertainment. She stopped performing and turned down offers to return to the arts, including a Gayageum teaching position at Ewha Women’s University. In an attempt to sever ties with the Kisaeng profession and to reposition herself as a political activist rather than an entertainer, she also began using her given name, Chil-sung, rather than her stage name Geumjuk.[2][4]
March 1st Movement and political awakening
USE THE CURRENT SENTENCE ABOUT HER MARCH 1 ACTIVISM THAT IS IN THE EXISTING WIKIPEDIA ENTRY. IT IS CLEARER. THEN TIGHTEN THIS PARAGRAPH–IT IS REPETITIVE. Chung’s participation in the 1919 demonstrations in Seoul influenced her shift toward nationalism and socialism. She witnessed and joined the March 1st Independence Movement of 1919, describing the experience as both a nationalist and personal turning point, opening a rare moment in which Kisaeng could appear as political subjects.[4] The shock of state repression and the collective energy of the protests pushed Chung to abandon her work as a Kisaeng and pursue nationalist and social activism.[1]
Education and intellectual formation
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Study in Japan**
In 1922, Chung went to Tokyo, where she first attended an English and typing institute which introduced her to clerical skills and modern office work.[1] During her stay, she began to read socialist literature and joined discussions among Korean students. While in Japan, she joined study circles, attended public lectures, and read socialist literature. She was especially influenced by August Bebel’s ”Woman and Socialism” (often cited in Korea as ”Theory of Women”),BOOK TITLES ARE ITALICIZED, NOT PUT IN QUOTES which described woman as “the first human being to perform the labor of a slave”.[1] She also encountered the writings of Japanese socialist feminist Yamakawa Kikue, whose labor-oriented approach to women’s emancipation would shape Chung’s own views.[1]
Chung participated in publishing the socialist journal “Rosa Luxemburg”JOURNAL AND MAGAZINE TITLES SHOULD ALSO BE ITALICIZED AND NOT IN QUOTES in Tokyo, which contained Korean translations of Yamakawa’s writings and was aimed at students and workers in both Japan and Korea.[4] Through this, she developed skills in editing, translation, and political education.
Cultural Influences
Chung’s youth coincided with a trend of horse riding among elite Kisaeng in the 1910s which was viewed as both a display of status as well as a subtle challenge to gender norms. She mentioned how her happiest memory as a teenager was riding horses at the age of seventeen.[2] She was also influenced by imported silent films featuring adventurous women like “The Broken Coin” (released in Korea as ”Myeonggeum”) and the novel, “Patriotic Lady” (애국부인전).AGAIN ITALICIZE BOOK TITLES She later stated that she wanted Korean women to view such works because they inspired courage and a sense of possibility.[2]
Samwolhoe (Society of March)
In March 1925, she returned to TokyoFROM WHERE? IT SOUNDED LIKE SHE WAS ALREADY IN TOKYO? and enrolled at the Tokyo Women’s Technical School, specializing in sewing and advanced textile techniques.[2] During her second stay in Tokyo, Chung joined Samwolhoe (삼월회, “Society of March”), a circle of Korean women students with socialist ideals. Many members came from the Gyeongsang region, reflecting Chung’s own regional background.[1]
In January 1926, she published the essay “What Is a New Woman?” (”Sin yeoseongiran muotinga”) in the newspaper ”Chosŏn Ilbo”ITALICIZE. In this article, she criticized the image of the “New Woman” as a fashionable urban intellectual and instead, redefined it as a proletarian laborer working in tobacco factories, silk-reeling mills, and textile plants.[1][4] She argued that working women who woke before dawn and endured long shifts under harsh conditions were the actual vanguard of women’s liberation, in contrast to upper-class women who remained dependent on male income.
Chung had a different perspective from many liberal feminists of the period. While they often emphasized women’s education and professional opportunities, she believed that class position and direct economic exploitation determined who could lead a genuine women’s movement.[1]
- ^ a b c d e f g h i Soon-seob Park, “Jeong Chil-seong’s Socialist Movement and Theory of Women’s Liberation in the 1920s and 1930s,” Women and History 26 (2017): 245–271.
- ^ a b c d e Kang Man-gil and Seong Dae-kyung, 혁명을 꿈꾼 독서가들: 불온한 책읽기의 문화사 (Seoul: 창작과비평, 2014).
- ^ [독립운동가열전] 정칠성 – 여성노동자를 대변한 근우회의 리더, DBpia, accessed via NODE12090210.
- ^ a b c d Ji-seung Noh, “Gender, Labor, Emotion, and the Moment of Political Awakening: A Study on the Life and Activities of the Female Socialist Jeong Chil-seong,” Comparative Cultural Studies 43, no. 3 (2016): 7–50.
