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The contemporary culture of North Korea is based on traditional Korean culture, but developed since the establishment of North Korea in 1948. ''Juches ideology asserts Korea's cultural distinctiveness and creativity as well as the productive powers of the working masses. Art in North Korea is primarily didactic; cultural expression serves as an instrument for inculcating ''Juche'' ideology and the need to continue the struggle for revolution and reunification of the Korean Peninsula. Foreign governments and citizens, especially the Japanese and the Americans, are depicted negatively as imperialists; revolutionary heroes and heroines are seen as saintly figures who act from the purest of motives. The three most consistent themes are martyrdom during the revolutionary struggle (depicted in literature such as ''The Sea of Blood''), the happiness of the present society, and the genius of the leader. Kim Il-sung himself is described as a writer of "classical masterpieces" during the anti-Japanese struggle. Novels created under his direction include ''The Flower Girl'', ''The Sea of Blood'', ''The Fate of a Self-Defense Corps Man'', and ''The Song of Korea''; these are considered "prototypes and models of ''Juche'' literature and art." A 1992 newspaper report describes Kim in semi-retirement as writing his memoirs—"a heroic epic dedicated to the freedom and happiness of the people." The population has little or no exposure to foreign cultural influences apart from performances by song-and-dance groups and other entertainers brought in periodically for limited audiences. These performances, such as the Spring Friendship Art Festival held annually in April, are designed to show that the peoples of the world, like the North Koreans themselves, love and respect the country's leader. During the 1980s and the early 1990s, the North Korean media gave Kim Jong-il credit for working ceaselessly to make the country a "kingdom of art" where a cultural renaissance unmatched in other countries was taking place. Indeed, the younger Kim was personally responsible for cultural policy. P'yŏngyang and other large cities offer the broadest selection of cultural expression. "Art propaganda squads" travel to production sites in the provinces to perform poetry readings, one-act plays, and songs in order to "congratulate workers on their successes" and "inspire them to greater successes through their artistic agitation." Such squads are prominent in the countryside during the harvest season and whenever "speed battles" to increase productivity are held. ==Guidance and control== The state and the Korean Workers' Party control the production of literature and art. In the early 1990s, there was no evidence of any underground anti-regime literary or cultural movements such as the samizdat in the Soviet Union or those that exist in the People's Republic of China. The party exercises control over culture through its Propaganda and Agitation Department and the Culture and Arts Department of the KWP's Central Committee. The KWP's General Federation of Korean Literature and Arts Unions, the parent body for all literary and artistic organizations, also directs cultural activity. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Culture of North Korea」の詳細全文を読む スポンサード リンク
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