KOREA magazine [September 2010 VOL. 6 NO. 9]

8/8/2019 KOREA magazine [September 2010 VOL. 6 NO. 9]

http://slidepdf.com/reader/full/korea-magazine-september-2010-vol-6-no-9 1/51



PRELUDE

The Beauty of Korea Salterns, or salt farms, are

spread along Korea’s west coast. Sinan (pictured on this

page) and Yeonggwang in Jeollanam-do Province are

especially well-known for cheonilyeom, or sun-dried salt,

famed for having the best in taste any salt produced in

Korea. Korean salterns, dating from the late Joseon Dynasty

in the 19th century, were included on UNESCO’s Tentative

List of World Heritage sites in January 2010.

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CONTENTSSEPTEMBER 2010 VOL. 6 NO. 9

COVER STORY 04

With no language barriers between cast

and audience, “non-verbal performances”

Jump and Nanta have taken Korea’s tradi-

tional rhythms into the global mainstream.

PEN & BRUSH 16

Though in her early 40s, Ha Sung-ran is as

youthful a writer as ever. Using delicate yet

detailed prose, she evokes feelings of loss

and love with extraordinary vivacity.

PEOPLE 20

Three decades overseas haven’t dimmed

Kim Young-hee’s love for Korea. Her

artwork displays a formidable talent,

inspired by a sharp sense of nostalgia.

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페이지



KOREA’S

NON VERBAL

COVER STORY

PERFORMANCE

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It can last anywhere between an hour and 90 minutes. For

that time, all you can hear from the stage is the sound of

heavy breathing, Korean words and occasional shrieks. Some

of the words are then translated into English for the benefit

of foreigners in the audience. But as for dialogue, that’s pretty

much it.All the rest of the hilarity comes via the actors’

motions, outlandish facial expressions, and interaction with

an invariably game audience.

In what has come to be known as “non-verbal

performance,” the actors communicate in a wordless

language, making it possible to reach out to all cultures andappeal to audiences around the world. Because the

performances are inspired by elements of traditional Korean

culture, that communication retains the ability to teach

foreign viewers about Korea itself.

Here, we meet the people who took this distinctly Korean,

yet profoundly universal form, beyond national borders.We

also get a sneak peek of upcoming non-verbal shows and

delve into what the future is.

THE LEGEND OF NANTA In Korean, nanta means “to strike

violently,” but today, the word has become synonymous with

the smash-hit show of the same name. Before Nanta debuted

in 1997, the most popular Korean shows among foreigners

were pansori, or traditional narrative song, and gugak, Korean

classical music. There were, of course, successful modern

plays or other non-musical performances, but thy were

almost entirely limited to speakers of Korean.

Cast members from Nanta play with fire (opposite top). It doesn’t

take long to work out why this show is called Jump (opposite

bottom). Nanta’s spirit comes from rhythms played in unlikely

settings – even on chopping boards (above, below). Jump keeps

the audience laughing from the beginning to end (bottom).

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A scene from Jump features dynamic martial arts performances

(above). Fanta-Stick combines non-verbal performance with Korean

classical music, gugak (opposite).

proved such a hit wherever it has played.

PMC Production, which produced Nanta, says that it had

international markets in mind from the outset, and the show

continues to play to packed houses overseas. To satisfy

enthusiasm, PMC now plans to build a resident theater for

Nanta somewhere else in Asia, as well. None of this has

detracted from a focus on the domestic market. PMC says

it’s trying to make more use of its own theater in Seoul, while

also commissioning a new score for the whole production.

Using this background music, a renowned Korean musical

director added stronger beats and accentuated the Koreansounds. Highlights of the show, such as the striking of the

chopping boards, the cooking elements and conclusion, have

been rendered richer and more colorful.

Having taken Nanta around the world, PMC is now

gearing up for a second act. As with Nanta, the company is

looking close to home for inspiration. TAAL, a visual per-

formance, draws on the Hahoe Masks of Andong, where the

show is being staged this month. Produced in collaborationwith the Korean musical company, Creative Team, TAAL

shows there is plenty of inspiration left in PMC yet.

JUMP INTO ANOTHER WORLD Jump, the other great non-

verbal success, combines the comedic, live-wire action seen

in Nanta, with Korean martial arts. As with Nanta, the tradi-

tion has been given a distinctly theatrical spin. Drawing on

taekwondo and the lesser-known martial art taekkyeon, Jump

throws in acrobatics, dance moves, and slapstick to create a

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after mulling how they could incorporate taekwondo into a

stage performance. In early versions of the show, convention-

al acting played a big part, but as time progressed, martial

arts came to the fore.

Success came quickly, but Yegam wasn’t prepared to sit

back and relax. It began changing and improving the show

almost immediately, and has continued to do so ever since. In

practically every show, the actors ad-lib lines and try out

slightly different moves. This keeps the performance fresh

and interesting, prompting spectators to return for repeated

viewings.In its early days, Jump received numerous and often unfa-

vorable comparisons with foreign martial arts shows, but as

time went by, it gained recognition for being something

entirely unique. In a run that has continued virtually unbro-

ken since its debut, Jump has played in 40 towns and cities

around Korea and, after being named an “excellent perform-

ance” by the Korea Cultural & Arts Centers Association, it will

tour more than 40 more venues this year. Jump now has two

dedicated theaters in Seoul alone, and two more each in

Busan, Korea and New York, the US. It has filled theaters in

Britain, Greece, Japan, Taiwan, Malaysia, Singapore and

Australia. Last year, Jump played its 5,000th show, a feat for

which it was awarded the 2009 Korea Contents Awards.

As with Nanta, what makes Jump’s success particularly

gratifying is that it embraced Korean cultural sentiment and

took it around the world. The hope now is that people who

danced to these ancient samulnori rhythms will go on to take

around the world. It was a breath of fresh air for a dance

world that had, in some countries, seemed to run out of new

ideas. It became a social and commercial phenomenon that

even business figures and politicians paid attention to.

President Lee Myung-bak, the prime minister, cabinet minis-

ters and legislators have all attended the show, as have leaders

in education and religion.

The plot is very straightforward. On a street where a ballet

hall is located, some breakdancers set up a square where they

can practice, leading to friction between the b-boys and the

eponymous ballerina. As time passes, however, the ballerinafalls for one of the b-boys and chooses to become a street

dancer instead. Though choosing life on the opposite end of

y




the spectrum and giving up something she had been doing

since childhood, the ballerina achieves genuine happiness.

The story is designed as a wake-up call to the many of us who

don’t recognize just what it is our loved ones want, as well as

those of us who forget out true dreams.

In stark contrast to the b-boys, ballet has long been the

preserve of the cultural elite. The genius of Ballerina Who

Loves B-Boy was that it brought these two disparate genres

together, opening each up to the other’s audience.Yet in mar-

rying breakdancing and ballet, Ballerina Who Loves B-Boy

didn’t just showcase the two styles, it created a new one.Producing a kind of Jekyll and Hyde hybrid, the show man-

aged the fine balance between ballet and breakdancing, and

enjoyed a hugely successful run as a result.

More recently, Fanta-Stick, a live music show incorporating

gugak, is another hugely enjoyable non-verbal performance.

Mixing the ancient Korean fable Jamyeonggo Tales with

Shakespeare’s classic Romeo and Juliet , Fanta-Stick delivers a

riveting re-interpretation of traditional forms, including

pansori, violins and percussion.

The excitement in Fanta-Stick is built around the live

music performances. Virtuosos in percussion, pansori and

the violin all have key roles in the show, and all the music is

performed right before the viewers’eyes. In addition, Fanta-

Stick covers all genres — from pop to gugak — meaning there

is something for every kind of music fan.

Drawing Show, a so-called “picture concert,” is a non-verbal

performance detailing the magical process of how a piece of

“Masterpiece Drawing,” one of many artistic moments from

Drawing Show (top). Ballerina Who Loves B-Boy is a compelling

combination of non-verbal performance, ballet and b-boy dance

(above, opposite bottom). A scene from Fanta-Stick (below).

“Light Drawing,” one of the performances of Drawing Show ,

features several dazzling scenes (opposite top).



http://slidepdf.com/reader/full/korea-magazine-september-2010-vol-6-no-9 13/51From the beginning Nanta was created with overseas mar-

PIONEERS OF

COVER STORY

Song Seung-hwan, head of PMC Production




comedy without dialogue using just martial arts, acrobatics,

gymnastics, and straight acting. By doing Jump, we realized

actions were what brought us closer to the audience.”Both Nanta and Jump incorporate non-verbal elements of

traditional Korean culture. For its show of chefs banging out

pulsating rhythms using kitchen utensils, Nanta drew inspira-

tion from a traditional Korean percussive form samulnori.

Jump uses elements of the Korean martial arts taekwondo

and taekkyeon with joyous Korean music in the background.

With the exception of taekwondo, none of these forms are

well known outside Korea, but all were crucial in creating theshows’ successes.

Besides their embrace of traditional Korean culture, the

other key part of the shows’ long-term success, Song says, has

been their decision to open up their own resident theaters.

“We opened the theater in 2000 and we’ve been performing

there ever since,” he said. “I think that was the biggest key to

our success. The show itself is important but stability from

the specialized theaters has produced synergy effects. We can

host foreign tourists at the same venue and we’ve been able to

maintain partnerships with many travel agencies.”

The huge success of Nanta and Jump has done much to

heighten the profile of Korea overseas. This hasn’t necessarily

led to increased knowledge of the country’s culture, as Song

discovered when pitching Nanta to a foreign buyer a few

years ago.

“He said to me, ‘You perform in Korea?’There are three

things I know about Korea: North Korea South Korea and

Both companies are also working on follow ups to their hit

productions. PMC has been trying out several new shows,

including The CAR and TAAL. Later next year, Yegam plans totour a new martial arts blockbuster a similar to Jump. Called

Break Out , the show, which incorporates elements of b-boy

dancing and hip hop music, has already previewed to good

reviews.

“As with Nanta and Jump, we have to keep developing cre-

ative and original content,” Song says. “Rather than going

with what’s hot at the moment, you have to develop new con-

tent and keep making necessary changes to pursue a long-term project. If you stick only to what’s distinctively Korean,

you may not win over too many fans outside the country. So

it’s important to have some universal values.”

“Quality and originality are essential elements,”says Kim,

echoing Song’s ideas.“You also have to find a common sensi-

bility that everyone in the world can relate to.”

With Nanta and Jump, Song and Kim achieved exactly that.

Wherever they go next in search of those universal values, it

promises to be an exciting ride.

Kim Kyung-hun, CEO of Yegam Inc.




COVER STORY

FOR KOREANSHOWS, ALL THE WORLDIS A STAGE

Nanta, which kick-started the genre of “non-verbal performances,” wowed audi-ences at the Edinburgh Festival Fringe inScotland, before taking New York by storm. Jump also played to packed housesin Edinburgh and now has its very ownresident theater on Broadway. This is thestory of two boisterous shows born in

Korea, but now very much a part of theworld stage.




year, tour groups of Japanese students were traveling to Korea

specifically to see it. Within months, Nanta had opened its

own purpose-built venue. Nanta was performed during the opening ceremony for the

14th Asian Games in Busan in 2002, instantly elevating it to

the status of Korea’s signature show. The following year,

Nanta’s astonishing run of success continued when it became

the first ever Asian show to have its own theater off-

Broadway. To date, Nanta has been staged in 250 cities in 40

countries, becoming one of the most successful ambassadors

for Korean culture that the country has ever seen. Its travelshave taken it across Asia, Europe, the United States, South

America, and Oceania. In visiting Tunisia in 2009, Nanta had

played all six continents.

Despite Nanta’s success, it

didn’t inspire an immediate

legion of imitators. But just as

people began to think the

appeal of the non-verbal

performance was a flash-in-

the-pan, along came Jump.

Arriving seemingly from out of

nowhere, Jump — a frenetic

show about a family of martial

arts experts defending their

home fromburglars — followed

a similarly astronomical

trajectory from debuting in

Jump’s resident theater in New

York (opposite). Festival-goers in

Edinburgh check out a poster

advertising Nanta (above). A Jump

actor goes airborne (far left). A

seasonal poster for Nanta (left).

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PEN & BRUSH

AMAZINGSTORIESABOUT TRIVIAL

THINGS




With 15 years of writing experience under her belt, Ha

Sung-ran is one of Korea’s best-known novelists. When

asked where she puts herself in the Korean literary

firmament, she replies, “Me? I’m just a young writer.”

For Ha, being called “young” is the highest compliment

you can pay an author because it signals, she says, a dash

of unpredictability and the power to question the most

basic tenets of life.

“When a writer considers herself old, she can’t write

anything more.” Though now in her early 40s, Ha acts

more freely, retaining that liberty of youth.

DISCOVERING HER FREEDOM Yet for one so “young,” Ha

has had more than her share of life-altering experiences.

In 1996, after 10 years of writing, the 29-year-old Ha had

her first child and also officially rid herself of the tag

“would-be writer” after winning the Seoul Sinmun (daily

newspaper) Annual Spring Literary Contest for her short

story Grass.

With this success, Ha also became prolific. In thefollowing years, she won a string of awards, including the

Dongin Literary Award, the Hankook Ilbo (daily

newspaper) Literary Award and the Contemporary

Literature Prize (or Hyundae Munhak Award), for works

such as Rubin’s Glass, Girl Next Door, and Heroine of My

Movie. For people suddenly thrust into fame,

the challenge of finding new material can be

overpowering. Throughout her career, Ha has somehow

d i h iki k k f i




community raising their children free from the

institutions of marriage and traditional family structures.

In using an incident that so shocked her, Ha is issuing a

stinging critique of the problems of marriage and

communities of women.

ELABORATE DEPICTIONS However, Ha delivers her short

stories in a rather different vein from her novels. Ever

since studying writing and entering the annual spring

literary contest at her high school, Ha has made it a habit

to closely observe the people and fleeting situations she

encounters. To adapt Descartes’ classic formulation, Ha’smotto could be “I see therefore I am.”

With short stories such as Mold Flowers and Girl Next

Door , we can see why Ha’s style is sometimes called

“micro-depiction.” Mold Flowers, a short story about a

man who goes through the trash of his apartment

complex neighbors, describes the garbage in such detail

that readers with a weak stomach may need to pause

before proceeding. Girl Next Door depicts the destructionof an ordinary housewife’s life using the present

continuous form, giving readers the feeling that they are

witnessing the process first-hand.

“I needed a new writing style. Not a descriptive style

of writing, but a more unfamiliar style to deliver the

problems of solitude and the difficulty of communica-

tion,” says Ha.

“A present continuous form with a micro-managed

l f i i ll hi d di H

SAPPORO INN> Language Chinese

> Publisher Shanghai Literature Publications

(Shanghai China)

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PEOPLE

THE

ART SHEBREATHES




In making dakjongi dolls, one of Kim’s most common

pieces, she builds frames with hardwood and then wraps

wires around them. She wraps dozens of sheets of paper

around them to create the shape of the doll, which she then

colors and paints. Every step requires countless little touches,

and every doll is rich in Kim’s own emotion. Imbued with the

kind of memories of home that only a long-time expat

knows, Kim’s dakjongi pieces that she makes in Germany

embody elements of Korea that are actually now quite hard

to find there. Just how do such peculiarly Korean works of

art go down with European audiences?

“I don’t stick just to Korean topics,” says Kim.“Forinstance, at first glance, my dolls seem to be dressed in

hanbok (Korean traditional dress), but I actually try and

take out the specific features so that they will be more

culturally neutral, and so more natural and abstract.”

“My sculptures include children who are reading or

drawing, or mothers who read to their kids. You can easily

see what they are doing. I don’t think there’s much difference

in how European audience interpret my work and howKoreans do. Art itself is more fundamental than that.”

INSPIRATION FROM WITHIN Throughout her career, Kim has

dabbled in many different genres, so just where does she get

her inspiration? “All sources of inspiration and creativity

come from within,” she says. Three decades into her career,

that inspiration remains as strong as ever, pushing Kim to an

output that is as prolific as it’s ever been.

“Wh I I h d i hild d

Kim Young-hee is a Korean artist living in Germany. She

moved there in 1981, when she was 37, meaning she has spent

l h lf h lif i hi f ff l d Ki ’ di i l K




just now,” she says. “I’ve built my career in Europe, and my

children and grandchildren are all living in Germany. But

when I go, I want to be buried in Korea.”

Her periodic Korean exhibitions, held every one to two

years, present precious opportunities for Kim to visit hernative land. She still loves the beauty of hanok, and whenever

she travels to Korea, she makes sure to go to Deoksugung,

Changgyeonggung, and Gyeongbokgung palaces in Seoul.

The chance to taste Korean cuisine on her home soil is

another great joys she looks forward to. When her Korean

exhibit ended in late August, she was thrust right back into

grueling preparations for her next show in Germany. Her

time in Korea, despite the work, had been as comfortable and

hi h l id f i

She lists gardening as her only hobby. But even then, she says,

“Beautiful flowers enrich my artistic sensibilities and so help

my career.”

With each being so unique, she says, raising flowers is very

similar to creating works of art. When she’s home, Kimchecks on every one of her plants, making sure they’re well-

watered, and even conversing amiably with them. “I’ve

planted about 200 of them in my garden and every season

brings its own beautiful colors. People in the neighborhood

see me as a gardener first, not an artist.”

Though she’s known more as an artist overseas, Kim takes

on yet another title – that of “author”. Her first essay, The

Woman Who Makes Babies Well , offered a candid account of

h d d l hi I ld h 2




PEOPLE

In a country where most people probably didn’t even know it

existed, the Korean under-20 women’s football team recently

sent shockwaves through Korea’s football establishment.

Following a round of 16 finish by the men’s national team in

the June World Cup in South Africa, the women’s team

proceeded to go one better, finishing third at the under-20

event, held in Germany from July through early August. Not

only was it the best ever finish for the women’s team, it was

the highest finish of any Korean team in a FIFA event.

Given that there are just 1,404 registered female football

players in the entire country, Korea’s achievement at the

under-20 World Cup was little short of miraculous. Thoughevery player made an enormous contribution, one had a

bigger hand in this miracle than any other. Scoring eight

goals in the tournament, Ji So-yun won both the Silver Shoe

Award (given to the second-best scorer), and the Silver Ball

Award (for being second-best player) as she powered her

team to third place in the tournament.

In tribute to her lightning-quick dribbling and superb

passing, Ji has earned the nickname “Ji-Messi,” a nod to bothBarcelona star Lionel Messi and French football legend

Zinedine Zidane. Just as Park Ji-sung became a figure of

inspiration for the Korean men’s game, Ji now has the weight

of the nation on her young shoulders, with Koreans looking




taxes, it still dwarfs the 30 million she would receive as a

rookie in the WK League.Aother reason Ji wants to play in the US is to show that

Asian players can be a force in the toughest league in the

world. Although Ji So-yun herself is not the biggest of

players, being 160cm tall and weighing 50kg, she proved at

this year’s World Cup that her skills are easily sufficient to

outweigh any physical constraints.

“I have heard from female Korean football players in the

German league that life there can be extremely disappointing.

D i h i i il l l f kill h h i li i

forward to seeing her at the forefront of women’s football for

many years to come.

“I only have pleasant memories,” Ji said of her time at the

tournament.“We would have dance battles during training to

brighten the atmosphere,” she said. “After we advanced to the

semi-finals, we transformed the locker room into a nightclub,

flashing the lights on and off while dancing and celebrating.”

In truth, however, Ji has never so much as stepped foot in a

nightclub.“I’d rather be practicing and playing football than

spending time at a nightclub,” she said.

After her World Cup heroics, Ji has since had to settle back

into her more humdrum daily routine. Training at the footof the tranquil Songnisan Mountain in Boeun,

Chungcheongbuk-do Province, Ji was set to take part in the

Tongildaegi Women’s Football Tournament in the town of

Gangneung. The most immediate evidence of her changed

status was the hordes of interview requests she received when

she came back to Korea. With the media interest now having

subsided somewhat, Ji is again placing her focus on training.

As a senior at Hanyang Women’s University, Ji should, likemost of her classmates, be busy looking for jobs. Since her

showing at the under-20 tournament, Ji has found herself in

the enviable position of being scouted by a host of

professional women’s teams. All of the teams in the WK

League would like to sign Ji, but they will have to wait until

the November Rookie Drafts to follow up on their interest.

Overseas, teams from the German league and the Women’s

Professional Soccer (WPS) League in the US are said to be

k i l h

26-31 travel 2010.8.30 4:20 PM 페이지 1 Mac-2 in T C M Y K



TRAVEL




Affording an exceptional view overlooking all of Hahoe Folk

Village, Buyongdae hill is the perfect spot to begin your visit.

Climb this cliff for about 10 minutes from the Hwacheon

Seowon, one of the old Confucian academies in Andong, and

Hahoe, the S-shaped Nakdong River waterway, and a

beautiful mountain range opens up before you.

In times past, Koreans would take feng shui into considera-

tion when building their homes. It would help decide on the

sites for houses, graves, temples, cities, and even the capital

according to the water and mountains. With mountains to its

rear and water flowing around it, Hahoe, which means “river

winding,” is located in a particularly auspicious spot, giving ita reputation for happy, peaceful living throughout much of

the Joseon Dynasty (1392-1910).

Climbing down from Buyongdae, take the small boat

across the river and enter the village. This is where the real

travels begin. Follow the dirt road by the stone walls, and in

every corner stands a traditional hanok house, its old-

fashioned eaved roofs swooping outward like the wings of

an exotic bird.A single look makes plain that these hanok house some

particularly distinguished residents. With a history stretching

back over 600 years, Hahoe was formed by a collection of

distinguished clans, foremost of whom were the Ryu of

Pungsan. Spawning many illustrious scholars of the Joseon

era, the Ryu clan still lives in Hahoe today, making the village

one of the few anywhere in Korea to have maintained these

unbroken links with the past.

H h d i 127 h k f hi h 12 h b

Elizabeth II. Near the village’s entrance is an exhibition area

h i h f h ’ i i l i h i f




that value doesn’t reside only in the architecture or the natu-

l di M h f H h ’ h d h i




those rituals, yet few still carry the importance of the ones

in Hahoe. Their frequency may be much diminished every-

where, but jesa, the memorial services carried out for

ancestors, are still a major part of life in Hahoe, and yet

another reason why this village is such a cherished part of

Korea’s heritage.

Another cultural treasure here is the Hahoe Mask Dance

Drama, which has roots stretching back 800 years. While

Confucianism was the domain of the cultural elite, mask

dances such as the one in Hahoe were the preserve of the

common man, providing an outlet for his joys and hardships.

The masks all represented important characters of the




time, such as the fierce-looking butcher, the stooped old lady

and the aloof yangban. In the drama, which is still widely

performed today, the characters act out witty takes on scenes

from everyday life, poking fun at the hypocrisy and self-importance of religious figures and the ruling class.

Intriguingly, though class structures were rigidly enforced

in the Joseon era, in Hahoe the ruling yangban seemed to

recognize the value of this commoners’ entertainment and

either helped to fund it or even take part. By enabling the

yangban to have some understanding, however shallow or

intermittent, of the working man’s lot, the Hahoe Mask

Dance Drama helped bridge the vast class differences, andperhaps contributed a measure of stability over the centuries.

Like almost all regions in Korea, Andong has local delica-

cies for which it is renowned. The food, unsurprisingly, has

its roots in the area’s strong Confucian traditions.

With memorial services for ancestors — jesa — being such

an integral part of local custom, the food served on those

occasions passed into regular local cuisine. To distinguish the

food, or bap, from that served at the rituals, the prefixheot , or

fake, was added, with bap, meaning cooked rice, attached to

the end. Hence heotjesabap, which remains one of Andong’s

best known dishes. Served in brass dishes and including

vegetables, beef and shark meat, hoetjesabap is a delicious and

subtly flavored dish. Have a seat and relish the taste of tradi-

tion in a setting where the past never really died.

HOW TO GET TO ANDONG HAHOE FOLK VILLAGE

> By Car Head south on the Gyeongbu Expressway from

Seoul and transfer onto Yeongdong Expressway at Singal

JC and again onto Jungang Expressway at Manjong JC. Exit

through Seoandong IC and continue for about 15km to

reach Hahoe Folk Village. Leave your car at the parking lot

at the village entrance proceed the village on foot or by

shuttle bus. Alternatively, you can take the boat from

across the river near Buyongdae. The entire journey takes

about 3 hours.

> By Bus Buses run from Seoul Central City Terminal to

Andong. The fee is 15,600 won (US$13.5), and they

depart every 1-2 hours. From downtown Andong, buses to

Hahoe run frequently. The journey takes about 3.5 hours.

<Information>

Hahoe Folk Village

Visiting Hours Summer 09:00-19:00, Winter 09:00-18:00

Entrance Fees Adult 2,000 won (US$1.7), Students 1,000

won (US$0.9), Children 700 won (US$0.6)

Shuttle Bus Fees Adult 500 won (US$0.4), Junior/High

School Students 400 won (US$0.3), Elementary Students

250 won (US$0.2, one way, Parking Lot-Village Entrance)

Hahoe Mask Dance Drama (Standing Performance)

Every Wednesday, Saturday, Sunday Until 2-3pm.

Free performances of the Hahoe Mask Dance take place at

Inheritance Hall, near the village’s entrance (March-

December, No shows from January-February).

Inquiries Andong Hahoe Folk Village +82 (0)54 852 3588,

www.hahoe.or.kr

Free culture tourism guide (English, Chinese, Japanese)

+82 (0)54 840 6974

Andong Maskdance Festival 2010

The 13th Andong Maskdance Festival 2010 will take place

for 10 days from September 24 at Hahoe Folk Village and

surrounding venues in Andong. Held under the theme of

32-35 my korea 2010.8.30 4:23 PM 페이지 1 Mac-2 in T C M Y K



MY KOREA

AUTUMNALSWEETESTTHECO C O




To me, few sights in this world are as stunning as a persimmon tree against a

brilliant blue autumn sky, its branches sagging under the weight of swollen

orange fruit. This is a common sight across the Korean countryside, but one

that I never tire of seeing. By tradition, when the fruit is plucked from theboughs a few persimmons are left behind for the magpies, heralded in Korean

folklore as the bearers of good news. This act typifies Koreans’ connection to

nature, the harvest, and their agrarian roots. Those who have visited Seoul,

with its bustling streets, endless crowds of people, skyscrapers, and bright

lights might laugh, but I would argue that Korea is still largely rooted in its

agrarian past and the countryside.

Korean society and culture continues to revolve around the consumption of

food and drink, and emphasis is always placed on using the freshest and

healthiest ingredients. It goes without saying

that to a people so deeply intertwined with

their agrarian past, celebrating the harvest

would be of the utmost importance.Chuseok,sometimes referred to as hangawi, is a

Korean harvest festival that lasts for three

days around the Autumn equinox. Every

chuseok, the crowded metropolis of Seoul

becomes a ghost town as people leave en

masse for their ancestral hometowns in the

countryside. Buses and trains are sold out

months in advance, and even the relatively




The cakes are then loaded on a bed of pine needles and steamed into a

delicious treat.

Traditionally songpyeon was exchanged between neighbors, reminiscent of

the American tradition of exchanging sweets during the Christmas season. Allof this food, however, serves a greater function than to just be eaten. Before

anyone even touches the food, it is given as an offering to the ancestors in a

ceremony called charye. The food and rice wine are arranged in an impressive

display on a table in front of the ancestral burial mounds or in the family’s

home. The family gathers together in front of the table and recites prayers

while offering the rice wine. Then, family members make full bows,

prostrating on the floor, offering thanks for the blessings received and

memorializing their deceased family members.After the ceremony is finished, the family sits down together and partakes

of the bountiful feast. During this three-day reunion, cousins, uncles, aunts

and grandparents spend a great deal of time together. Traditionally families

took part in folk games like tug-of-war, archery, or ssireum, a form of

traditional Korean wrestling. However, in more recent times, it’s much more

likely that family members will share beers while munching on squid and

peanuts, watch TV or play Go-Stop, a popular Korean card game played with

hwatu cards.

FAMILY REUNION From start to finish, the holiday emphasizes the connec-

tion between people and their hometowns, families, ancestors and the Earth.

Sin-to-bul-i, a common Korean idiom often used to say that the agricultural

products of one’s hometown are the best, is literally translated as “the body

and the earth cannot be separated.” This typifies Koreans’ attitudes when it

comes to chuseok. Koreans’ respect for their traditions is only trumped by

their passion and desire for sharing them with others.

low demand for domestic air travel skyrock-

ets. Cars pack the highways and slowly snake,

bumper-to-bumper, out of Seoul and to

every remote locations throughout thepeninsula. Drive times quadruple and

hawkers freely walk between traffic lanes

selling their wares to Korean wayfares

engaged in this yearly exodus.

The final destination on this journey is

the keun-jip, literally translated as “big

house,” but referring to the residence of the

oldest living male family member.Allimmediate family members gather at the

keun-jip to celebrate the harvest and to pay

thanks to their ancestors by preparing and

sharing a great feast.

Foods traditionally eaten on this day tend

to vary by household, but commonly one

can find meats like bulgogi or galbi, two

traditional meat dishes, japchae, a dish

prepared with various vegetables, meats and

cellophane noodles, jeon, a pancake like side

dish prepared by pan fried vegetables, fish

and meat, coated in a batter of flour and

eggs, and of course a wide variety of fruits,

nuts, and herbs. The food most commonly

associated with chuseok, however, has to be

songpyeon. This delicious dessert is made




taking in the fall landscape. Mr Yu took great pride in telling me the

history of his ancestors and explaining the auspicious location

where their burial mounds were placed. He said that the

location, flanked on either side by a mountain andoverlooking a small stream, was built under the

optimum conditions in feng shui ( pungsu in

Korean). He informed me that as a result of

this auspicious positioning, the spirits of

his ancestors were resting in peace and

could pass on more blessings to his family.

The next day, when we visited with his

family in tow, I watched as his wife tookcare to set up a small wooden table at the

base of the mountain where she

arranged the food. This was

followed by a few recited

prayers to the ancestors, the

pouring out of a few shots

of a rice wine that smelled

heavily of herbs, the cutting

and offering of fruit, bowing, and a few

informal words imparted from a father to

his children about the importance of

family.

After the ancestral rite finished, we gath-

ered together on a shiny silver mat and began

to eat and talk and laugh with one another. As I gripped

a fried pepper between my chopsticks and began raising it to my

36-39 G20 report 2010.8.30 4:24 PM 페이지 1 Mac-2 in T C M Y K



LOOKING TO

LONG-TERM

COOPERATION TO

ACHIEVE GLOBAL

GROWTH

The G20 Summit in Seoul is just two monthsaway. In the first of a special four-part seriesthat will take a look at the leaders, the eventand stories,KOREA this month discusses the

significance for Seoul in hosting the Summit.

SPECIAL FEATURE : G20 REPORT

The Significance of Seoul Summit <September 2010> ; Preparations for

the G20 Summit <October 2010> ; The Summit’s Agenda and Schedule

<November 2010> ; The Outcome of the Summit and Untold Stories

<December 2010> will appear on these pages.




President Lee Myung-bak speaks at the G20 Sherpa

Meeting opening ceremony in Seoul, on July 20

(opposite). G20 Seoul Summit PR ambassador Han

Hyo-ju, an actress, Sakong Il, Chairman of the

Presidential Committee for the G20 Seoul Summit,

and Kim Yu-na, a world-champion figure skater and

ambassador for the G20 Seoul Summit, pose in front

of the press (above, from left).

From November 11 to 12, the eyes of

the world will be on Seoul. US

President Barack Obama, Chinese

President Hu Jintao, German

Chancellor Angela Merkel, British

Prime Minister David Cameron, UN

Secretary-General Ban Ki-moon, and

Dominique Strauss-Kahn, managing

director of the International Monetary

Fund, are among about three dozenheads of state or leaders of interna-

tional organizations who will travel to

the Korean capital for the Group of 20

(G20) Summit. About 10,000 officials

in total are expected to attend the

summit, making it the largest interna-

tional conference in history.

After the United States financial cri-

sis in 2008 turned into a full-blown

global recession, interest in the G20Summit has perhaps never been

greater. Amid fears of a downturn as

severe as the Great Depression, G20

members from both advanced and

developing economies have displayed

unprecedented solidarity. As the glob-

al economy has stabilized, G20 meet-

ings demonstrated once again how

closely linked individual countries are “The G20 comprises the 20 most

combined gross domestic product rep-

resents about 90% of the world’s

total, and about 80% of all internation-

al trade is done by these 20 nations.

For this reason, the G20 forum is

sometimes referred to as “the mini-

United Nations.”

Since the first meeting, the G20

Summit has convened twice a year.




providing more development aid for

less privileged countries.

Issues such as these, as well as

more extensive measures to aid eco-

nomic growth in developing countries,

are on the agenda largely at the

behest of Korea in its role as host.

Apart from their primary goals, these

proposals are aimed squarely at show-

ing non-G20 members that the forumrepresents their interests too. Should

these measures be adopted, Korea is

hoping that they will become known as

the “Korea Initiative,” so that the

country can become more closely

identified with major international

efforts to help with the growth of

emerging economies.

The top priority at the G20 Summit,

the framework for sustainable and bal-anced growth will take a more con-

crete form in Seoul. Based on the con-

clusions of the Toronto Summit in

June, when countries began by under-

taking assessments of their

economies, leaders have agreed to

push forward with plans to take collec-

tive action on finance, banking, curren-

cy and industrial structures.

In Toronto, the leaders in atten-




what may be known as the “new nor-

mal” era.

Global safety nets, a key part of

Korea’s proposals, is based on the

IMF’s new liquidity support system,

tentatively called the Global Stability

Mechanism (GSM). Instead of focus-

ing on individual countries, GSM takes

a global approach, looking to counter

financial risks that arise in several

nations at the same time — exactly

the situation that occurred in the

recent global financial crisis. The GSM

was set up to counter the problems

inherent in individual countries receiv-

ing funds from the IMF — namely, that

they risked being singled out as vul-

nerable by investors and world mar-

kets. In addition, the Flexible Credit

Line (FCL), another IMF mechanism for

receiving assistance, is in practice lim-

ited to countries that are in reason-

ably good economic health; so far,

only Mexico, Colombia and Poland

have signed up.

The key difference between GSM

and the IMF’s previous support sys-

tem is in how the help is initially

given. Under the previous arrange-

ments, countries in need of support

Board plans to tackle problems

caused by financial companies

deemed “too big to fail.” In addition,

reforms to the IMF and other interna-

tional financial agencies will be up for

discussion. The IMF plans to modify

its quotas so that at least 5% of

shares owned by developed countries

will be redistributed to emerging

economies. They also plan to offer

more seats on the IMF board to devel-

oping countries, and to make appoint-

ments to top positions both more

transparent and meritocratic.

Some of the most pressing econom-

ic issues facing the world today will be

up for discussion in Seoul. The fate of

these talks could very well determine

just how important, the G20 will be in

determining the course of the world

economy.

THE KOREA INITIATIVE “The

Framework for Strong, Sustainable

and Balanced Growth,” the biggest

topic of discussion at G20, has previ-

ously been discussed between two

blocs: developed and developing

nations. At the Seoul Summit, individ-

ual nations will put forward proposals

appealed directly to the IMF. With

GSM, the IMF itself proposes setting

up credit lines to countries it deems

to be facing liquidity risks. In other

words, the IMF will go from being the

“firefighter”— attempting to tackle

damage after the fact — to being a

“vaccine,” offering preventive steps

before the situation gets out of hand.

To improve the FCL, the IMF is look-

ing at increasing the loan period from

its current six months as well as mak-

ing it more widely available. It is also

considering setting a Precautionary

Credit Line (PCL) for countries with

lower credit ratings. All these meas-

ures could be confirmed at the Seoul

Summit. Yet they are not without their

detractors: developed economies such

as the US, Germany, and Canada

have all raised questions about mak-

ing such major changes to the IMF.

They have also pointed out the risks

of moral hazard among emerging

countries if it becomes too easy to get

financial support from the IMF.

When the IMF wishes to make major

changes to its operations, it must

obtain 85% support from its share-

holders, of whom G20 members

40-43 global korea 2010.8.30 4:25 PM 페이지 1 Mac-2 in T C M Y K



GLOBAL KOREA




with her father, who is in the

import/export business, have given

her a taste for travel, she says, and

her volunteering has convinced her of

the work she’d like to do.

Where once Kim knew little about

India beyond the Taj Mahal and curry,

now she knows it as a country where

she made a difference, a country that

is her friend.

“I do regular volunteering at a local

rehabilitation hospital,” she said. “But

I would like to serve not just Koreans,

but our global neighbors too.”

GROWING UP Kim Da-som, a Hanyang

University sophomore majoring in pub-

lic policy, had a slightly different sum-

mer break than her friends. Since stu-

dents in this major generally spend

any spare time preparing for the civil

service exam, most of Kim’s friends

devoted their summer to studying.

Kim, however, felt the call of volun-

teering and decided to do it overseas.

Many of her friends were bemused

by Kim’s decision. They asked why she

was paying hard-earned money to

spend the summer doing hard physical

work, but Kim was undeterred.

were entirely new to her.

After a two-day crash course in

Indian culture in Dehli, Kim was back

on a plane, then a train, and finally a

bus. At the end of the journey, Kim

arrived in Ruchi, a mountain village in

the north of the country. Coming from

Korea, Kim was above all impressed

by the sheer size of India, and how

isolated she was from any big cities.

“I was worried about the water sup-

ply since the town was halfway up a

mountain,” she says. “The first work I

had was to install water tanks at each

house so that they could use rainwa-

ter. We were divided into three groups,

and twisted wires, made bricks and

planted bamboo because their wide

roots help prevent landslides.”

This grueling work went on for 10

days, but the warmth expressed by

the townspeople and the sense of sat-

isfaction after were enormously

rewarding. “An Indian lady served us

chai [Indian milk tea] and it seemed

like the sweetest thing I’d ever tast-

ed,” Kim says. “I can’t even begin to

describe the exhilaration I felt looking

at the finished water tanks.”

Following another trip last year to




“I chose to go volunteer because I

thought it would turn the long break

into something truly valuable. I felt I’d

develop a broader perspective and

have some ideas for the future once I

appreciate my life, to live together

with people from around the world and

to think positively,” Kim continues. “I

also met precious people that I

wouldn’t have met if I hadn’t made the

trip. I just gained so much. I grew up a

lot through this whole experience.”

Kim Jong-ho, a junior at Baeksin

Middle School in Goyang, Gyeonggi-do

Province, went to Taiwan this summer

on what was his first trip overseas. On

arrival, he found streets dotted with

signs in Chinese, with locals speaking

a language he had no understanding

of. This initial sense of confusion

soon faded after Kim took the four-

hour drive to Taishi, where he was

introduced to fellow volunteers from

other countries around the region.

Practically none of them spoke the

same language, but they quickly

became friends nonetheless.

“Taishi was really no different to

Jeollabuk-do Province, where my

grandmother lives,” Kim says. “I had

flown a long way but the surroundings

A Korean student plays with children in Nepal

(above). A volunteer with a black belt gives young

Cambodian students a taekwondo lesson (right).




were so familiar that I was at once

surprised and happy.”

Part of the program was a

“Taiwanese Night,” which provided an

excellent chance to learn more about

says. “During my volunteering, I

helped translate Korean children’s

songs into Chinese and danced for

young students. I got to learn a differ-

ent culture, and teach others about

my own country. It was great.”

FROM KOREAN TO COSMOPOLITAN

More young Koreans are gaining a

grams with the agency. The Ministry of

Gender Equality and Family operates

the Into Dreams and People Youth

Volunteering Group, which is run dur-

ing summer and winter breaks in five

Asian nations.

Aside from the International

Workcamp Organization, Copion

(www.copion.or.kr), the Asia Exchange

Korean volunteers teach English to children in

Cambodia (above left). A Korean volunteer shares a

tender moment with a Nepalese child (above right).

44-48 now in korea 2010.8.30 4:26 PM 페이지 44 Mac-2 in T C M Y K



NOW IN KOREA

A WORLD OF

Starting from a get-together of artists in 1998, Heyri Art Villagehas grown into Korea’s biggest art community. Now home tonearly 400 artists, Heyri’s influence has been sharply felt in Seoul— whose people flock to visit it — and, increasingly, in theprovinces, where inspired artists have taken Heyri’s mission intothe countryside. by Lim Ji-young | photographs by Kim Hong-jin




Looking at the profoundly quirky but immaculately kept

buildings of Heyri Art Village, it’s hard to believe that it’s

already celebrating its 10th anniversary. The most famous

artists’ community in Korea, Heyri’s roots stretch back to1998, when a group of cultural figures – who had met to plan

a settlement – decided on this 495,800sqm area of land in

Paju, Gyeonggi-do Province. After extensive planning, the

village officially began to take shape in 2001, with galleries

opening to the public from 2003 (the 10 th anniversary is based

on the traditional Korean system for counting years).

The response was emphatic. Visitors to this cozy outpost

hailed the galleries and performance halls that were so

removed from their counterparts in the big city. Over the last

nine years, the number of inhabitants rose from 100 to 380.

Today, as befits a real community, they often meet to discuss

issues affecting them, or just to drink tea together. They host

club activities such as painting and literary discussions. Heyri

was, and remains, a place where people who love arts and

culture can share and live together. “Artists from various

backgrounds learn from each other here, as we’ve sought to

preserve Heyri’s original mission of becoming a mecca for

culture and the arts,” says Jeon Hee-cheon, Heyri’s chairman.

Public perceptions of Heyri have gradually changed. Where

once visitors would drop by, take a few pictures and leave,

today they will make a day of it, strolling around the grounds,

visiting a selection of galleries, and stopping off for a coffee

or lunch in one of the village’s pretty cafes. During Paju

Heyri’s Pan Festival, which runs every September, the village




with a full view of the artworks on display.

Gallery MOA, an architectural treasure, is a work of art in

itself. Keumsan Gallery, a winner of the Korean Architecture

Award, contains an 80-year-old oak tree that has been incor-porated into the building. As with much else in Heyri,

Keumsan takes full advantage of its surroundings by creating

a compelling harmony between man and nature.

There are about 20 exhibition halls in Heyri, offering space

to artists, but more than just the galleries, the ambiance here

in itself a great sources of inspiration. Novelist Jeon Gyeong-

rin, who moved office from Seoul to Heyri, says, “It feels like

I’ve escaped from a convoluted maze.”

Craftsman Lee An-soo, who manages “creative residence”

Motif#1, adds, “Heyri is a place where artists from various

backgrounds influence each other, and can extend their

knowledge and experience.” Lee himself is living proof of this.

Before coming to Heyri, he was a photographer. Today he

writes, draws and even makes the traditional “prayer poles”

with which Koreans of yore used to which for good harvests.

Of course, a great part of Heyri’s appeal today is not just in

its artists, but in the “laymen”who come to share in the

village’s charms and creative energy.“I often come here with

my daughter. I think it’s a great place to help nurture her




emotional growth,” says Yu Eun-jin, a dyed-in-the-wool

Seoulite. “There are so many attractions for children here.”

The art village is a huge draw for families or couples who

come to appreciate the artworks or just kick back in one of the cafes or restaurants. In 2009, the village office estimates,

about a million people came to spend some time in Heyri.

A COUNTRY OF COMMUNITIES Heyri’s success has

inspired a spate of other art communities to try and set up

around the country. While some remain at the planning

stage, several have gone on to thrive.

Gungtteul Dokkaebi Art Village in the Jangsu, Jeollabuk-

do Province, was founded in 2002 by local craftsmen who

wanted to preserve traditional Korean culture. In a rural,

unpolluted environment, visitors can learn such time-

honored crafts as calligraphy, natural dyeing, fan making

with bamboo, traditional woodcraft, and ceramics.

Housed in an old schoolhouse in Seongju, a county in

Gyeongsangbuk-do Province, Kumsu Art Village is an arts

studio funded by the local and national governments to help

develop culture in the area. Studios 1 and 2 are devoted to

theater and traditional Korean percussion, while other rooms

offer space for painting, ceramics, and an architectural

museum. The large trees surrounding Kumsu create the

perfect mood for quiet painting or reflection.

Since its completion in 2007, Jeoji Art Village has turned

the Jeoji-ri from a quiet border area of Jeju into a hotspot for

the island’s culture. A small village that only reveals itself after

I

9월호엽서 2010.8.30 4:28 PM 페이지 1 Mac-2 in T C M Y K



P r i o r i t y / P r i o r i l a i r e

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9월호엽서 2010.8.30 4:28 PM 페이지 2 Mac-2 in T C M Y K



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