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A Korean traditional arts festival was held at the Rachel M. Schlesinger Concert Hall in Alexandria, Va. on January 18th, 2009, celebrating the inauguration of the 44th president of the United States and supporting continued Korea-U.S. friendship. Many guests from diverse backgrounds gathered in excitement to experience the concert’s four types of traditional music and performance: samulnori (percussion), taepyoungmu (“the great dance of peace”), pansori (storytelling through song), and jultagi (tight-rope walking).
As the audience anxiously waited for the curtain to rise, the performers, many recognized in Korea as having reached the pinnacle of skill in their genre, gathered at the back entrance of the concert hall to act out gilnori, an ancient tradition where performers parade onto stage playing music and dancing. Outside the entrance to the hall, the bold, clear voice of samulnori master Kim Duk-soo announced the group’s intentions to the crowd: “We are hear to celebrate the inauguration of 44th president of the United States. We have come to meet you, and now, let the festivities begin.”
The event took a different turn when Kang Sun-young, designated an intangible cultural asset No. 92 by Korea for her mastery of a traditional dance, entered the room dressed in a beautiful traditional Korean hanbok. She performed the delicate and rapid foot movements that comprise the taepyeongmu, a traditional dance that evokes elegance and composure. The magnificence was quickly met by a pansori performance when Yank Sung-ok, designated intangible cultural asset No. 23, sang heungbuga, a song that satirizes the traditional social class system and the classical promotion of virtue over vice.
Later in the program, the audience gathered once again in anticipation of the jultagi performance. However, the tight-rope walking and acrobatics of Kim Dae-gyun, designated Korea’s intangible cultural asset No. 58, was nowhere to be seen; safety precautions had prohibited the suspended rope that would be his stage. Despite the disappointment, the audience was given the chance to witness a true performer in action: rather than bemoan the situation, Kim found other ways to entertain the guests.
When he emerged alone, and safely on the ground, the concert hall was silent with dismay. Yet as he walked on stage, Kim did not share their mood. Smiling, he sang folk songs punctuated with witty improvised dialogue. “I never knew an iron pole could be so expensive!” Kim said about where his tight rope was expected to be fastened, to a delighted audience. “Perhaps I should bow towards it.”
“I didn’t have a chance to show my skills at tightrope walking,” Kim continued, “but I will still show you how it works.” He proceeded to walk and dance on the stage floor just as if he were suspended above the crowds—a performance that drew the biggest applause and heartfelt cheers.
“This man, who I have never known, now holds my respect because he shows what a real artist should exemplify: the integrity of his performance,” said one observer. “I am very sad not to see him perform.”
The pangut performers closed out the festivities with a alluring spinning dance. The nine college students performing were a bit shaken by the preceding disappointment, but seemed to embrace the performance even more, displaying the best of what they could offer.
“Performances abroad make [traditional musicians like us] think about the work we do,” said Song Dong-hoon, a 3rd year student at Korean National University of Arts who performed with Samulnori master Kim Duk-soo. “I wish we had more chances to show the unique culture of Korea.” Song said his dream is to successfully complete his studies at KNUA and then expand samulnori further onto the international stage.
Although the Gugak Festival came to a close lacking one of its expected highlights, it demonstrated more than just the sights and sounds of Korea’s traditional arts—it brought out the true character of its master performers: passion, integrity, and hope.
By Minhae Choi
As the audience anxiously waited for the curtain to rise, the performers, many recognized in Korea as having reached the pinnacle of skill in their genre, gathered at the back entrance of the concert hall to act out gilnori, an ancient tradition where performers parade onto stage playing music and dancing. Outside the entrance to the hall, the bold, clear voice of samulnori master Kim Duk-soo announced the group’s intentions to the crowd: “We are hear to celebrate the inauguration of 44th president of the United States. We have come to meet you, and now, let the festivities begin.”
The event took a different turn when Kang Sun-young, designated an intangible cultural asset No. 92 by Korea for her mastery of a traditional dance, entered the room dressed in a beautiful traditional Korean hanbok. She performed the delicate and rapid foot movements that comprise the taepyeongmu, a traditional dance that evokes elegance and composure. The magnificence was quickly met by a pansori performance when Yank Sung-ok, designated intangible cultural asset No. 23, sang heungbuga, a song that satirizes the traditional social class system and the classical promotion of virtue over vice.Later in the program, the audience gathered once again in anticipation of the jultagi performance. However, the tight-rope walking and acrobatics of Kim Dae-gyun, designated Korea’s intangible cultural asset No. 58, was nowhere to be seen; safety precautions had prohibited the suspended rope that would be his stage. Despite the disappointment, the audience was given the chance to witness a true performer in action: rather than bemoan the situation, Kim found other ways to entertain the guests.
When he emerged alone, and safely on the ground, the concert hall was silent with dismay. Yet as he walked on stage, Kim did not share their mood. Smiling, he sang folk songs punctuated with witty improvised dialogue. “I never knew an iron pole could be so expensive!” Kim said about where his tight rope was expected to be fastened, to a delighted audience. “Perhaps I should bow towards it.”
“I didn’t have a chance to show my skills at tightrope walking,” Kim continued, “but I will still show you how it works.” He proceeded to walk and dance on the stage floor just as if he were suspended above the crowds—a performance that drew the biggest applause and heartfelt cheers.
“This man, who I have never known, now holds my respect because he shows what a real artist should exemplify: the integrity of his performance,” said one observer. “I am very sad not to see him perform.”
The pangut performers closed out the festivities with a alluring spinning dance. The nine college students performing were a bit shaken by the preceding disappointment, but seemed to embrace the performance even more, displaying the best of what they could offer.
“Performances abroad make [traditional musicians like us] think about the work we do,” said Song Dong-hoon, a 3rd year student at Korean National University of Arts who performed with Samulnori master Kim Duk-soo. “I wish we had more chances to show the unique culture of Korea.” Song said his dream is to successfully complete his studies at KNUA and then expand samulnori further onto the international stage.
Although the Gugak Festival came to a close lacking one of its expected highlights, it demonstrated more than just the sights and sounds of Korea’s traditional arts—it brought out the true character of its master performers: passion, integrity, and hope.
By Minhae Choi
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