Koreana-Focus

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Focus 2024 SPRING

Animated Characters Ride the Korean Wave Korean creators of animated characters are strategically expanding to the global market, using a wide range of platforms and outlets. Previously the domain of children and kidults, the notion of characters as a commodity is spreading to every demographic in Korea and beyond. A 15-meter-high version of corporate mascot Bellygom captivates visitors at Time Villas, a Lotte Premium Outlet in Gyeonggi Province, in May 2022. Created by Lotte Home Shopping in 2018, Bellygom is considered one of the most successful in-house Korean corporate characters. ⓒ Bellygom Before the 1980s, Koreans only deemed something a “character” if it appeared in comic books, cartoons, and movies. Since then, computers, smartphones, and the internet have refashioned where and how characters are used. The creative content industry spearheading this transformation has benefited from a growing number of outlets and demographics. Instead of just catering to children, the character-driven market is now targeting Koreans of all ages. For example, emoji and character usage on cellphone messaging services is so commonplace that it has become second nature to most people. Indeed, they are everywhere you look: on electronic devices, apparel, and household products, in public service campaigns, and of course in movies and on television. CHARACTER COMMERCE The commercialization of characters in Korea started to take off around the late 1980s and early 1990s. It paralleled the development of Korea’s domestic industry for cute stationery products. A prime example is Dooly the Little Dinosaur, a manhwa, or comic, by cartoonist Kim Soo-jung. Serialized from 1983 to 1993 in the comic magazine Bomulseom, it enjoyed great popularity for its interesting characters and charming dialogue. From the mid-1990s, the characters began to appear on a wide range of products, including toys, stationery, clothing, electronics, and even decorative flooring for children’s rooms. The late 1990s and early 2000s were marked by the emergence of high-speed internet networks across Korea, and online animations of this period introduced a flood of new characters. Notably, in a market that had long been dominated by imported characters, two Korean characters grabbed attention both at home and abroad. One was Mashimaro, the “bizarre bunny” protagonist of Kim Jae-in’s The Story of Mashimaro Forest, whose surging popularity paved his way to the United States and Japan; the other was Pucca, a superhuman noodle delivery girl created by character design company VOOZCLUB, which successfully entered the European market around the same time. The next stage in the evolution came with the advent of smartphones. In 2012, mobile messaging service KakaoTalk launched its own range of emoji characters, known as Kakao Friends. Designed by Kwon Soon-ho, also known as Hozo, they include Muzi, a playful piece of radish in rabbit clothes, and Tube, a somewhat insecure white duck whose alter ego is a furious, Hulk-like green duck that spits fire. The characters became so popular that they ranked first in a character preference survey conducted in 2017 by the Korea Creative Content Agency (KOCCA). Introduced to enhance communication, Kakao Friends differentiated itself by allowing users to better express their emotions. The original lineup of seven characters is credited with ushering in a new era in Korean character creation. FANDOM FORMATION Today, character content is entering yet another stage in its trajectory to the center of Korean consumer culture. The most notable change is the increasing number of companies developing their own characters. During a pop-up event in January 2024, a big crowd descended on the flagship outlet of convenience store chain GS25, hoping to see MOOMOOSSI, an anthropomorphic Tibetan fox introduced in 2022 by GS Retail, the chain’s operator. According to the company, MOOMOOSSI was so successful that cumulative annual sales of branded goods and merchandise exceeded 1 million units. To keep consumers engaged, MOOMOOSSI also has its own Instagram account with more than 20,000 followers. Another character playing an even greater role in attracting consumers and building fandom is Bellygom, a pink teddy bear created in 2018 by Lotte Home Shopping. Bellygom first gained traction through YouTube and amassed a huge fan base there and on TikTok. In 2022, it won the Presidential Award in the Best Character category at KOCCA’s Korea Content Awards. With Bellygom reaching an increasingly international audience, Lotte Home Shopping is even taking steps to boost the bear’s profile abroad. Character-based branding is also being embraced in the public sector. As early as the mid-1990s, local governments were already using characters in their campaigns. The massive success of Goyang Goyangi, or Goyang Cat, a feline character developed in 2011 by Goyang City, further demonstrated the immense potential of characters in promoting cities and regions. More recently, JOAYONG, the mascot of Yongin City, has been garnering attention. Launched in 2016, the horned green dragon has maintained its popularity across different platforms and formats, with new content constantly being developed. A recent JOAYANG product created in collaboration with Everland, Korea’s largest theme park, sold over 4,000 units within two weeks of its release, proving that characters from public organizations can also land commercial hits. Launched by GS Retail in 2022, MOOMOOSSI is a rising star with more than 20,000 Instagram followers and over 50 types of merchandise on sale. ⓒ GSRetail SIDEKICK STARDOM Sidekicks of popular characters have become marketable sensations as well. The titular character of the animated children’s TV series Pororo the Little Penguin made such a splash that he became known as the “Children’s President” in Korea. Unsurprisingly, merchandise inspired by the series sold like hotcakes; competitive with imported characters, “President Pororo” became a game-changer for the Korean character industry. Later, Pororo’s beaver friend Loopy went on to enjoy great popularity as an internet meme in 2019 and a KakaoTalk emoji in 2020. While Pororo was particularly loved by young children, internet meme’s iteration of the beaver, renamed Zanmang Loopy, became a favorite among people in their 20s and 30s. Brand ambassador Zanmang Loopy is a new iteration of a beaver character from animated children’s TV series Pororo the Little Penguin. In 2023, she collaborated with mineral water brand Jeju Samdasoo to deliver an eco-friendly message. ⓒ I/O/E/SKB PROLIFERATING PLATFORMS Ultimately, the character industry is about more than just selling merchandise. Characters are now building fandoms and even acting as influencers. This is largely due to the generational shift of their audience. People who grew up with cartoons and video games make up the main adult consumer demographic for today’s character industry. This means that characters, once considered the realm of children and kidults, are now firmly embedded in the culture of adults. In addition, the younger generation’s tendency to respect each person’s tastes and hobbies while delving deeply into individual interests has laid the foundation for characters to spread widely. Another factor compounding this development has been the industry’s strategic placement of trendy characters. In the past, fictional characters mainly appeared on TV and movie screens, but more recently, they are featured on a multitude of online platforms, including on YouTube, TikTok, and other social media. The result has been greater creative freedom, leading to new characters more attuned to the younger generation’s sensibilities. What’s more, where characters were once considered mere marketing vehicles, the focus is now on providing a diversified consumer experience. According to KOCCA, the domestic IP market for characters continues to grow steadily each year and is expected to reach 16.2 trillion Korean won (US$12.2 billion) by 2025. As the locus of character content shifts from Japan and the US to Korea, the future is certainly bright for Korean characters. Gallery Molang, a pop-up store in Yeonnam-dong, Seoul. First created by illustrator Yoon Hye-ji in 2010, the character was adapted into a TV series in 2015 by French animation studio Millimages. Molang’s popularity has led to collaborations with various brands. ⓒ Hayanori

Focus 2023 WINTER

Recovering Lost Treasures It is estimated that, as of January 2023, almost 230,000 Korean cultural properties were located outside Korea. Since its establishment in 2012, the Overseas Korean Cultural Heritage Foundation (OKCHF) has recovered nearly 2,500 such objects through donations and acquisitions, with artifacts of historical and artistic value designated as cultural treasures. Lotus Sutra Vol. 6. Circa 14th century. Indigo paper, gold and silver paint. 27.6 × 9.5 cm (folded), 27.6 × 1,070 cm (spread out), 1.65 cm thick. Produced in the Goryeo Dynasty and consisting of illustrations and transcriptions of the Buddhist scriptures, volume six of the Lotus Sutra was retrieved from Japan in March 2023. The text preaches that the path to becoming Buddha is open to anyone and had a major influence on the adoption of Buddhist philosophy in Korea. © National Palace Museum of Korea In July 2023, the Overseas Korean Cultural Heritage Foundation (OKCHF) received a donation of 1,516 objects from the private collection of Gary Edward and Mary Ann Mintier, two former Peace Corps volunteers from the United States with a deep love for Korean culture. The objects included modern and contemporary artworks, books, and photographs of Korea taken by the couple while they worked as English teachers in Seoul and Busan between 1969 and 1975. Among the donated objects were rare and valuable artifacts that offer insight into the diversity of modern paintings. Photographs capturing Busan’s landscape and the daily lives of the city’s residents provide a vivid record of Korea’s modern history. To celebrate the donation, the Busan Museum held a month-long special exhibition titled 1970 Busan: A Glimpse of Normal Daily Life. Territorial Map of the Great East. 19th century. 30 × 20 cm (individual booklet), approx. 6.7 × 4 m (spread out). The Territorial Map of the Great East was produced and published by Joseon geographer Kim Jeong-ho in 1861, and then republished three years later after partial revisions. The map that was recently recovered is the 1864 edition and includes content from Atlas of the Eastern State, another map of the Korean peninsula produced by Kim, thus providing more detailed geographical information. It is composed of 23 booklets, including the index. Courtesy of Cultural Heritage Administration Recovery via Donations Established in 2012, the OKCHF is responsible for assessing the status of cultural properties that have been taken out of the country for a variety of reasons. The organization also supports the conservation, management, research, and use of these artifacts in museums and art galleries outside Korea, as well as the recovery of displaced objects through donations or acquisitions. According to the OKCHF, as of January 2023, a total of 229,655 Korean cultural properties were held in 27 countries, with the lion’s share in Japan (95,000) and the United States (65,000). The recovery of cultural properties taken from Korea is a highly complex and challenging process. Should a person, institution, or country in possession of an artifact simply refuse to return it, the options are extremely limited. Even if items were taken by illegal means, current international law makes recoveries very difficult. Displaced cultural properties can find their way back to Korea in several ways: as donations by individuals, institutions, or countries; through diplomatic negotiations; as acquisitions through auctions or private transactions; or as de facto returns in the form of long-term leases. Among these, charitable donations made by collectors are the most common. In the 11 years since the founding of the OKCHF, 1,204 recoveries have taken place, involving 2,482 objects, the majority of which have been donated. The act of donating cultural artifacts—which takes time, money, and effort to collect—is both commendable and noble. Among the cultural properties that have been returned to Korea are several that have been designated as cultural treasures because of their historical, academic, and artistic value. A notable example is the Buncheong Memorial Tablet of Yi Seon-je with Inlaid Inscription of the “Fifth Gyeongtae Year” (Buncheongsagi sanggam “gyeongtae 5-nyeonmyeong” Yi Seon-je myoji). The tablet bears the name, social status, and career of Yi Seon-je (1390–1453), a scholar at the Hall of Worthies (Jiphyeonjeon). This royal research institute was established in 1420 by King Sejong (r. 1418–1450) but disbanded in 1456 by King Sejo (r. 1455–1468). The piece was designated as treasure because it exemplifies the characteristics of memorial tablets of early Joseon, a transition period for these tablets in terms of their materials and design. The tablet was in the possession of Japanese art collector Tadashi Todoroki until his death in 2017, when his wife, Kunie Todoroki, decided to return it to Korea. Spherical Sundial. 1890. Copper, iron. Height 23.8 cm, globe diameter 11.2 cm. The Spherical Sundial is a valuable artifact that demonstrates the dynasty’s advanced scientific and technological expertise. Whereas most Joseon sundials had a hemispheric shape, this particular example is globular and propped up on a stem and petal-shaped base. It was acquired at an auction held in the United States in March 2022. © National Palace Museum of Korea Rare Artifacts Two recently recovered cultural properties are particularly noteworthy: the Territorial Map of the Great East (Daedong yeojido) from the second half of the Joseon Dynasty (1392–1910) and the sixth volume of the Lotus Sutra from the Goryeo Dynasty (918–1392). The map that was recovered is considered to be of even greater historical value because its composition and content differ from others currently held by Korean institutions. The map is a combination of an 1864 edition and another map, the Atlas of the Eastern State (Dongyeodo), both produced by noted Joseon geographer and cartographer Kim Jeong-ho (c. 1804–c. 1866). The OKCHF acquired the object after it learned of its existence when a Japanese collector put it up for sale. Sutras are meticulous, elaborately decorated handwritten copies of sacred texts, and the sixth volume of the Lotus Sutra is a partial transcription of what is considered to be the final teachings of Siddharta Gautama, the founder of the Buddhist faith. Geumni and eunni, traditional paints made by mixing gold and silver powders with oxhide glue, were used to illustrate and transcribe the text on mulberry paper, which was dyed with indigo extracted from the leaves of dyer’s knotweed, a traditional Korean dye still used today. This rare artifact was returned to Korea when a Japanese collector expressed a desire to sell it to the OKCHF. Of the ten artifacts recovered in 2022, the 19th-century Spherical Sundial (Iryeongwongu) attracted the most attention. The first of its kind ever to be discovered, the intricately designed, portable sundial, with a diameter of just over 11 centimeters, demonstrates the Joseon Dynasty’s advanced level of science and artistry. Remarkable, too, is that an inscription on one of the hemispheres indicates that it was created in 1890 by Sang Jik-hyeon, a military officer during the reign of King Gojong (r. 1864–1907). After a private collector put it up for auction in the United States, the OKCHF won the bid and brought it back to Korea. Designation as Treasures Two other artifacts that were recently recovered by the OKCHF and designated as cultural treasures are the 16th-century painting Gathering of Officials at Dokseodang Study (Dokseodang gyehoedo) and the Royal Bamboo Investiture Book Installing Queen Sinjeong as Crown Prince’s Consort (Munjobi Sinjeong wanghu wangsejabin chaekbong jukchaek). “Gyehoedo” refers to a genre of Joseon era paintings that depict gatherings of officials or scholars. This particular example is believed to have been commissioned in or around 1531, as it contains the names and positions of the gathered government officials about whom records exist in the Annals of King Jungjong (Jungjong sillok). The painting was also acquired at an auction in the United States after a Japanese collector had put it up for sale. The bamboo investiture book was purchased in 2018 by the Korean branch of U.S. esports giant Riot Games at an auction given by a private French collector, and then donated to the OKCHF. Investiture books detail the formal bestowal of titles to members of the royal family, such as the crown prince, his eldest son, or the crown princess. This particular book was conferred to Queen Sinjeong, the mother of King Heonjong (r. 1834–1849), when she became Crown Prince Hyomyeong’s consort in 1819. As a symbol of Joseon-era royal ceremonies, it is of great historical value and considered a work of outstanding artistry. The content and style of inscription on the six bamboo slips exemplify the grandeur of the period’s royal culture. The work was originally stored in the Outer Royal Library, or Oegyujanggak, a repository of royal documents on Ganghwa Island. It was thought to have been destroyed when the building was burned down during the French Invasion of 1866, known as Byeongin Yangyo (Western Disturbances in the Year of the Fire Tiger), making its return to Korea all the more significant. Recovered cultural properties undergo inspections, appraisals, and conservation treatments before being placed in museums or art galleries. These objects serve as valuable historical and cultural resources for exhibitions, education, and research. Royal Bamboo Investiture Book Installing Queen Sinjeong as Crown Prince’s Consort. 1819. Bamboo, brass, silk. 25 × 102 cm. Produced in the year Queen Sinjeong was made consort of Crown Prince Hyomyeong, this book not only provides insight into the characteristics and style of bamboo investiture books of the Joseon royal family but is also a work of outstanding artistry. Bamboo investiture books include personal details of the royalty to be invested with a title, as well as words encouraging good deeds and forbidding wrongful acts. © National Palace Museum of Korea

Focus 2023 AUTUMN

Animation Enlivens with Webtoons Live-action TV and movies have long been the go-to cross-media adaptations of webtoons. But animation is on the rise and better suited to convey their spirit and content. Posters of animations based on webtoons that were popular with readers. From top: Lookism (2022), Beauty Water (2020), Goblin Hill (2021-2022), My Daughter is a Zombie (2022). © Netflix © SS Animent Inc., Studio Animal, SBA © Kim Yong-hoe, Soul Creative, CJ ENM, KTH, SBA © EBS, Durufix In recent years, animation producers have finally come off the sidelines and joined their TV and movie peers in adopting commercially successful webtoons. SIU’s Tower of God and Park Yongje’s The God of High School became animated TV shows that hit small screens across the globe in 2020. Around the same time, Oh Sungdae’s Tales of the Unusual, a satire on Korean society’s fixation on good looks, was turned into Beauty Water, an animated feature that was invited to domestic and international film festivals. And last year, Pak Taejun’s most popular webtoon, Lookism, was adapted into an animated series and streamed on Netflix. Aside from these notable examples, numerous other webtoon titles are being considered for animated adaptations; in the case of “Solo Leveling,” a webtoon based on a web novel by writer Chugong, the ardent requests of global fans motivated the decision to adapt it into an animation. EFFICIENT FORMAT The first animated production of a print comic appeared in 1911, when American cartoonist and animator Winsor McCay transformed his comic strip “Little Nemo in Slumberland” into a short film. He made 4,000 drawings to create the movement of his characters. Ever since his pioneering work, animating comics has been regarded as a natural step. In 1990s Japan, a unique transmedia system governed by production committees fueled an anime boom. Under this system, serialized comics in magazines were published as print comic books and then adapted into anime, while related merchandise accompanied the process. This strategy served to further strengthen the fandom as fans of the comic would naturally watch the anime adaptation, and conversely, people who first saw the anime on TV would afterwards read the original comic. Such consumers are naturally more receptive to the animation of webtoons. Despite the limitations of the two-dimensional images and dialogues of webtoons, movement can be effectively reflected. The drawing technique and the use of cartoonish expressions, such as onomatopoeic and mimetic words and effect lines, help bring scenes to life. There is no fictional world that cannot be created in a webtoon. There are largely two ways the fictional world of webtoons can be recreated on media screens. One is live-action film and the other animation. To render the science fiction and fantasy elements of a webtoon’s plot into a live-action film or TV series, a huge film set and elaborate special effects are required. This entails a complex production process and exorbitant costs. On the other hand, animating a webtoon is simpler and more efficient. It also has the added benefit of better capturing and conveying the charm of the original work, in which case 2D rather than 3D animation is better. What’s more, webtoon readers are generally curious about animated versions of their favorite works. REPRODUCING FANTASY Scene from episode six of Park Yongje’s The God of High School, a webtoon series on the platform NAVER WEBTOON that was serialized from April 2011 to October 2022. The storyline is about martial artists who compete for a wish to be granted. The webtoon was adapted into an animated TV series that was broadcast in Korea and Japan in 2020. © NAVER WEBTOON, Park Yongje Two recent trends in webtoons are romance and competition fantasies. In the latter, suspense is delivered to readers through the narrative of the protagonist who must ward off opponents to reach the top. The characters enter a virtual fantasy world, where they carry out different missions while fending off enemies. Animation, rather than live-action, is better suited to portraying this world of fantasy. Tower of God, which began serialization on NAVER WEBTOON in 2010 and is still being updated weekly, follows a boy’s experiences in a fantasy world. It depicts his ascension in a tower, seeking a close childhood friend who entered the tower alone. Depicting a webtoon’s plot and characters through live-action film is not impossible but difficult to do convincingly. All attempts to turn webtoons into live-action movies or TV series naturally encounter many production challenges. The first obstacle would be the faithful depiction of the webtoon’s fantasy world. With continuing advancements in digital technology, sophisticated special effects have been incorporated in many movies, but they come at a steep price and their production takes time. A better alternative would be animation. It also requires substantial cost and time, but it would be much more conducive to achieving a faithful representation of the fantasy world depicted in webtoons. Hand-drawn images allow readers room to immerse themselves in stories through exaggeration and omission. That is difficult to achieve with live-action performances by actors. Inevitably, it would be a huge letdown if the scenes did not match the image readers had imagined. ATTRACTING POTENTIAL READERS A cross-media storytelling system is gradually taking root in the webtoon industry, whereby a webtoon spawns a screen adaptation and leads to marketing-related merchandise. To secure an early dominance of the global content market through the diversification of webtoons’ intellectual property (IP), companies must devise strategies to attract new audiences while retaining their existing fan base. Considering the long-running serialized nature of webtoons and their extensive storylines, a multi-episode animated TV series would be better suited for successful screen adaptations that satisfy webtoon readers. This is also an excellent strategy for expanding the webtoon fan base since children are the main audience of TV animation channels. For those who are unaccustomed to scrolling vertically through webtoons on their phones, watching the animation could pique their curiosity about the original webtoon. Animated adaptations of webtoons can also appeal to fans of print comics who enjoy watching animated productions of comics. It is difficult to be certain what type of media adaptation of a particular webtoon IP is likely to become a commercial success. However, considering the ever-diversifying tastes of audiences and which medium is better suited to faithfully reproduce the original work, animation may be the answer. Kim Yong-hoe’s Goblin Hill is a serialized fantasy webtoon that began in August 2013 and continues to this day. It involves the adventurous search for parents who have suddenly disappeared. The series, produced by Kakao Webtoon, was made into a TV show by Soul Creative and CJ ENM. It was broadcast from July 2021 to February 2022 on Tooniverse, a cartoon and anime channel. © Kim Yong-hoe, Soul Creative, CJ ENM, KTH, SBA Cats are Masters of the World by webtoon artist HON was serialized on Kakao Page in March 2020. It depicts the daily lives of a cat and animal friends who dream of conquering the world. The release of an animated TV series is slated for the first half of 2024. © Cats are Masters of The World Animation Partners Lee Yun-chang’s My Daughter is a Zombie, serialized on NAVER WEBTOON from 2018 to 2020, follows a father’s struggles to protect his daughter who has turned into a zombie. The grave storyline infused with comic elements resonated deeply with readers. It was adapted into an animated TV series co-produced by EBS and Durufix in 2022. © EBS, Durufix Hong Nan-ji Professor, School of Manhwa Contents, Chungkang College of Cultural Industries

Focus 2023 SUMMER

Female Narrative Singing Returns The National Changgeuk Company of Korea used a highly popular Korean webtoon as the blueprint for its first production of 2023. The decision filled the seats for traditional musical storytelling through a genre of female music that overcame male dominance but was subsequently suppressed by it. The webtoon “Jeong-nyeon” became the platform for this year’s comeback of gukgeuk, an all-female niche in pansori, the traditional music story telling genre. Gukgeuk had a meteoric rise and sudden demise decades ago. © National Theater of Korea The revival of gukgeuk, a genre of female musical storytelling that challenged overbearing male peers, grabbed public attention this past spring. If the sellout performances are a harbinger of its future, it will finally find a permanent niche decades after it was denigrated and forced off stage. “Jeong-nyeon” was inspired by the highly popular webtoon of the same title, and the National Changgeuk Company of Korea provided the musical scores. Changgeuk is a form of traditional Korean musical drama, often compared to opera. It is based on pansori, or traditional narrative song, but involves several singers with defined roles rather than a lone singer playing multiple roles. In 1948, approximately 30 of the best singers of the time, including Park Nok-ju and Kim So-hee, formed a women’s traditional music club and established gukgeuk, a branch of changgeuk. It was their attempt to raise their voices outside the male-dominated traditional music circle and create their own stage. The resulting female gukgeuk enjoyed huge popularity, starting with the founding performance “Okjunghwa.” The all-female performances were far more diverse than changgeuk. The music was more popular and the singers, dressed as men, were idolized. Obsessed admirers sent them presents and letters written in their own blood. Especially smitten devotees proposed marriage, and some unhinged fans even attempted kidnappings. The commercial success of the women’s shows and public adulation of the performers ruffled the traditional music mainstream. Female gukgeuk was branded a vulgar imitation. It faded away in the 1960s, as movies and TV shows steadily gained greater attention, and as if to add further insult, female gukgeuk was excluded from the national system designed to protect and pass on traditional arts and culture. Groundbreaker Written by Suh Ireh and illustrated by Namon, “Jeong-nyeon” appeared on the NAVER WEBTOON platform from April 2019 to May 2022. It ushered in a reawakening of female narrative singing. © National Theater of Korea Tickets to “Jeong-nyeon” were sold out two months before the opening. Three more performances were added, and they were quick sellouts too. The original webtoon was written by Suh Ireh and illustrated by Namon. In 2019, less than a year after its release, it won the “Our Manhwa of Today” award, hosted by the Ministry of Culture, Sports and Tourism, and the following year, the “Gender Equality Cultural Contents Award of the Year.” “Jeong-nyeon” pays homage to female gukgeuk as the embodiment of the arduous life of women who survived the turmoil of Korea’s modern history and achieved success in a patriarchal society. It follows the brilliant journey in which female artists, who were always pushed aside by men, struggled to find their voice, name, and rightful place in society. The webtoon’s episodes take place in the 1950s, the heyday of female gukgeuk. The storyline describes the growth of a girl struggling to become the best female gukgeuk performer. Until now, Korean webtoons have been adapted for movies and TV series but never for changgeuk. The groundbreaking production of the National Changgeuk Company reflects continued interest in experimenting with various modes of entertainment. Previously, it adapted a Greek tragedy and a Chinese opera into changgeuk. Play Within a Play The fast-paced, two-hour changgeuk version of “Jeong-nyeon” had to compress and deliver the gist of many episodes. The main character, Jeongnyeoni, the daughter of a reclusive master singer, moves to Seoul and joins Korea’s largest gukgeuk troupe, Maeran. The series of events that take place while she meets the different characters are marked by love, friendship, courage, and resoluteness. Heroine Yoon Jeongnyeon passionately informs the best pansori master about her dream of becoming a successful gukgeuk perfomer. © National Theater of Korea This work markedly differs from most heroic stories, which immortalize only one winner. The characters do not step on their competitors to get ahead and do not speak ill of anyone in order to be No. 1. They are hard on themselves, to test their limits, and do everything in their power to protect women’s gukgeuk and forge ahead. They trust and depend on each other to do so. “Jeong-nyeon” is a play-within-a-play. The storyline incorporates popular gukgeuk productions of the 1950s, such as “Chunhyangjeon” and “Jamyeonggo.” Here, heroine Yoon Jeongnyeon performs in “Chunhyangjeon,” the first role that she has landed. © National Theater of Korea Another highlight of the changgeuk “Jeong-nyeon” was the play-within-a-play format. Parts of “Chunhyangjeon” and “Jamyeonggo,” female gukgeuk performances that were very popular during the 1950s, were inserted into the production. In this way, the work revives scenes that disappeared decades ago and at the same time invites the audience to join the singers in reliving theater history. The National Changgeuk Company’s cast mesmerized the audience with their superb acting and singing. Emotional Compositions Music is just as important as the storyline in changgeuk and women’s gukgeuk. Pansori singers create new music based on the rhythms and scales of traditional Korean music that they have learned over a long period of time. This is called jakchang, which literally means “creating song.” Today, all new stories encountered through pansori require composition, and its depth determines the level of the work. Jakchang is the work of exploring the long history of pansori, dismantling it, and transforming it. It means discovering the stories of our time and giving them a voice. By bravely traversing the profound legacy of pansori, music director Lee Ja-ram’s colorful compositions dramatically conveyed the content of the lyrics and allowed the audience to fully enjoy the nuances of the words. In her compositions for “Jeong-nyeon,” Lee, a popular singer and performing artist herself, seemingly wanted to transform pansori into a contemporary genre without confining it to the traditional framework. Nam In-woo, a longtime collaborator with Lee, directed the National Changgeuk Company cast. Though gukgeuk ceased to exist in an organized form, in the 2000s, female artists influenced by feminism and cultural movements began to stage it again. The comeback of this intense form of female musical storytelling, thanks to a popular webtoon, held the power to prod memories of older-generation ticket holders and buttress the can-do spirit of the young generation. Seong Hye-inMusic Critic

Focus 2023 SPRING

Seoul: Ascending Art Hub Major galleries from around the world have set up shop in Korea in recent years, confirming the country’s rise in the global art world. The selection of Seoul to host the annual, world renowned Frieze Art Fair makes it an Asian hub of international elite museums and galleries. The first Frieze Seoul international art fair, held in September 2022, drew international galleries and large crowds. Pictured is the booth of Acquavella Galleries, which exhibited masterpieces by Andy Warhol and Jean-Michel Basquiat. © Frieze Seoul, Photo by Lets Studio Frieze, one of the most prominent international art fairs, conjures up images of billionaire collectors, exclusive dealers, and curators from the top museums and galleries descending on London, New York, and Los Angeles to browse and spend small fortunes. Enter Seoul. In September 2022, the immense potential of the Korean art community was underscored as Frieze introduced Seoul as its first location in Asia. The maiden fair did not disappoint. The Tate Modern and Serpentine galleries in London; the Museum of Modern Art and the Guggenheim Museum in New York; the Los Angeles County Museum of Art; and the Pinault Collection in Paris were among the prestigious institutions represented at the premiere in Seoul’s sprawling Coex exhibition venue. The event also fueled the resurgence of the local art world, which has been driven by interest in interior design, as work-from-home has become more common, and a thirst for cultural indulgence coupled with “revenge spending.” Visitors take pictures in front of Damien Hirst’s “High Windows (Happy Life)” (2006). Booths displaying famous works rarely seen in Korea became popular photo spots. © Frieze Seoul, Photo by Lets Studio Emotions overflowed on the opening day of Frieze Seoul, which was held alongside Kiaf Seoul, the longest-running local art fair of 20 years. “I cannot believe that, here in Seoul, I’m seeing the collectors I met at Art Basel in Switzerland. It’s truly amazing,” exclaimed Park Won-jae, CEO of ONE AND J. Gallery. He has attended numerous art fairs around the world but never imagined he would witness such an event in Korea. A total of 110 galleries from 21 countries were invited to Frieze Seoul, and 164 galleries from 17 countries to Kiaf Seoul. On the opening day, so many international attendees were present that more English could be heard than Korean — and the crowd did not just come to look. Gagosian, Lisson Gallery, and Hauser & Wirth, top galleries showcasing their works in Korea for the first time, racked up tens of millions of dollars in sales in just the first hour. A gallerist with Hauser & Wirth’s New York branch commented that the buyers included private art collectors from Korea and China as well as private art museums in Japan. Art galleries that had already established outposts in Korea, as if they had foreseen this day, reported more stable sales. Perrotin, which participated in both Frieze and Kiaf, sold out on the first day. Art fairs do not release sales figures, but a New York gallerist predicted that total sales of Frieze Seoul would reach around 650 billion won ($500 million), which seems a reasonable estimate. However, selling works was not the only activity. Art fairs are also venues for sellers to connect with potential future customers, and that was evident at Frieze Seoul. Egon Schiele’s paintings and drawings and Pablo Picasso’s “Girl with a Red Beret and Pompom” (1937), difficult to see in Korea, drew long lines and became photo hotspots. Korean visitors in their 20s and 30s showed great interest in medieval manus, old maps, and Egyptian artifacts that they would normally only be able to see at foreign museums. Why Seoul? Exhibition booth of P21 Gallery with Ryu Sung-sil’s video installation “BigKing Travel Ching Chen Tour —Mr. Kim’s Revival” (2019). Korean galleries spotlighted contemporary masters and young, up-and-coming artists. © Frieze Seoul, Photo by Lets Studio Frieze is a latecomer to the exhibition scene. Launched in England in 2003, it created a sensation with a tent-style exhibition hall that showcased experimental artworks and is now one of the two most prominent international art fairs along with Art Basel, which began in 1970. Frieze expanded to New York in 2012 and Los Angeles in 2019. The selection of Seoul for the Asian branch of Frieze was an easy choice for two reasons, according to Frieze CEO Simon Fox. “The first is the number of artists, galleries, museums, and collections in the city. The second is that Korean culture is having a huge impact across the world at the moment, whether that’s music, film, fashion, architecture, or art. I think that what happens here in Seoul is globally important,” he said. Francis Belin, Asia-Pacific president of the auction house Christie’s, which hosted an exhibition timed with Frieze, highly rated Seoul’s growth potential as a cultural city, citing the Korean art world’s robust infrastructure and potential. After introducing an Agnes Martin painting to Hong Ra-hee, former director of Leeum Museum of Art, Pace Gallery President and CEO Marc Glimcher said, “The Korean market has strong growth potential fueled by a solid collector base that has seen an influx of young, affluent art enthusiasts whose influence has grown since the pandemic. We are actively seeking to introduce artists of diverse styles to cater to their tastes.” The average art market size of OECD countries is around 0.2 percent of their gross national product. The Korean art market hovered around 0.02 percent until last year, when it reached 0.04 percent with total sales exceeding one trillion won ($765 million). The potential to expand fivefold to reach the OECD average is a realistic possibility, and the internal dynamism is backed by rising interest in the Asian art market. Art Basel 2013 was staged in Hong Kong, in large part to attract the new young-and-rich generation in China and Southwest Asia. According to Artprice, a French online database, Asia accounted for 40 percent of the global art market in 2021. A generational shift in the art industry is another factor. According to “The Art Market 2021,” a report published by Art Basel and UBS, millennials accounted for 52 percent of high-net-worth collectors worldwide, more than four times that of boomers, their parents’ generation. Also, millennials recorded the highest expenditure on art in 2020 with a median of $228,000, double that of boomers, who spent $109,000. Other important factors are accessibility and infrastructure. Seoul is served by Incheon International Airport, a global aviation hub that is easily reached from anywhere in the world, and a wealth of hotels is within easy reach of Coex. During the art fair’s run, hotels in Gangnam, Samcheong-dong, and Hannam-dong, where galleries are concentrated, enjoyed brisk business. A foreign collector who attended Frieze Seoul vowed to come back, saying, “Just as much as seeing the artwork, it was a delight to run into Korean celebrities. I want to come back next year with my kids, who are K-pop fans.” Task at Hand Visitors admire the installation by Haegue Yang at the booth of Kukje Gallery, one of the 12 Korean galleries at Frieze Seoul. © Frieze Seoul, Photo by Lets Studio Local galleries that participated in Frieze Seoul showcased works mainly by modern and contemporary masters, as well as young up-and-coming artists. Hakgojae Gallery chose to spotlight 20th-century Korean abstract artists, such as Ryu Kyung-chai (1920– 1995) and Ha In-doo (1930–1989). A foreign gallerist who stopped by the booth marveled, “I never knew such Korean artists and works existed.” The Korean art world hoped for a trickle-down effect by holding Kiaf alongside Frieze. Indeed, foreign media gave substantial coverage to Korean art, which is not common, and Frieze visitors also went to Kiaf. Thaddaeus Ropac, founder and owner of the Galerie Thaddaeus Ropac in Europe, which opened its first Asian branch in Seoul, closely inspected the booths at Kiaf on the opening day. The renowned Austrian gallerist made quite an impression as he walked around the venue at such a fast pace that his face was red from excitement. While Korean collectors flocked to Frieze, many foreign collectors visited the booths of Korean galleries at Kiaf or Korean artists’ studios. “Frieze and Kiaf Seoul confirmed the elevated cultural status of Korea,” said Woo Chan-kyu, CEO of Hakgojae Gallery. “Culture is a cohesive unit; if one field, such as music, flourishes, it spurs the development of other fields, such as literature and art. I believe the era of K-art has arrived.” Spring is the right time to prepare for fall. This year’s Frieze Seoul edition opens on September 6. In the run-up, rather than focusing on sales, the Korean art community must expand the foundation for growth. It should promote its uniqueness instead of trying to compete with the world’s top art galleries, and would do well to reflect on the global success of BTS, the K-drama “Squid Game,” and the film “Parasite.” The Korean art world has been handed the task of bolstering its capacity by discovering new local talent. It will need to present unique projects and works that inspire foreign art enthusiasts who visit the country as well as local audiences who have developed an appetite for cultural consumption. Cho Sang-inReporter, Seoul Economic Daily

Focus 2022 WINTER

Wearing Hanbok, a Cultural Icon In July 2022, the Cultural Heritage Administration designated hanbok saenghwal as National Intangible Cultural Heritage. The combination of “hanbok” (literally “Korean clothing”) and “saenghwal” (living), encompasses the array of social customs and culture related to Korea’s national attire. A woman wearing wonsam, the attire of royalty and and noblewomen during the Joseon Dynasty. Women in the lower social order were allowed to wear the garment only on their wedding day. Depending on the status of the wearer, the colors differed, with yellow and red worn by royalty and green by ordinary people. Today, wonsam are made with various colors and decorative designs. ⓒ TongRo Images Most countries have traditional clothing that reflects their geography, history, religion, and values. Some notable examples are Japan’s kimono, China’s cheongsam and hanfu, Mongolia’s deel, Vietnam’s áo dài, and India’s sari. Korea has hanbok. Like the traditional garments and sartorial culture of other countries, hanbok has also undergone distinctive changes in its form, production, and distribution. What used to be everyday wear is now worn only on special occasions. Nonetheless, the distinctive cultural identity derived from wearing hanbok is still very much a part of Koreans’ lives today. Cradle to Grave The history of hanbok spans some 2,000 years. Depictions of the traditional attire can be found in ancient tomb murals of Goguryeo (37 BCE–668 CE) and on clay figures made by the people of Silla (57 BCE–935 CE). The basic structure of hanbok emerged during the Three Kingdoms period (57 BCE–668 CE), when the Korean peninsula was divided among the states of Goguryeo, Baekje, and Silla. It then underwent numerous changes throughout the following Unified Silla (676–935), Goryeo (918–1392), and Joseon (1392–1910) dynasties, and the Japanese occupation (1910–1945). It was during the mid- and late Joseon dynasty that the archetype of the traditional hanbok as we know it today was established. The term “hanbok” was first used to distinguish the native clothing from Western-style clothing, which was introduced to Korea in the late 19th century. The origin of the word, however, is unknown. The types and form of hanbok vary depending on gender, age, season, and occasion. Hanbok for everyday wear consists of baji (trousers) and jeogori (top) for men, and chima (skirt) and jeogori for women. Depending on the destination and occasion, an outer robe may be worn. Whatever the type or style, hanbok is characterized by the beautiful contours created by the harmony of straight and curved lines, elegant colors, and the overall graceful appearance. As the garments are loose-fitting, the shape of the wearer’s body is not discernable. Although hanbok is no longer part of the everyday wardrobe, the occasions when it is worn are vivid reminders that they are still an integral part of Koreans’ cultural identity. Koreans don traditional garb on important milestones in life, from birth and weddings to funerals. They also wear it on traditional Korean holidays, such as Seollal (Korean Lunar New Year) and Chuseok (Harvest Moon Festival), when they conduct ceremonies and play folk games. The first garment a newborn baby wears in Korea is called baenaet jeogori. It is an upper garment made from cotton and has hardly any seams, to minimize irritation of the baby’s delicate skin. Koreans throw a big party to celebrate a child’s first birthday (dol), and on the day the child is dressed in ceremonial garments called dolbok, which are adorned with characters and patterns that symbolically repel evil spirits and express wishes for health and longevity. Hanbok is also ubiquitous at weddings. Although most brides and grooms wear a Western-style wedding dress and suit these days, it is still the custom for parents to wear traditional clothes, and some guests will also do the same out of courtesy. Couples who opt for a traditional wedding, will naturally don hanbok, too. When Koreans die, they are dressed in burial clothes called suui. A characteristic of suui is that they are sewn without tying knots in the thread, as knots were thought to prevent the soul of the dead from communicating with their children. Some prepare the suui in advance, believing that it will ensure a long and healthy life. Finally, people also wear hanbok when performing ancestral rites. Clay figures unearthed during the 1986 excavation of an ancient tomb (late 7th century-early 8th century) located in Yonggang-dong, Gyeongju in North Gyeongsang Province. The realistic depiction of the hair and garments offers insight into the clothing people wore at the time. ⓒ Cultural Heritage Administration Hanbok Today In the past, Koreans purchased fabric before major holidays and made new hanbok at home. Today, most people purchase ready-to-wear hanbok or have them custom-made at a designer shop. Hanbok worn on special occasions goes by different names, including seolbim, worn on the Korean Lunar New Year; danobim on Dano, a holiday falling on the fifth day of the fifth lunar month; and chuseokbim on Chuseok, which falls on the fifteenth day of the eighth lunar month. These garments are more than just clothing. They embody ardent wishes for good health and well-being, and for peace and happiness in the family. In the past, social position, gender, and age had to be considered when choosing the colors and patterns to be worn. Now, there are no such constraints; people can wear whatever design they like. Many hanbok brands offer modern variations of the traditional dress, which are more practical for today’s lifestyle. There has been steady interest in preserving and transmitting the cultural tradition of wearing hanbok. These days, the younger generation consider wearing hanbok a fun experience that allows them to express their individuality and tastes. In the quaint old neighborhood of Insa-dong and the traditional Korean village Bukchon in the heart of Seoul, it is easy to spot young people and foreign tourists roaming the streets dressed up in traditional clothes, usually from one of the many hanbok rental shops. Fashion designers also draw inspiration from traditional attire, incorporating key hanbok features with modern interpretations. “New Year’s Shopping in Seoul” (1921), a woodblock print by British artist Elizabeth Keith. It portrays a woman and her two children on an outing dressed up in seolbim. After visiting Korea for the first time in 1919, Keith returned several times and captured the customs and daily lives of Koreans in her prints. ⓒ National Folk Museum of Korea Continuing to Evolve Celebrities, who tend to have a huge influence on young people, often attract attention by wearing hanbok. World-famous K-pop acts BTS and BLACKPINK created a sensation when they wore modified hanbok in music videos and at concerts. This sparked tremendous interest in traditional Korean clothing among K-pop fans around the world and helped to raise its global profile. K-dramas are also having a major impact. In April 2022, a New York Times article shed light on hanbok and the changes that occurred over time, as observed in the Apple TV+ series “Pachinko.” It began by saying that “the evolution of the Korean hanbok is a lens into the history of the country,” and in introducing the history and variety of hanbok, commented that hanbok “is as beautiful as it is functional.” It also stated that “contemporary designers continue to take great inspiration from the garment,” which has reflected variations and styles over its long history. The Korean government is actively implementing policies to help preserve the tradition of wearing hanbok. In 1996, the Ministry of Culture, Sports and Tourism designated October 21 as “Hanbok Day.” The ministry also holds events each year to arouse public interest and further promote the cultural value of hanbok. Local governments have followed and give incentives to put on traditional attire, for instance, free entrance to famous sightseeing spots. Culture encompasses all aspects of people’s ways of life, and as such, is bound to change with the times and environment. This also applies to the tradition of wearing hanbok. It has evolved and changed over Korea’s long history and will continue to do so in the future. Young women explore Jeonju Hanok Village dressed in modernized hanbok. In the vicinity of royal palaces in downtown Seoul and traditional Korean villages in provincial areas, there are many shops that rent out hanbok that have been refashioned to cater to the tastes of young people. ⓒ Korea Tourism Organization Doh Jae-kee Reporter, The Kyunghyang Shinmun

Focus 2022 AUTUMN

Reading Aloud Resonates The performing arts are experiencing a boom in staged readings that convey the literary nature of plays before they become theater productions. They are staking a claim as a genre of their own as they introduce experimental elements, including music and video, and expand the scope of performing arts. October 2020, actors from Korean theater company Poonggyeong read from “Lobbyist” by Chinese playwright Xu Ying in the third annual “Chinese Play Stage Reading” series, sponsored by the Performing Arts Network of Korea and China. Courtesy of Performing Arts Network of Korea and China First popularized in 1945 by a New York theater group called Readers Theatre Inc., staged readings have been gradually gaining traction for decades. The entire focus is the text of a play; actors only read their parts to the audience, the set design is stripped down to a bare minimum or non-existent, and the lighting and wardrobes are simplified as well. Korea can also claim a performance form that could be seen as a kind of proto-staged reading itself. Indeed, the term jeongisu defined someone who read novels aloud as a legitimate profession in the late Joseon Dynasty (1392-1910). Known for having superb oral and acting skills, ijeongisu made their living by giving theatrical readings of classic novels. Considering how widespread audiobooks have become in recent years, we could say that the jeongisu were far ahead of their time. In the modern era, staged readings became a stepping-stone to full theatrical production. They are often used to market the piece to potential sponsors and gauge audience reactions. Around the early 2000s, however, staged readings became performances themselves. The form is now well on its way to becoming an official genre of its own. It is not just professional theater companies, either; staged readings are being performed by community groups and clubs for people who enjoy reading plays, and in schools to develop students’ thinking skills and poetic sensibilities. International Exchange Many different institutions and organizations have been instrumental in lifting staged reading to its current popularity. Among them, the Korea-Japan Theatre Exchange Council and the Japan-Korea Theater Communications Center have been pivotal to the effort. For twenty years, the two organizations have facilitated the steady translation of each other’s plays and put on regular performances as well. Jointly launched by seven theater companies in Japan, the Japan-Korea Theater Communications Center has been bringing contemporary Korean plays to Japanese audiences since 2002, with the support of the Japanese Ministry of Culture. In the first year, readings of works by leading Korean playwrights, including “Finding Love” by Kim Gwang-rim, “Generations Untold” by Park Geun-hyeong, “Empty-handed” by Jang Jin and “Crazy Kiss” by Cho Gwang-hwa, were staged over four days in the basement theater of the University Student Union Building in Tokyo’s Suginami City. The following year, the Korea-Japan Theatre Exchange Council staged readings of three contemporary Japanese plays at the National Theater of Korea’s Byeloreum Studio. Counting the tenth event, staged this past February at the National Theater Company’s Baek Seonghui & Jang Minho Theater, over 50 plays by 50 playwrights have been performed through the two countries’ efforts. In the beginning, this project shed all theatrical elements, putting the spotlight exclusively on the readings. But certain theatrical expressions have gradually appeared to enhance the writing and style of the plays themselves. This year’s performances showcased elements that were decidedly closer to traditional theater. In many cases, pieces put on as staged readings go on to become full-fledged theatrical productions. One standout example would be the Japan-Korea Theater Communications Center’s 2019 staged reading of Lee Boram’s “The House Where Boy B Lives,” a play about a 14-year old boy guilty of murder and his family, who are isolated by their community. In 2020, this piece became a full-fledged play, directed by Manabe Takashi. Receiving an award for excellence in the theater category of the Japan Media Arts Festival that year, it also became the first Japanese performance of a Korean play to receive a prestigious award. Meanwhile, in Korea, Japanese plays such as “I Want to See Your Parents’ Faces” by Seigo Hatasawa (about school violence) and “The Great Life Adventure” by Shiro Maeda (a high-spirited depiction of youthful exploits) were also staged to enthusiastic acclaim. A scene from a staged reading of “Two Stray Dogs” by Chinese playwright Meng Jinghui, in which different human milieus and complex human societies are satirized through a dog’s perspective. Courtesy of Performing Arts Network of Korea and China Relatable Stories The “Chinese Play Staged Reading Performance,” put on by the Performing Arts Network of Korea and China, is also noteworthy. Since 2018, this association has translated and published several Chinese plays each year to promote cultural exchange between Korea, China, Taiwan and Hong Kong. In addition, one of the translations is selected for staged reading. The fifth edition, held this past April at the National Theater Company of Korea’s Myeongdong Theater in Seoul, was so highly anticipated that tickets sold out almost immediately. This suggests that Korean audiences’ interest in Chinese plays has bloomed. Dozens of traditional and contemporary Chinese plays have been introduced to Korea through these staged readings. Among them, “Fish Man,” “Camel Xiangzi”” and “One Word is Worth Ten Thousand Words” became successful theater productions as well. “Fish Man,” the 1989 debut work of Guo Shixing, one of China’s most influential living playwrights, uses the popular Chinese hobby of fishing to raise questions about our truest attitudes toward life itself. “Camel Xiangzi”,” an adaptation of the eponymous 1937 novel by Lao She, features a rickshaw driver who navigates a turbulent life that reflects the chaotic times around him. It was also published in English under the title “Rickshaw Boy.” On the other hand, “One Word is Worth Ten Thousand Words” is a reinterpretation of the eponymous novel by realist author Liu Zhenyun. Mou Sen, a pioneer in Chinese experimental theater, produced the reinterpretation of the drama set in a rural village. When the cross-border, collaborative program began, Korean audiences knew practically nothing about Chinese theater, but with each passing year, their interest and excitement rose. The actors’ voices have successfully conveyed the warmth and insight of these works and projected a keen gaze, penetrating the very essence of life. A scene from a stage reading of “Tea House” at the National Theater Company of Korea’s Myeongdong Art Theater. A story about the tumultuous lives of a group of tea house regulars in Beijing, this production was helmed by star Korean director Koh Sun-woong. Courtesy of Performing Arts Network of Korea and China “Home Guest” by playwright Yu Rongjun is a celebrated work that poses witty yet sincere questions about the meaning of life. Held at the Namsam Arts Center in 2020, this production by theater company Juk-Juk successfully conveyed the emotional message of the original work. Courtesy of Performing Arts Network of Korea and China New Directions These days, staged readings are undergoing a transformation. Directors are adding their interpretations and actors are displaying more emotion. Going by the name “dimensional staged readings,” these performances use theatrical elements like music, set design, lighting and costumes. In some cases, they add video or music to enrich the narrative. In short, instead of being focused entirely on delivering the text, dimensional staged readings draw on directors’ visions and adopt certain aspects of traditional theater. Since last year, the National Theater Company program “Creative Empathy: Plays” has explored new possibilities for Korean theater. To determine the viability of staging selected published works, they first produced a dimensional staged reading. One such performance was “Goldfish Wheelchair,” held in February at The Theater PAN in Yongsan District; it deals with self-awareness and understanding between the perpetrator and victim of identity theft on social media. This production stood out for its unique stage direction. The characters’ social media accounts were displayed on both sides of the stage, helping the audience understand and sympathize with their psyche. DOOSAN ART LAB, which has supported the experimental works of young artists, staged “Judith’s Arm” in March in the form of a musical staged reading. The play is based on the painting “Judith Beheading Holofernes” by Artemisia Gentileschi, of the Italian Baroque period, and follows the process of resolving why Judith’s arms are unusually thick in the painting. Set in 17th century Europe, this performance incorporated traditional Korean music, using songs and a gayageum (traditional zither), as it explores the story of the female painter and life during that period. Staged readings are hence coming to audiences in varying manifestations and are growing more common for several reasons. First, unlike in traditional theater plays, the actors do not need to memorize their lines. Second, since the stage setting can be minimized, these readings can be done with a modest budget, and from the perspective of the audience, the reduction of visual stimuli means they can focus entirely on the actors’ voices. Despite concerns over losing the many rich and varied elements that bring stage art to completion, staged readings seem to hold their own charm and connection with the audience and are clearly helping to expand and diversify the performing arts. A production of “Judith’s Arm,” staged this March by DOOSAN ART LAB (Doosan Art Center’s creator incubator), included a much-discussed gayageum performance. In this way, staged readings are branching out and expanding the realm of the performing arts. ⓒ DOOSAN ART CENTER Kim Geon-pyo Professor, Daekyeung University Department of Theater and Film, Theater Critic

Focus 2022 SUMMER

Korean Musicals Branch Out Onto the Global Stage Since first making inroads into Britain and the United States around the year 2000, Korean musicals and have seen remarkable success in Asian countries. Broadening their reach in the form of original productions, licensed musicals, joint ventures and investments, Korean musicals are poised to become the next frontier of Hallyu. “The Last Empress” is a large-scale original musical that premiered in 1995 to commemorate the 100th anniversary of Empress Myeongseong’s death. It is an epochal work, the first original Korean production to be staged overseas. The magnificent stage and elaborate costumes captivated global audiences. © ACOM Despite a series of setbacks resulting from a dampened economy and the coronavirus pandemic, Korea’s domestic musical industry has continued to grow and develop. Just prior to the pandemic, the size of the domestic performance market was estimated at around 400 billion won (US$316 million), with the majority of sales coming from musicals and concerts. Musicals are estimated to account for an average of 55-60 percent of this market, reaching 80 percent of total sales in 2021. Since the unprecedented success of the Korean production of “The Phantom of the Opera” in 2001, the domestic musical industry has seen steady annual growth of 15-17 percent. In recent years, local production companies have made aggressive attempts to enter overseas markets to overcome the limitations at home, making new and innovative ventures that have brought stellar results in terms of quality, not just quantity. Musical production houses began to turn their attention overseas around 2000. This dovetails with the time that licensed musicals started to take root in Korea, which stimulated an awareness of the need to reproduce or maximize the added value of this content. Going Global In the early years, original Korean productions mainly targeted the American and British market, namely Broadway and the West End, as well as performing arts festivals such as the famed Edinburgh Festival Fringe. Most notably, the original musical “The Last Empress,” produced by ACOM, and the non-verbal show “NANTA” were the first Korean productions to be staged on Broadway and the West End. On the back of its successful premier run in Korea in 1995, “The Last Empress” was also performed at the David H. Koch Theater (then the New York State Theater) in Lincoln Center in 1997 and 1998. In 2002, it was staged in English at the Hammersmith Apollo on the outskirts of London. In many ways, it was an epochal work that demonstrated the commercial potential of original Korean musicals and also offered insight into what needs to be considered when breaking into overseas markets. For those in the performing arts industry dreaming of presenting their work to a global audience, it was a source of inspiration. “Finding Mr. Destiny” is an original musical that was sold in 2013 to China, where the title was changed to “Finding My First Love.” This is a notable example of performance rights for a Korean production being sold overseas. © CJ ENM A scene from the Korean performance of “Finding Mr. Destiny.” © CJ ENM Posters (from left) for “Finding Mr. Destiny” in Taiwan, Japan and China. © CJ ENM Three Avenues to Overseas Markets The tide turned in the 2010s when production companies began paying greater attention to the Asian market. In the first half of the decade, real expansion into Japan and China began. Japan fast became the main importer of Korean musicals, with some 40 shows being staged over three years beginning in 2012. Productions tailored to the Japanese market were boosted by the 2013 opening of Tokyo’s Amuse Musical Theatre, a dedicated venue for Korean musicals. Korean musical content has entered overseas markets in three forms: tours of original musicals, Korean productions of licensed musicals and sales of performance rights of original musicals or joint productions involving local staff and investments. Tours of original musicals usually involve staging the show overseas for a set period with a Korean production crew and actors, and the lyrics translated via English subtitles. The jukebox musical “Run to You” was a hit with Japanese audiences during its run in Osaka in 2012 and Tokyo in 2014. Inspired by the songs of DJ DOC, a Korean hip-hop trio who debuted in 1994, it tells the story of three aspiring young singers. “Rimbaud” portrays the life of the French poet. A Korea-China project, the musical premiered simultaneously in both countries in 2018. © LIVE Corp. Likewise, after “Subway Line 1” debuted in China in 2001, the number of original Korean musicals staged in China increased each year. “Song of Two Flowers” (Ssanghwa byeolgok), which tells the story of two Silla Buddhist priests, Wonhyo (617-686) and Uisang (625-702), was invited to China in 2012 for the 20th anniversary of Korea-China diplomatic relations. The following year, it toured Shenzhen, Hainan, Guangzhou and Beijing, generating enthusiastic response. The show was adapted for the local audience, adding new characters and music inspired by traditional Chinese folk songs. In the case of touring performances of licensed foreign musicals, shows are adapted and reinterpreted in Korean, and the Korean production is then re-exported to another country. Oftentimes, Hallyu stars are brought on board to promote the show. Some notable examples from the early 2000s are “Jack the Ripper,” “The Three Musketeers” and “Jekyll & Hyde” in Japan, and “Notre-Dame de Paris” and “Elisabeth” in China. Finally, there are shows like “Finding Mr. Destiny,” the first original Korean musical to be adapted into a film, an example of performance rights being sold overseas. When the production was sold to China, the title was changed to “Finding My First Love” and the story adapted to better appeal to the sentiments and culture of the Chinese audience. It drew a considerable crowd upon its opening in 2013, proving the commercial potential of small theater musicals. Many other original Korean musicals have since made their way to China, including “Chonggakne Vegetable Store,” “My Bucket List” and “Vincent van Gogh.” “Rimbaud,” which portrays the life of the French poet, was a collaborative project by Korea and China. Created by the production house LIVE, which also brought “Chonggakne Vegetable Store” and “My Bucket List” to the stage in Japan and China, it premiered in 2018 in Korea and China simultaneously. The following year, the Beijing licensed reproduction was staged ahead of the Korean version. Another Korea-China co-production is “Feast for the Princess” by United Asia Live Entertainment, a production house jointly established by Korean entertainment conglomerate CJ ENM and China’s Ministry of Culture. It tells the story of chefs from around the world vying in a culinary competition to create a dish to reawaken a princess’s lost sense of taste. Traditional Chinese cuisine was expressed through dazzling choreography and modern music. “My Bucket List,” which questions the meaning of life, toured 23 cities in China, the most for any Korean licensed production staged in China. © LIVE Corp. Long-term Perspective In 2019, just before the coronavirus pandemic, the Korean musical scene was greatly affected by political issues and international affairs. Despite all the difficulties, the Korean musical industry is expected to continue to broaden its boundaries globally, with the potential to become the next frontier of Hallyu. The trend toward one source, multi-use cultural content means that Hallyu resources with proven global appeal will increasingly be brought to the stage. The unknown keys are who and which works will bring about a defining shift in the industry.

Focus 2022 SPRING

Oppa, You’re Speaking More English! The latest update of the Oxford English Dictionary (OED), the most authoritative dictionary in the English language, more than doubled the number of Korean-origin words. This record-breaking increase reflects the phenomenal rise of Korea’s cultural profile in recent decades. Words of Korean origin rose by twofold in the latest update of the Oxford English Dictionary. The unprecedented increase recognizes the global awareness of Korean culture through K-pop superstar groups, award-winning movies and drama series, trendy fashion and healthy food. © Shutterstock Up until the latter half of 2021, the Oxford English Dictionary included 24 Korean words. Then, in one swoop, the OED, the recognized authority on the English language, added another 26, an unprecedented number of words chosen from one language in a single year. Using one of the new additions, Dr. Danica Salazar, OED World English editor, described the distinctive list as daebak (a windfall or jackpot, or something fantastic and amazing). “We are all riding the crest of the Korean wave, and this can be felt not only in film, music or fashion, but also in our language, as evidenced by some of the words and phrases of Korean origin included in the latest update of the Oxford English Dictionary,” the OED said. Indeed, many of the new entries are familiar words to fans of Korea’s cultural exports. They have been part of the lexicon of the Korean wave (hallyu) for more than 15 years, seeping into English-language conversations and writings. With global awareness and popularity of Korean entertainment fare and flair showing no signs of losing steam, even more Korean words may have a chance at OED inclusion. Gradual Buildup Editions and regular supplements of the OED have expanded the profile of English far beyond its original mongrel mixture of Anglo-Saxon, Norse, Norman French, Greek and Latin. Currently, the dictionary contains some 600,000 words, past and present, used by English-language speakers around the world. The first edition of the OED was completed 49 years after the project was initiated. The first complete edition, printed in 12 volumes in 1928, comprised some 414,800 entries and more than 1.82 million example quotations from a variety of sources, including literature, movies and songs. But there was not a single Korean word entry. The first entries related to Korea were included in the 1933 supplement to the first edition: “Korean” and “Koreanize.” Then a 43-year gap followed before six entries were included in the 1976 supplement: gisaeng (women trained in singing and dancing, working as entertainers at the Korean royal court and in provincial centers); Hangul (the Korean alphabet); kimchi (a staple dish consisting of fermented cabbage flavored with various seasonings); kono (a traditional Korean game of strategy); myon (an administrative unit); and makkoli (traditional Korean rice wine). Seven entries were included in the 1982 supplement: sijo (a type of Korean classical vocal music or a Korean verse form consisting of three lines); taekwondo (a Korean martial art); won (the monetary unit of Korea); yangban (the traditional ruling class); ri (an administrative unit); onmun (Korean vernacular, another name for Hangul); and ondol (a traditional underfloor heating system). Thus, the second edition of the OED, published in 1989, contained 15 words of Korean origin. It was another 14 years before a new Korean-origin word would be added: hapkido (a modern martial art of self-defense). By then, Korean had been shortened in certain contexts to “K” and combined with other words to form new nouns. The first example was “K-pop,” which appeared in Billboard magazine in October 1999, according to the OED, which added the word in 2016. “K-drama” appeared in 2002 in The Strait Times, a Singapore newspaper, the OED says. K-pop and K-drama spearheaded the Korean wave, which quickened the pace of Korean entries in the OED. They included: bibimbap (a dish consisting of rice topped with sautéed vegetables, meat and chili paste) in 2011; soju (a type of distilled liquor) and “webtoon” (digital comics serialized through online platforms) in 2015; doenjang (fermented soybean paste), gochujang (red chili paste) and K-pop in 2016; chaebol (a large, family-owned business conglomerate) in 2017; and Juche (the political ideology associated with North Korea) in 2019. aegyo, n. and adj. A. n. Cuteness or charm, esp. of a sort considered characteristic of Korean popular culture. Also: behaviour regarded as cute, charming, or adorable. Cf. KAWAII n. B. adj. Characterized by ‘aegyo’, cute, charming, adorable. banchan, n. In Korean cookery: a small side dish of vegetables, etc., served along with rice as part of a typical Korean meal. bulgogi, n. In Korean cookery: a dish of thin slices of beef or pork which are marinated then grilled or stir-fried. chimaek, n. In South Korea and Korean-style restaurants: fried chicken served with beer. Popularized outside South Korea by the Korean television drama My Love from the Star(2014). daebak, n., int., and adj. A. n. Something lucrative or desirable, esp. when acquired or found by chance; a windfall, a jackpot. B. int. Expressing enthusiastic approval: ‘fantastic!’, ‘amazing!’ C. adj. As a general term of approval: excellent, fantastic, great fighting, int. Esp. in Korea and Korean contexts: expressing encouragement, incitement, or support: ‘Go on!’ ‘Go for it!’ hallyu, n. The increase in international interest in South Korea and its popular culture, esp. as represented by the global success of South Korean music, film, television, fashion, and food. Also: South Korean popular culture and entertainment itself. Frequently as a modifier, as in hallyu craze, hallyu fan, hallyu star, etc. Cf. K-, comb. form Forming nouns relating to South Korea and its (popular) culture, as K-beauty, K-culture, K-food, K-style, etc. Recorded earliest in K-POP n. See also K-DRAMA n. K-drama, n. A television series in the Korean language and produced in South Korea. Also: such series collectively. kimbap, n. A Korean dish consisting of cooked rice and other ingredients wrapped in a sheet of seaweed and cut into bite-sized slices. Konglish, n. and adj. A. n. A mixture of Korean and English, esp. an informal hybrid language spoken by Koreans, incorporating elements of Korean and English. In early use frequently depreciative. B. adj. Combining elements of Korean and English; of, relating to, or expressed in Konglish. In early use frequently depreciative. Korean wave, n. The rise of international interest in South Korea and its popular culture which took place in the late 20th and 21st centuries, esp. as represented by the global success of Korean music, film, television, fashion, and food ;= HALLYU n.; Cf. K- comb. form. manhwa, n. A Korean genre of cartoons and comic books, often influenced by Japanese manga. Also: a cartoon or comic book in this genre. Cf. MANGA n.2 Occasionally also applied to animated film. mukbang, n. A video, esp. one that is livestreamed, that features a person eating a large quantity of food and talking to the audience. Also: such videos collectively or as a phenomenon. noona, n. In Korean-speaking contexts: a boy’s or man’s elder sister. Also as a respectful form of address or term of endearment, and in extended use with reference to an older female friend. oppa, n. 1. In Korean-speaking contexts: a girl’s or woman’s elder brother. Also as a respectful form of address or term of endearment, and in extended use with reference to an older male friend or boyfriend. 2. An attractive South Korean man, esp. a famous or popular actor or singer. samgyeopsal, n. A Korean dish of thinly sliced pork belly, usually served raw to be cooked by the diner on a tabletop grill. skinship, n. Esp. in Japanese and Korean contexts: touching or close physical contact between parent and child or (esp. in later use) between lovers or friends, used to express affection or strengthen an emotional bond. trot, n. A genre of Korean popular music characterized by repetitive rhythms and emotional lyrics, combining a traditional Korean singing style with influences from Japanese, European, and American popular music. Also (and in earliest use) as a modifier, as in trot music, trot song, etc. This genre of music originated in the early 1900s during the Japanese occupation of Korea. unni, n. In Korean-speaking contexts: a girl’s or woman’s elder sister. Also as a respectful form of address or term of endearment, and in extended use with reference to an older female friend or an admired actress or singer. New Entries The latest OED update occurred in September 2021. In addition to the aforementioned daebak, the update fittingly included hallyu, K-drama, Korean wave and K-, the wellsprings of the new additions. From the K-pop world came the words oppa, unni and noona, terms of endearment used in fandom circles to address members of popular idol groups; and aegyo (cuteness or charm), a trait that fans expect from K-pop idols. Trot, an old genre of Korean popular music that has enjoyed an immense revival in recent years, was also added. From K-dramas came hanbok (Korea’s traditional dress), the standard garb in period screenplays; chimaek (fried chicken served with beer), which appears often as a favorite option for dates and on home-delivery menus; and “PC bang” (a computer gaming cafe). Manhwa (a Korean genre of cartoons and comic books) was also added as a separate entry from “webtoon,” an addition in 2015. Korean food obviously caught the OED’s attention as well; it was the largest subset in the update. In addition to chimaek, the new entries included banchan (side dishes served with rice), dongchimi (a type of kimchi), japchae (cellophane noodles with stir-fried vegetables), kimbap (seaweed rice rolls), galbi (marinated beef short ribs), bulgogi (thin, marinated slices of beef or pork) and samgyeopsal (thinly sliced pork belly), which diners cook themselves on a tabletop grill. Meanwhile, K-drama fight scenes between accomplished combatants invariably include punches from tang soo do, which is similar to karate. The martial art joined taekwondo, which features spinning and leaping kicks, in the OED. Interestingly, “fighting” (an interjection expressing encouragement or support) and “skinship” (close physical contact), which had been disparaged as “Konglish” (Korean words derived from English), were also among the new additions, as was “Konglish” itself. Another curious addition was mukbang (a video that features a person eating, usually seen on social media). Mukbang and chimaek are slang terms that haven’t even been added to Korean dictionaries. Exact Lexicography Publication of the OED began in installments in 1884. The 61-year gap between the first and second editions may not be duplicated with the third edition; compilation for the update began in 2000 and is expected to be produced in digital form rather than multiple volumes like previous editions. Still, it remains several years away from completion due to the nature of the OED. Unlike most dictionaries, the OED is an academic publication. It contains not only the current meanings of words but also their history, which is traced through a variety of sources, including books, periodicals, movies, songs and cookbooks. Thus, the OED includes multi layered linguistic information about the entries, such as the origin of the word and quotations from reference materials. The quotations add up to the millions in explaining the hundreds of thousands of entries. I was one of the Korean-language consultants for the newly added words, along with Professor Jieun Kiaer of the University of Oxford. Dr. Salazar sent me a PDF that contained two tables with a list of Korean-origin words to be included in the OED’s new update. One table was a list of new entries and questions, while the other was a list of existing entries that needed revision and related questions. Etymologist Katrin Thier also sent a PDF with questions about the origin of the words selected. Determining the etymology of a foreign word based on English materials alone without knowledge of the language in question is both difficult and risky. As such, working with a linguist who is a native speaker of the language is a requisite. All the words in the OED have a deion of their origin. This information is based on OED research, with the etymologist seeking verification from the native speaker. Advice was also sought for revisions of 12 existing entries. For instance, the OED asked about the syllable division of gisaeng and the etymology of kimchi, both words included in the 1976 supplement. Most questions were about the structure of words: the semantic segments of words and the origin of each segment, such as whether ban of the word banchan and bap in kimbap were related. I was also asked to check the OED’s analysis of the new entries, how some of the words were used in Korean, and what differences there were in usage between South and North Korea. There were some interesting questions, such as whether “noona” can be used to refer to a girlfriend as “oppa” is used with reference to a boyfriend. During my research to answer the OED’s questions, I discovered many interesting facts that I had not known before. One personal revelation involved the entry “PC bang.” The OED wanted to know whether these types of establishments sold food. To my knowledge, a PC bang only sold snacks like instant noodles in a plastic cup. But to my amazement, I discovered that they now offer such a wide variety of food that a new portmanteau has been spawned: “PCtaurant” (PC + restaurant). dongchimi, n. In Korean cuisine: a type of kimchi made with radish and typically also containing napa cabbage, spring onions, green chilli, and pear, traditionally eaten during winter. Cf. KIMCHI n. galbi, n. In Korean cookery: a dish of beef short ribs, usually marinated in soy sauce, garlic, and sugar, and sometimes cooked on a grill at the table. hanbok, n. A traditional Korean costume consisting of a long-sleeved jacket or blouse and a long, high-waisted skirt for women or loose-fitting trousers for men, typically worn on formal or ceremonial occasions. © MBC japchae, n. A Korean dish consisting of cellophane noodles made from sweet potato starch, stir-fried with vegetables and other ingredients, and typically seasoned with soy sauce and sesame oil. Cf. cellophane noodle n. PC bang, n. In South Korea: an establishment with multiple computer terminals providing access to the internet for a fee, usually for gaming. tang soo do, n. A Korean martial art using the hands and feet to deliver and block blows, similar to karate. © International Tang Soo Do Federation Criteria for Inclusion Several questions came to mind as I worked. Why had there been so few Korean-origin words listed in the OED before? And why were more Korean-origin entries than all the previous entries combined added in the latest update? Who decides which words are to be considered for inclusion and what is the selection process? What is the significance of so many Korean-origin words making it into the OED at once? And what about going forward? The relatively low representation of Korean in the OED can be attributed to the weak presence of Korean culture in the English-speaking world and a paucity of words of Korean origin in English publications, as well as, to some degree, underrepresentation. For a word to meet the criteria for inclusion in the OED, it must first capture the attention of the editors, have evidence of consistent usage in English writings over a period of time, and be used in the context for which it was intended. Then what about going forward? The recent addition of 26 Korean-origin words is just the beginning. These words have been constantly heard outside of Korea for at least 15 to 20 years, and compared to when they entered the lexicon, Korean pop culture has surged much higher in global popularity. In particular, Korean content is reaching a larger audience via global streaming platforms, as in the case of the Netflix mega-hit series “Squid Game,” giving international viewers an opportunity to absorb more Korean words than ever before. Hence, the Korean language will only spread further.

Focus 2021 WINTER

Lee Kun-hee Art Collection Unveiled The family of the late Samsung Group Chairman Lee Kun-hee has donated some 23,000 pieces from his extensive collection of ancient and modern art. Special exhibitions of carefully selected pieces at two state museums elicited enormous public interest. “Clearing after Rain on Mount Inwang” Jeong Seon (1676-1759). 1751. Ink on paper. 79.2 × 138 cm.A representative work of eminent Joseon court painter Jeong Seon, this ink and wash painting depicts the mist of a summer rain receding over Mt. Inwang in Seoul. Born and raised in a nearby neighborhood, Jeong captured the mountain he knew very well with bold brushstrokes. He broke away from the tradition of conceptual landscapes and advanced an approach that encouraged painters to depict the actual landscape they see. When the late chairman of Samsung Group, Lee Kun-hee, passed away in October 2020, the vast art collection that he left behind became a hot topic of public interest and speculation. The Samsung family’s love of art goes back to Lee’s father and founder of the group, Lee Byung-chul. Lee Kun-hee and his wife multiplied their inherited collection. The public has seen some of these items before; the Leeum, Samsung Museum of Art in Seoul and the Ho-Am Art Museum (named for Lee Byungchul’s pseudonym) in Yongin, some 40 km south of Seoul, exhibit paintings, ceramics and other ancient and modern artworks from the collection. But the entire breadth of the art trove had remained undisclosed, piquing public curiosity. Some claim that the “Lee Kun-hee collection” exceeds the artistic and cultural value of all the holdings in the National Museum of Korea or the National Museum of Modern and Contemporary Art (MMCA). Estimates of its monetary worth presumably run into trillions of won. In April 2021, Lee’s family announced that it would donate around 23,000 artifacts and artworks from the private collection. Antique pieces were gifted to the National Museum of Korea and works by renowned Korean and foreign artists went to the MMCA. In honor of the donation, the National Museum of Korea held a special exhibition, titled “A Great Cultural Legacy: Masterpieces from the Bequest of the Late Samsung Chairman Lee Kun-hee,” from July 21 to September 26, 2021. The MMCA opened its exhibition, “Lee Kun-hee Collection: Masterpieces of Korean Art,” on July 21. It will stay open until March 13, 2022. Scores of works by prominent modern Korean artists were donated to municipal art museums in regions from which the artists hailed: works by Kim Whanki (1913-1974) and Chun Kyung-ja (1924-201 5) went to the Jeonnam Museum of Art in Gwangyang, South Jeolla Province; paintings by Lee In-sung (1912-1950) and Seo Dong-jin (1900-1970) landed at the Daegu Art Museum; and works by painter Park Soo-keun (1914-1965) arrived at a museum that bears his name, located in Yanggu County, Gangwon Province. “Water-Moon Avalokitesvara” (left) 14th century. Ink and color on silk. 83.4 × 35.7 cm.Avalokitesvara is a bodhisattva who is believed to show compassion to many sentient beings, just as the moon’s reflection in the clear water can be observed in many different places. The delicate harmony of patterns and soft colors visible under the translucent garment demonstrates the exquisite beauty that is characteristic of Goryeo Buddhist painting. “Thousand-Armed Avalokitesvara” (right) 14th century. Ink and color on silk. 93.8 × 51.2 cm.Avalokitesvara with a thousand arms is known to save humans with the countless number of hands and eyes. Korean Buddhism has a long history of faith in this omniscient bodhisattva of compassion, but this is the only extant painting of the subject. The bodhisattva is depicted with 11 sides of the face and 44 hands, each holding an auspicious object. Masterpieces Among the donated pieces, the most significant are the artifacts and artworks that went to the two national museums, which include seminal works in the history of Korean art. The National Museum of Korea received some 21,600 artifacts that span prehistoric periods to the Joseon Dynasty (1392-1910). They range from earthenware, pottery, sculptures and wooden furniture to calligraphy and paintings. From among them, the museum selected 77 pieces for public viewing that represent the acme of aesthetic achievement and artistry of their respective periods. Some of the highlights included the ink-and-wash painting “Clearing after Rain on Mount Inwang” (1751) by eminent court painter Jeong Seon (1676-1759) of the late Joseon period; gilt-bronze Buddhist statues designated as National Treasures; and “Thousand-Armed Avalokitesvara,” a Goryeo Buddhist painting that renders the graceful beauty of the bodhisattva in elaborate detail. The exhibition’s centerpiece was “Clearing after Rain on Mount Inwang,” which depicts the scenery of the mountain located to the west of Gyeongbok Palace in central Seoul. The painting was produced at a time when the Grand Tour was the trend among European artists, which elevated the attention paid to landscape paintings. “Clearing after Rain on Mount Inwang” is comparable to the works that Welsh landscape painter Richard Wilson produced during his visit to Italy in 1750. While Wilson’s oil paintings faithfully render the idyllic scenery with the use of true-to-life colors, Jeong used lucid brushstrokes and subtle differences in the shading of the ink to produce a realistic depiction of a misty shroud receding over the mountain that he knew well as he lived nearby. The MMCA received 1,488 pieces from the late Lee’s collection. This is the single largest donation in the museum’s history, and more importantly, it includes some rare and iconic works from the early 20th century. The 58 modern and contemporary works featured in the special exhibition include some of the most notable pieces by artists who have made major milestones in Korean art history. “Women and Jars” Kim Whanki (1913-1974). 1950s. Oil on canvas. 281.5 × 567 cm.The topless women, white porcelain jars, cranes and deer featured in this painting are motifs that Kim Whanki often depicted from the late 1940s to the 1950s. Produced as a large mural, the painting evokes transcendent decorativeness through the stylized figures, objects and animals facing the front or side, set against the pastelcolored background. © Whanki Foundation · Whanki Museum Significance The first half of the 20th century was a gloomy period of turmoil and devastation, from Japanese occupation to the territorial division into North and South and the outbreak of the Korean War. Hence, a significant portion of artworks from this era were destroyed or lost, leaving a huge gap in the country’s art history. Under such circumstances, that a considerable number of artworks produced during this period of hardship and deprivation are being shown to the public should be held in high regard. “Paradise” (right) Baik Nam-soon (1904-1994). Circa 1936. Oil on canvas. Eight-panel screen. 173 × 372 cm.Baik Nam-soon was a first-generation Korean female painter who studied Western painting in Tokyo and Paris. The scenery depicted in this largescale painting obviously blends Eastern and Western utopias, reminiscent of ShangriLa and Arcadia. It reflects the artist’s rumination on how to work on Eastern and Western motifs and techniques. After her husband, Im Yong-ryeon (1901-?), also a painter, went missing during the Korean War, Baik moved to America with her children in 1964. Not much about her career has been known since. “Jackstones” (Gongginori) Chang Ucchin (1917-1990). 1938. Oil on canvas. 65 × 80.5 cm.Chang Ucchin is recognized for his distinctive style of simple, fairy-tale like depictions of familiar, everyday subjects, such as houses, trees and birds. This is Chang’s seminal early work, which earned him first prize at an art contest hosted by the daily Chosun Ilbo when he was 21 years old. Lacking in detail but showing a good composition, the painting brings to light the artist’s efforts before he developed his signature technique. Particularly noteworthy are “Paradise” by Baik Nam-soon (1904-1994), “Jackstones” (Gongginori) by Chang Ucchin (1917-1990) and “Echo” (Sanullim) by Kim Whanki. “Paradise,” Baik’s only large-scale work discovered to date, is an oil painting executed on a canvas reminiscent of a traditional eight-panel folding screen, a melding of Eastern and Western artistic styles. “Jackstones” is one of the precious early paintings by Chang, which won him a prize at an art contest hosted by a newspaper company when he was 21. Its realistic depiction, which recalls genre painting, is distinctly different from the artist’s heyday works marked by simplicity and child-like innocence. Kim Whanki moved to New York in 1963 and continued his work there. “Echo,” a magnum opus from the height of his career, is a dot painting that he finished in 1973, a year before he passed away. It has attracted multimillion-dollar bids at auctions in Seoul, New York and Hong Kong. Public interest in the donated artworks is evident in the huge rush to book tickets to the exhibitions. Such an enthusiastic response stems in part from the curiosity about the art trove of the richest man in Korea, coupled with the latest boost in cultural consumption afforded by an increase in national income. The MMCA received 1,488 pieces from the late Lee’s collection. This is the single largest donation in the museum’s history, and more importantly, it includes some rare and iconic works from the early 20th century. “Composition” Lee Ungno (1904-1989). 1971. Color on fabric. 230 × 145 cm.Lee Ungno is highly regarded for opening a new horizon in Korean art with his tireless experimental spirit transcending genre and motif. The “Abstract Letter” series he began producing in the early 1960s manifests his formative experiments. Unlike his earlier works that show lyrical tendencies, the letters in this piece are more three-dimensional and abstract. “Work” Yoo Young-kuk (1916-2002). 1974. Oil on canvas. 136 × 136.5 cm.Yoo Young-kuk delved into mountains. He regarded them to be the epitome of the sublime mystery of nature and a medium for experiment with pictorial elements, such as form and color. Produced at a turning point during his artistic journey, the painting displays a more uninhibited form and color compared to his absolute abstraction in previous years. Public Interest Another inf luence has been celebrities who are well-known art enthusiasts, most notably BTS’ leader RM, who enjoys visiting art exhibitions in his free time. This has played a part in sparking a strong interest in art among the general public, particularly younger generations. Due to the COVID-19 pandemic, however, the two exhibitions had to strictly limit the number of visitors per time slot. The heated competition to make a reservation even led to incidences of scalpers illegally selling the free tickets. Until not too long ago, many people used to liken a trip to an art gallery to a special event reserved for a small number of art aficionados. But in recent years, perceptions have gradually shifted, especially among younger generations. Going to a gallery or an art museum and dropping by a nearby café is seen as a leisure activity for anyone. Now, the unveiling of artworks from Lee Kun-hee’s collection is pushing the public’s enthusiasm for the arts several steps forward. “Yellow Road” Chun Kyung-ja (1924-2015). 1983. Color on paper. 96.7 × 76 cm.Chun Kyung-ja liked to draw women and flowers in a dreamy atmosphere, making use of traditional oriental pigments and the properties of paper. She depicted her oldest daughter-in-law in this painting, which displays her exotic style based on her color sensitivity and literary lyricism.

Focus 2021 AUTUMN

Classical Journey to Excellence Classical Journey to Excellence Young classical musicians from Korea have clinched top awards at prestigious music competitions around the world this year, gaining footholds for their future career. Kim Su-yeon won first prize in piano at this year’s Montreal International Music Competition, the first for a Korean pianist. © Denise Tamara, Courtesy of Kumho Cultural Foundation The COVID-19 pandemic delayed or canceled international classical music competitions in 2020, but the contests have resumed this year, with young Koreans once again breaking through ceilings and finishing first in various categories. These winners include pianist Kim Su-yeon, who excelled at the Montreal International Music Competition; cellist Han Jae-min and pianist Park Yeon-min at the George Enescu International Competition in Bucharest, Romania; and pianist Lee Dong-ha and the Arete String Quartet at the Prague Spring International Music Competition. Meanwhile, baritone Kim Gi-hoon won the main prize at the BBC Cardiff Singer of the World, which is regarded as the world’s most authoritative vocal competition. A Korean has won its song prize in the past, but Kim is the first to be awarded the main prize. Early education and fierce competition are the main explanations for the exceptional performance of Korean musicians in international competitions. With the exclusion of singing, the primary aim in musical disciplines is to identify and nurture talent from a young age. To that end, a continuous effort is exerted to groom future generations. Korea National Institute for the Gifted in Arts, affiliated with Korea National University of Arts, offers courses for young musical prodigies. Students from third grade and up can apply for intensely contested admissions. But to stay enrolled is another challenge entirely; students must pass annual auditions. In general, those selected based on latent talent and potential rather than skill turn out to be more successful. Compared to the past, channels for entering international competitions have also expanded, thus providing greater opportunities for young musicians to prove their talent. Kim Su-yeon The Montreal International Music Competition is dedicated to discovering and supporting young talent under the age of 33. Korean musicians have garnered awards in the competition’s violin and voice categories several times. But this year, Kim Su-yeon, 27, was the first to win in piano. The prize is worth 180,000 Canadian dollars in total value, including a cash prize of 30,000 Canadian dollars, a tour of three North American cities and an album release on the Steinway & Sons label. The Montreal contest was held virtually via video recordings. Kim’s repertoire included three pieces of her choice – Beethoven’s Sonata No. 30 in E major, Op. 109; Scriabin’s Sonata No. 2 in G-sharp minor, Op. 19; and Ravel’s Gaspard de la Nuit, M. 55 – as well as three of the “Twenty-Four Preludes” by Canadian composer John Burge, which were compulsory. Kim, who lives in Salzburg, Austria, also reached the semi-finals of the Queen Elisabeth Competition held in Brussels, Belgium. It nearly overlapped with the Montreal competition and also required a video recording. “Since I wasn’t playing in front of an audience, I was less nervous. But playing in front of the camera and recorder still gave me the jitters,” Kim recalled. She said she felt like an actress having to act in front of a wall, pouring out her emotions to it as if it were a fellow actor. Kim has received critical acclaim for having “a remarkably sophisticated technique with incredibly detailed articulation and miniature values.” She nurtured her musical talent and imagination, learning an extensive repertoire at the Korea National Institute for the Gifted in Arts and earned her master’s and doctorate degrees at Mozarteum University Salzburg, where she is currently continuing her studies in the advanced program. The Montreal contest was held virtually via video recordings due to the COVID-19 pandemic. Kim’s final repertoire included pieces by Beethoven, Scriabin, Ravel and Canadian composer John Burge. This is a screen capture of YouTube footage of the competition. Han Jae-min, Park Yeon-min The George Enescu International Competition is part of a larger festival honoring the Romanian composer and violinist. Held biennially, it is one of the biggest music festivals in Eastern Europe. Adding himself this year to the list of previous Korean winners, Han Jae-min became the youngest winner in the competition’s 53-year history. The 14-year-old cellist competed for the first time against noticeably older contenders. He received a cash prize of 15,000 euros and invitations to future music events, including the 2022 George Enescu Festival. “I thought it would be a great experience and also a chance to get an objective assessment of my ability,” said Han. Unlike other participants who had their own piano accompanist, Han played with a Romanian pianist who had been assigned to him by the organizer. This afforded him a deeper understanding of the Romanian sentiment, and hence worked to his advantage in his semi-final rendition of George Enescu’s Cello Sonata No. 2 in C major, Op. 26. Born into a family of musicians, Han started playing piano and violin at the age of five before taking up the cello, fascinated by its deep, resonant sound. After finishing eighth grade, he entered Korea National University of Arts, becoming the youngest student ever to be accepted. Park Yeon-min won the first prize in the piano section of the same competition. She earned her bachelor’s degree at Seoul National University’s College of Music and her master’s at Hanover University of Music, Drama and Media in Germany, where she is currently enrolled in the advanced program. Park was among the 14 semi-finalists in the 2020 International Franz Liszt Piano Competition, but it was canceled due to the pandemic. Nonetheless, she buckled down to prepare for the George Enescu competition, for which she chose the notoriously difficult piece, Rachmaninoff’s Piano Concerto No. 3 in D minor, Op. 30. Her performance, marked by overwhelming power and fervor, won her the top accolade. Cellist Han Jae-min performs at the 2020 George Enescu International Competition, held in May this year in Bucharest, Romania. The 14-year-old won first prize in the cello section. He was the youngest ever winner and participant since the competition’s inception in 1958. © Andrei Gindac, George Enescu International Competition Pianist Park Yeon-min won first prize for her performance of Rachmaninoff’s Piano Concerto No. 3 in D minor, Op. 30 at the 2020 George Enescu International Competition, held in Bucharest, Romania. Park debuted at the Kumho Young Artists Concert in 2014. © Andrei Gindac, George Enescu International Competition Early education and fierce competition are the main explanations for the exceptional performance of Korean musicians in international competitions. Lee Dong-ha, Arete String Quartet Pianist Lee Dong-ha, 27, won the Prague Spring International Music Competition in May despite a lack of experience abroad; the contest was his first international competition. He chose some of his favorite pieces for his performance, but since they were pieces that many pianists also enjoy playing, he worked hard to bring his own individual interpretation to the stage. Lee said that there were difficulties due to the competition being moved up a month, but that it was a meaningful experience in that he was able to receive objective and detailed feedback about his performance from the judges. The Prague competition, established in 1946, is for musicians who are under 30 years old. After graduating from Yonsei University, Lee earned his master’s degree from Hanover University of Music, Drama and Media and is currently studying for his doctorate at Münster School of Music. The Prague competition’s string quartet section was held this year for the first time in 16 years, with the Arete String Quartet winning five special prizes in addition to the top prize. The quartet included Beethoven’s compositions in its performance. Formed in September 2019, the Arete String Quartet consists of violinists Jeon Chae-ann and Kim Dong-hwi, violist Jang Yoon-sun and cellist Park Seong-hyeon. Their debut performance at the Kumho Young Chamber Concert in 2020 was broadcast live on KBS Classic FM, an unprecedented achievement for unknown musicians. They are now receiving recognition as rising stars following in the footsteps of the Novus String Quartet and Esmé Quartet. Pianist Lee Dong-ha performs at the 2021 Prague Spring International Music Competition, his first international contest. He said that more meaningful than winning first prize was the feedback and advice he received from the distinguished judges. © Petra Hajská, Prague Spring International Music Competition The Arete String Quartet, which was only formed in 2019, is also on the fast track. The group won first prize in the string quartet section of the 2021 Prague Spring International Music Competition, in addition to five special prizes. © Petra Hajská, Prague Spring International Music Competition Ryu Tae-hyung Music Columnist

Focus 2021 SUMMER

DILKUSHA ‘ Palace of Heart’ s Delight’ The most recognizable Western-style home in Seoul during the 1920s fell into the dustbin ofhistory, literally and figuratively. Decades later, the role of its occupants and their life storyinspired a government-led restoration, turning the worn-down building into an attractive house museum. Dilkusha, a Western-style red-brick house in Haengchon-dong, Seoul, was built in 1923 byAmerican businessman and news correspondent Albert Taylor and his wife, British actress MaryLinley Taylor. An old photograph of the house appeared in “Village Outside Donuimun, Below theFortress Wall: History, Space, Housing,” published in 2009 by the Seoul Metropolitan Government. Dilkusha exemplifies the construction techniques of Western-style houses built in Korea in the early 20th century. The outer wall was built by laying bricks on the side with alternating layers of headers and stretchers. Albert Taylor arrived in Korea in the late 1890s, when his father started a gold mining project in North Pyongan Province. Taylor and his British actress wife, Mary Linley, were expelled to America by Japan in 1942. He died in California in 1948 and his ashes were brought to Seoul to be laid next to his father’s grave. Adistinctive two-story, red-brick house stands in a dense residential neighborhood on a hillside overlooking a royal palace in central Seoul. Its cornerstone reads: DILKUSHA 1923. At the time, it was the most prominent non-Korean-style house owned by Westerners in Seoul, but for many decades that followed, it was no more than a dilapidated mystery to onlookers. In the late 1890s, toward the end of the Joseon Dynasty, American businessman George Alexander Taylor (1829- 1908) arrived in Korea for a gold mining project in North Pyongan Province. One of his sons, Albert Wilder Taylor, later married British actress Mary Linley and they christened their newly built home “Dilkusha,” in remembrance of a palace in northern India they had visited on their honeymoon. In Sanskrit, it means “Palace of Heart’s Delight. A Place in History Following in his father’s footsteps, Albert also worked in gold mining. But he wore more than one hat.He established W. W. Taylor & Company in Sogong-dong, in the heart of Seoul, which imported and soldAmerican cars, assorted household items and construction materials. He also served as a correspondentfor the Associated Press. Albert’s son, Bruce, was born at Severance Hospital on February 28, 1919, a day before the March 1Independence Movement, when protests against oppressive Japanese colonial rule began to spread acrossthe country. Before the groundswell, Korean activists printed their declaration of independence in the basement ofthe hospital, which was then raided by Japanese police. Their printing press was found but the manifestowas not According to Mary Linley Taylor’s memoir, “Chain of Amber” (The Book Guild Ltd., 1992), a nurse secretlyhid copies of the proclamation under the newborn’s quilt. When Albert arrived at the hospital and liftedtheir first child into his arms, he stumbled upon the copies. It only took a moment for him to realizethe magnitude of his discovery. Mary wrote: “‘Korean Declaration of Independence,’ he exclaimed, astonished. To this day, I aver that,as a newly fledged newspaper correspondent, he was more thrilled to find those documents than he was tofind his own son and heir. That very night, Brother Bill (Albert’s younger brother) left Seoul forTokyo, with a copy of the Proclamation in the hollow of his heel, to get it off, with Albert’s report,438 KOREANA SUMMER 2021 over the cables to America, before any order could be issued to stopit." The unthinkable was unfolding: After nine years under colonial rule, the Korean people were taking tothe streets nationwide in a grassroots uprising against Imperial Japan. Albert’s report of thedeclaration reached newspaper readers across the world. After March 1, Albert reported on the brutal crackdown on protesters and the burning of innocentcivilians. At the risk of retaliatory action by the Japanese government-general against his business,he exposed Japan’s atrocities to the world, hence playing a crucial role in drawing global attention toand sympathy for the anti-Japanese struggles of the Korean people. Naturally, he was an irritant to theJapanese authorities. Following the outbreak of the Pacific War in December 1941, Japan prohibitedcitizens of “enemy states” from residing in its territory. Albert was arrested by the Japanese militaryand confined at Seodaemun Prison for six months while Mary was kept under close surveillance. The nextyear, they were expelled to America. The Taylors faded from Korea’s collective conscience. Then, in 2006, 64 years after their expulsion,Bruce Taylor and his daughter Jennifer traveled to Seoul. Their visit revived old memories and informedpostwar generations of Albert Taylor’s role in Korean history. It also prompted the Seoul Metropolitan Government and the central government to preserve Dilkusha. Thetask was a formidable one; a safety inspection had deemed the house uninhabitable, though squatters hadoccupied it since the 1960s. The second-floor living room in Dilkusha. Based on old photographs, the furnishingsreplicate the Taylors’ time in the house. Thefurniture and accessories, such as the landscape painting, vases, lamps, chairs and three-story chest, are a blend of East and West. Restoration Even to the naked eye the building looked unstable. Bricks were missing, cracked concrete walls exposedsteel reinforcing bars, and a carelessly thrown tarp covered the sagging, leaky roof. Inside, sectionshad been removed or haphazardly patched up. They included the area underneath the staircase between thefirst and second floors where the Taylor family had hidden when Japanese soldiers came to arrest thembefore their deportation, the fireplace in the second-floor study, the foyer, stairs, flooring andwindow frames. To prevent further damage and preserve its history, the house was designated as a “Registered CulturalProperty” in 2017, two years after Bruce Taylor passed away. Renovations began the following year,based on photographs that Mary had left behind, and the furnishings were faithfully reproduced, from aGlenwood Heater to the furniture the Taylors had used. Even small details such as the placement of avase and candle stand were not overlooked. In addition to these reproductions, some of the 1,026 familyartifacts, including old photographs, donated to the Seoul Museum of 1, 2. The second-floor living roomin Dilkusha. Based on old photographs, the furnishings replicate the Taylors’ time in the house. Thefurniture and accessories, such as the landscape painting, vases, lamps, chairs and three-story chest,are a blend of East and West. 3, 4. The first-floor living room in Dilkusha. The house was restored toits original appearance in a two-year effort based on meticulous research. 1 2KOREAN CULTURE & ARTS 39History by the Taylors’ descendants, were also displayed. After the necessary amenities were installed,Dilkusha was opened to the public on March 1, 2021, the 102nd anniversary of the March 1 IndependenceMovement. Dilkusha, situated in Haengchon-dong, Jongno District, Seoul, is not just another house that wasoccupied by a foreign family. It was the abode of a dauntless man who risked personal safety to tellthe world of the Korean people’s resistance against imperialism. In 1948, Albert died of a heart attack in California. Having spent more of his life in Korea than inAmerica, he always wished to be laid to rest in Korea. To honor her husband’s wishes, Mary brought hisashes back to Korea on a U.S. military warship right after the establishment of the Republic of Korea,and buried them next to his father’s grave in the Yanghwajin Foreign Missionary Cemetery inHapjeong-dong, Seoul. Mary passed away in 1982 at the age of 92 and was buried in California. When Bruce and Jennifer visitedKorea in 2006, they brought with them soil they had dug up from Mary’s grave, which they sprinkled overAlbert’s tomb; they then took soil from Albert’s grave back to California and scattered it over Mary’stomb. Albert Taylor was among the many foreigners who backed Korea’s independence movement – both openly andcovertly. British journalist Ernest T. Bethell (1872-1909), who came to Korea in 1904 and lived just 200meters from Dilkusha, founded the Korea Daily News along with Korean journalist and independenceactivist Yang Gi-tak (1871- 1938). Bethell sharply criticized Japan’s policy of aggression andsupported Korea’s fight for independence. The first-floor living room in Dilkusha. Thehouse was restored to its original appearance ina two-year effort based on meticulous research. It was the abode of a dauntless man who risked personal safety to tell the world of the Korean people’s resistance against imperialism. Foreign Allies rederick A. MacKenzie (1869-1931) covered the Korean resistance as a correspondent for the Britishnewspaper, Daily Mail. From 1906 to 1907, he traveled to mountainous regions in Gyeonggi, Chungcheongand Gangwon provinces to interview anti-Japanese militias known as the “Righteous Armies.” He wrote twobooks, “The Tragedy of Korea” (1908) and “Korea’s Fight for Freedom” (1920), which constitute a valuablehistorical resource attesting to how even civilians engaged in fierce guerrilla warfare to defend theircountry against foreign aggression. Frank W. Schofield (1889-1970) was a British-born Canadian missionary and medical scientist who servedas a professor at Severance Union Medical College, forerunner of Yonsei University’s College ofMedicine. He also reported on Japan’s massacres of Korean civilians to foreign media, for which he wasdeported in 1920. He returned to Korea in 1969, where he spent the last days of his life, and was thefirst foreigner to be interred in the Seoul National Cemetery.

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