The author investigates the life and songs of Bae Chunhui, a survivor of the “comfort woman” system living at the House of Sharing. Bae Chunhui gathered a quadralingual repertoire of songs to herself throughout the course of her life, especially during and after her postwar career as a professional singer in Japan. In so doing, she not only sustained herself economically; she created an identity capable of withstanding the hardships and the turmoil of her wartime and post-war life, and she culled the best of her experiences and assembled them into a redeemed world. She brought this self and an inexhaustible catalog of songs to Korea when she returned in 1981, and she sustains that identity and that repertoire at the House of Sharing to this day.
Keywords: cosmopolitanism, transnationalism, professionalism, japanese cabaret, japanese music, korean music, russian music, chinese music, magical realism, international relations, korea-Japan relationship, television
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