Gwangju & South Jeolla International Magazine
April 2021 #230 Gwangju and South Jeolla International Magazine I April 2021 #230 Michael Danagher, Canadian Ambassador to Korea
Michael Danagher, Canadian Ambassador to Korea
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Gwangju & South Jeolla International Magazine
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From the Editor Pink plum blossoms, white magnolias, and red, red camellias – all in bloom. Warming breezes blowing, leaf buds opening – signs of seasons changing. A glance at the calendar says that Cheongmyeong (청명,淸明), the seasonal term of clear and sunny skies, resides in this month, as does Gogu (곡우, 穀雨), the term of rain for the grain.
April 2021, Issue 230 Published: April 1, 2021 Cover Photo
The Canadian Ambassador to Korea (By Kim Hillel Yunkyoung)
THE EDITORIAL TEAM Publisher Editor-in-Chief Managing Editor Chief Copy Editor Layout Editor Photographer Communications Copy Editors Online Editor
Dr. Shin Gyonggu Dr. David E. Shaffer William Urbanski Isaiah Winters Melline Galani Kim Hillel Yunkyoung Ki Hyunsoo David Foster, Di Foster, Jonathan Moffett Melline Galani
The Gwangju News is the first English monthly magazine for the general public in Korea, first published in 2001. Each monthly issue covers local and regional issues, with a focus on the roles and activities of the international residents and local English-speaking communities. Copyright ©2021 by the Gwangju International Center. All rights reserved. No part of this publication covered by this copyright may be reproduced in any form or by any means – graphic, electronic, mechanical, photocopying, recording, or otherwise – without the written consent of the publisher.
Registration No. 광주광역시 라. 00145 (ISSN 2093-5315) Registration Date: February 22, 2010 Printed by Join Adcom 조인애드컴 (+82)-62-367-7702
Special thanks to Gwangju City and all of our sponsors.
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In the month of the Biennale in the “City of Art,” we feature several outstanding artists: an interview with the Gwangju artist couple Ju Hong and Goh Geunho (People in the Arts), an international critic’s view of the art of Huh Hwi-tae (The Nature of Emotions), and a colorful look at the world and work of an Armenian artist (Beyond the Frames: Art Called Boris Yeghiazaryan). City of Light, the GFN Radio show that’s a namesake of this bright city, is ending its twelve-year run. Read all about its career in “All Good Things…” And beginning with this issue is a new column, “Top of the Drop,” updating us with the latest on the music scene. Relax with Hongdae Fire, a new book by the creator of our monthly Crossword Puzzle, but first read our review. Check out our review of Sage, a book and music café. Our third review is of a restaurant: Pizzeria Piazza, where you can get fine Italian-style cuisine. Or have fine dining at home with our bibimbap recipe. Find out what’s happening with Gwangju’s urban parks (Lost in Gwangju), and venture outside the city limits to Hwasun to enjoy nature as well as a sheep farm. You can learn some more Korean with this month’s episode of Everyday Korean, and you can learn about a language academy that teaches Korean to expats (Local Entrepreneurs). Language Teaching’s topic this month is teaching loanwords to English learners. Don’t forget to gaze at our Photo of the Month – it’s the cat’s meow! Don’t miss the Gwangju City News, and before you call it a night, read this month’s Blast from the Past, which brings you Korean dragons and ghosts! As always, stay Covid smart, stay Covid safe, and enjoy the Gwangju News. David E. Shaffer Editor-in-Chief Gwangju News
April 2021
For volunteering and article submission inquiries, please contact the editor at gwangjunews@gic.or.kr.
In this April issue of the Gwangju News, our Photo Essay (Spring) offers beautiful buds and blossoms of the season, all of which were here to greet the Canadian Ambassador – the topic of our cover feature – on his recent visit to our city and the Gwangju Biennale site. We also feature interviews with the duo of artistic directors of this year’s Biennale (Minds Rising, Spirits Tuning).
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The Gwangju News is published by Gwangju International Center: Jungang-ro 196-beon-gil 5 (Geumnam-ro 3-ga), Dong-gu, Gwangju 61475, South Korea Tel: (+82)-62-226-2733~34 Fax: (+82)-62-226-2731 Website: www.gwangjunewsgic.com Email: gwangjunews@gic.or.kr GwangjuNews gwangjunews
Spring is undeniably here! And it must be April!
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Photo of the Month
The Photographer
When Ryan Berkebile is not taking photos of abandoned neighborhoods, he likes to write blog posts for his website, Long Distance Runner. Recently, Ryan put out his first zine called The Bulldozed Future. You can find out more about this and other projects at longdistancerunner.org and on Instagram: @ l0ngdistancerunner and @naturaryan1600 2021�04��(April).indd 2
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CONTENTS April 2021
Issue 230
01. From the Editor 02. Photo of the Month MONTHLY NEWS 04. Gwangju City News FEATURES 06. Interview with the Canadian Ambassador to Korea 09. Minds Rising, Spirits Tuning 12. People in the Arts: An Artist Couple Living in the Arts BLAST FROM THE PAST 18. The Supernatural
TRAVEL 18. Around Korea: Enjoying Nature in Hwasun 22. Lost in Gwangju: Has the Sun Set on Gwangju’s Urban Parks? COMMUNITY 26. GFN Radio: All Good Things... 40. GFN Radio: Top of the Drop 42. Local Entrepreneurs: Mastering Language the Tong Tong Way FOOD & DRINKS 46. Cafe Review: Sage, a Book & Music Cafe 48. Restaurant Review: Pizzeria Piazza 56. Recipe: Bibimbap – Mixed-Rice Bowl
TEACHING & LEARNING 39. Everyday Korean: Episode 40 – 시간이 있어요? (Do you have time?) 52. Language Teaching: Teaching Loanwords CULTURE & ARTS 21. Crossword Puzzle 28. Beyond the Frames 32. Photo Essay: Spring 36. The Nature of Emotions 50. Book Review: Hongdae Fire by Jon Dunbar
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Gwangju City News
MONTHLY NEWS
Reprinted from the Gwangju Metropolitan City Hall website.
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April 2021
Gwangju Will Always Be with the People of Myanmar On March 21, Gwangju City held a meeting at City Hall inviting workers and international students from Myanmar living in the Gwangju area. Ten Myanmar residents in Gwangju, including the representative of Myanmar in Gwangju, Myoneja; Yoon Young-dae, executive chairman of the Gwangju-Jeonnam Migrant Workers’ Human Rights Network; and Hwang Jeong-ah, representative of the Gwangju Asian Women’s Network, attended the meeting to exchange information on the country’s situation, in which many casualties have occurred due to the military coup, to listen directly to the opinions of Myanmar residents in the region, and to seek support measures at the level of the city and civil society. At the meeting, Mayor Lee Yong Sup encouraged the local Myanmar residents to oppose the military coup and support democratization, and identified their difficulties and what they need most at the moment. The Myanmar citizens who attended the meeting said that they appreciated the efforts and activities of Gwangju
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City and civic groups supporting the democratization movement in their country. One attendee stated, “In Myanmar, the casualties are increasing every day, the internet and SNS are blocked, and the situation is deteriorating,” and added, “Please support the citizens who are opposing the coup in Myanmar.” Others in attendance said that there is a need for a structure in which Gwangju City and civil society organizations can communicate with the Myanmar people living here, to share information, and that it costs a lot for gatherings. They said protesters need food and medicine support right now but hope that mid- to longterm support plans in preparation for the end of the Myanmar situation will also be devised. Mayor Lee stated, “I would like to express my deep consolation for the bloody suppression by the military coup forces in your home country, and for the victims and their families. Gwangju, a city of democracy, human rights, and peace, is strongly condemning the military’s
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5 non-democratic violence and calls for an immediate cessation.” He also said, “We will reflect on the opinions you have given us today, and seek systematic and effective support measures.” Mayor Lee encouraged the people of Myanmar to move toward the light of hope without losing courage, just as Gwangju took, in May 1980, one step forward toward the light in dark times to achieve democracy. “We hope that Myanmar will restore democracy and peace as soon as possible, and to this end, we will work closely with the international community as well as domestically.” On March 22, Gwangju City held a meeting with religious organizations, city council members, the City Office of Education, the May 18 Memorial Foundation, and Gwangju Solidarity in Myanmar to discuss ways to oppose the military coup and support democracy in Myanmar.
City Hall Surveys for Soil Pollution
Gwangju Metropolitan City is promoting a Gwangjutailored standard model pilot project for child protection zones with enhanced visibility so that any driver can easily recognize child protection zones.
The Gwangju Metropolitan City Institute of Health and Environment is conducting surveys on soil pollution in areas where there is concern for soil contamination in the city’s jurisdiction together with its five districts.
The project will be carried out as improvement measures are urgently required due to the fact that child protection zones under the Road Traffic Act, which was revised in March on last year, are highlighted as a social issue, and frequent child traffic accidents occur in the protection areas.
From March to October, the surveys are investigating for eight heavy metals, including cadmium, lead, and benzene, in 100 sites that are feared to have contaminated soil, including children’s amusement facilities and transportation-related facilities. Areas that exceed the standards for soil pollution will have the cause of the contamination investigated by the relevant district, and if soil pollution is confirmed, purification orders and restoration projects will be carried out.
The Gwangju-tailored standard model consists of installing five safety facilities in the protected areas, including dark red (non-slip) pavement, start- and endpoint street markings, yellow traffic lights, diagonal crosswalks, and light-emitting end-point signs, reflecting the site conditions.
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Bae Seok-jin, head of the Environmental Research Department, said, “Soil pollution is difficult to remove and restore compared to other types of pollution. … We will continue to conduct surveys on soil pollution so that we can preemptively check whether contamination is present.” Translated by Melline Galani.
April 2021
The pilot project sites will be constructed in Munheungdong, Buk-gu; and Unnam-dong, Gwangsan-gu. Designing is currently underway and is expected to be completed in April, with construction to begin in June after collecting experts’ and residents’ opinions, and completion is expected soon thereafter. The city of Gwangju plans to consider expanding the Gwangjutailored standard model project in the future through business effect analysis.
Last year, it was found that cadmium exceeded the level for soil contamination at one site in an area related to waste treatment and recycling, for which the district ordered a thorough soil survey and implemented cleanup measures according to the results of the investigation.
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Gwangju City Strengthens Visibility of Child Protection Zones
MONTHLY NEWS
Park Nam-eon, director of the city’s Transportation and Construction Bureau, said, “We will make it easier for everyone to recognize children with child protection zones through the Gwangju-tailored standard model pilot project, making it possible for drivers to be more alert, and thereby preventing traffic accidents and promoting a safe walking environment for children.”
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Interview with the Canadian Ambassador to Korea Interview by Arlo Matisz
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Michael Danagher has worked in Korea in multiple roles, including Senior Trade Commissioner and Minister-Counsellor of the Embassy of Canada. He was appointed as Ambassador to the Republic of Korea in September 2018. The ambassador recently visited Gwangju in connection with the opening of this year’s Biennale. What follows is the interview conducted by Arlo Matisz while the ambassador was visiting.
Arlo Matisz: Thank you for joining us here in our city. If I may ask, what brought you to Gwangju? Ambassador Michael Danagher: I am the ambassador to Korea, and of course I like to get out of Seoul. Not because I do not like Seoul but I am the ambassador to the entire country. My trip to Gwangju is overdue, but it was delayed because of the COVID-19 pandemic. This is my third assignment to Korea, and I have visited Gwangju many times before. This is my first official visit as ambassador though.
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Arlo: What were you involved in when you were here before? Amb. Danagher: Mostly it was professional, on official assignments. I was a trade commissioner in the past, so I would come here on trade development activities. Since then, I have been back in Jeonnam a few times. There was the Yeosu Expo with some Canadian activities associated with that in the marine industry. I have been down to Gwangyang a few times for meetings with POSCO, too.
Arlo: I’d like to talk about something specific to Gwangju, the 5.18 Democratic Uprising. Did Canada, at the time of it, have any official stance, and is there any modern recognition? Amb. Danagher: Looking back at our historical record, there does not seem to be particular intervention made by Canada on this, but that is not to suggest that there was no interest. Certainly, what we are aware of is that the Korean community in Canada was very well aware of what was happening and made a number of demonstrations in Canada advocating on behalf of the protesters here. In terms of modern recognition, again there is a general feeling that this was an important and Ambassador Michael Danagher
Arlo: What are some of the unique opportunities and challenges that come with being Canada’s ambassador to South Korea? Amb. Danagher: I think the challenges with the position are the challenges in the relationship. I think Canada and Korea are two countries that have a lot of shared history, but it is not necessarily history that is well understood or well known. I think we want to leverage those historical connections – very strong people-to-people connections – into other areas, for example, cooperation on global policy. That could mean anything from development, respect for human rights, environmental issues, but also in enhancing our bilateral economic relationship, which is an important one for Canada. This may be slightly less obvious for Korea, just from the perspective that Korea’s economy is more diversified than Canada’s. But still, there is huge potential here, and in fact, I was at a meeting with the photonics institute here, and this is one area where there is some cooperation with institutions and companies in Canada. I would like to enhance that.
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7 seminal event in modern Korean history, and particularly in the development of democracy in this country. Part of the reason I am here is to recognize that. I was at the cemetery; it was a very moving visit. We were told about the individuals who had unfortunately lost their lives and were interred there. I think this is a time of reflection for me personally, but hopefully I will be able to share that experience with a wider audience and have recognition outside of Korea in Canada of what it took to develop this modern Korea.
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▲ Amb. Danagher with Arlo Matisz at the GFN studio.
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Arlo: Were there ways that Canada was supporting Korea’s democratization as it happened? You were here while some of that transition was happening in the early 1990s. Amb. Danagher: Given the zeitgeist of the time, there was a lot of positive energy in Korea about democracy, and there was a restoration of democracy in the country. There was a lot of enthusiasm. As Koreans started to redevelop their habits of good governance, they turned to countries like Canada for advice and assistance. It was a very powerful time. Canada was a strong supporter of Korea when it joined the OECD in 1997. That mostly reflects the economic development of a country, but it reflects the development of social infrastructure as well. It is a group of liberal democracies, not just developed economies. Of course, our biggest support of Korea’s democracy was during the Korean War.
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Arlo: It’s something that people are quite proud of here, and it seems like something that gets forgotten, or these days there’s some misdirection that North Korea was involved with it. Amb. Danagher: We live in an era of accusations of fake news, and that is not a new thing, but it is an amplified thing. I just watched the movie A Taxi Driver and clearly there were, if you are following that narrative, clear efforts to control the narrative, and that German reporter went to great lengths to try to expose it. In a way, it reminded me of Dr. Frank Schofield, who was one of the earlier Canadian residents in Korea. We celebrated him two years ago as one of the Canadians who had been here as part of the March 1st Independence Movement, and he did the same thing. He apparently bicycled down from Seoul to Hwaseong to investigate the atrocity that had been committed there against parishioners of a church, and he published the first reports of what was happening in Korea outside of Korea in 1919. We give him credit as being one of the investigative journalists who was telling the world what was happening. When watching A Taxi Driver, it reminded me of the same role and the risks that had been taken. Of course, the element of the story with the local gentleman who had been his partner in that enterprise is missing from Schofield’s experience, but it is interesting that someone once said, “History doesn’t repeat, but it rhymes.”
Arlo: Last year was the 70th anniversary of the beginning of the Korean War. I think Canada’s contributions to the war are overshadowed by the framing of the Cold War and the continuing US military presence here. What would you like Koreans to know about Canada’s efforts during the war? Amb. Danagher: Canada was one of the UN contributing states then, and in terms of number of participants, Canada’s contribution was third among the UN states after the US and the UK. This represented a substantial commitment at the time: It was 27,000 troops in total over the course of the war, and at the time, Canada’s population was only about 10 or 11 million, so you can imagine that, quite frankly, this was a war that impacted a lot of households in Canada. Without sounding trite, I am sure most of those people could not have placed Korea on a map. Those people who shipped out of Vancouver and Tacoma to come over here, they did not know what was going on in Korea. They certainly had only vague ideas of communism. We were going to a place to fight communism; that was the narrative. For many years, the Korean War was called “the forgotten war.” Now, it is memorialized in Canada. We have, I believe, 250 or 300 different memorials across Canada to our participation in the Korean War, including the war memorial in Ottawa, where the dates of the Korean War were placed, I think, about 30 years ago. It is now recognized for what it is: Canada’s third largest military engagement in its history. What would I like Koreans to remember? That Canada cared, that Canadians came over. I remember being at the Daejeon Expo in 1993, where an older gentleman came up to me and said, “Where are you from?” I said, “Well, I’m from Canada.” He said, “I’ve never met a Canadian before. I remember as a young boy that Canadians came to fight for Korea’s independence.” I was very moved that this gentleman had remembered that. That is a legacy of Canada’s history here, and I think that is one that many Koreans remember. We at the embassy certainly support events to commemorate that presence. In fact, next month we will be celebrating the 70th anniversary of the Battle of Kapyeong (가평전투), which was the major engagement of the Canadian troops along with their Commonwealth
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allies, so we are going to be doing a number of activities related to that. If anyone is interested in that, please just follow our social media and you will learn more. Arlo: Were there ways that Canada supported the advancement of human rights in Korean history, and are there any areas where there are still concerns, on an official level? Amb. Danagher: On an official level, we respect the fact that Korea is a well-developed liberal democracy and has a consultative process, a political process. It is not always a smooth one; there is a lot of energy, but I would not in any way suggest that Korea is out of a norm that countries like Canada are part of. I refer to The Economist magazine that, in a recent analysis of the most democratic countries in the world, placed Canada and Korea in the top rank. That tells me a lot. There are going to be contentious issues in both countries that still have to go through the democratic process, and some of them are in place right now in Korea. We have expressed our voice in terms of supporting a general respect for individual rights here, including Korea’s international undertaking on issues of discrimination. However, we understand that there is a debate going on in this country on that, and we have to respect that debate. In general, I think what we find in Korea is very positive, and it is no longer a situation where a country like Canada can sit here and pretend that we are in general judgment. Individual issues will come up, and we may or may not choose to comment on those. Arlo: You were here taking a look at some work for the Gwangju Biennale. Amb. Danagher: I was, yes. Unfortunately, I could not meet the Canadian artists, but we saw an installation yesterday. I think, in general, the message from the Biennale is that they value Canada’s contribution on this, and so we are very excited about that and looking forward to the future when we are in a post-COVID-19 environment where the true purpose of the Biennale, which is to extend art as something that precipitates discussion – a dialogue within society – is a little less artificial because it will no longer be constrained by this COVID-19 reality of ours. When you have people coming and going, and fully enjoying what a biennale is, which is an international exchange, it is at the full height of its potential. We are very happy to see the Biennale take place in 2021, but I do not think anybody is underestimating the limitations of the current environment. That it is happening is a small miracle, and we’re very pleased to see the courage of the organizers and very happy to have a Canadian contribution, however modest. Arlo: How has the pandemic affected soft diplomacy, such as cultural exchanges like the Biennale, and how is our country trying to fill that gap? Amb. Danagher: That is a big question, and I do not
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really know all the dimensions of it, to be honest with you. On a country-specific basis, cultural promotion is something that is important personally to me; I think it ties together a lot of the elements of what Canada’s trying to do on many different fronts here: the political dimension, the commercial engagement, even our people-to-people relationships. You are quite right to point out that COVID-19 has had an impact as much as anything else. On the other hand, we have still been able to do quite a bit from the embassy over that period. We have had a few online film festivals, we have done some literary programs, we were the main sponsor of the Ulju Mountain Film Festival (울주산악영화제), and I am using my social media to promote some of our Canadian culture. For example, it is a very modest contribution, but I will be showcasing some Canadian literature over the next few months. I would like to do the same thing with film and art as well. I think it is a reality that Canadian culture is not necessarily as distinctively known as other cultures, and part of that of course is because of this “blender” that North America represents. Quite often, people will say to me, “Oh, I didn’t know that person was Canadian.” And in many respects, they are not entirely wrong, because whether it is a musician or an author or an artist, quite often they have made their reputation outside of Canada. Arlo: As a Canadian abroad, I can relate to that sentiment. Thank you for your time, Mr. Ambassador. Note: In regard to the Canadian artists who are exhibiting work for the Gwangju Biennale, they are Chrysanne Stathacos and Judy Radul. Their respective works for the Gwangju Biennale are being shown at the Gwangju National Museum and the Gwangju Theater. Elements of this interview aired on GFN’s City of Light on March 5 as a radio broadcast. Photographs by Kim Hillel Yunkyoung.
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Minds Rising Spirits Tuning Interview with the Biennale Artistic Directors Interview by William Urbanski Founded in 1995 in memory of the civil uprising of the 1980 Gwangju Democratization Movement, the Gwangju Biennale has reached its 13th running this year, which is from April 1 to May 9. The artistic directors of this edition are Defne Ayas and Natasha Ginwala, whom we at the Gwangju News have had the pleasure of interviewing. — Ed.
— Defne Ayas: I am a curator, currently serving as coartistic director of the 13th Gwangju Biennale, and a curator at large at the V-A-C Foundation in Moscow/
Venice. I have previously worked as a director and curator of several cultural institutions and research initiatives around the world, including in Rotterdam, Shanghai, New York, and Moscow. GN: The theme for this year’s Gwangju Biennale is “Minds Rising, Spirits Tuning” and deals with, from what I understand, exploring organic and communal intelligence. How are art and exhibitions going to be used to explore these ideas? — Natasha Ginwala: The 13th Gwangju Biennale explores some of the most pressing questions of our present era, namely, how we understand the complex relationship between organic and machinic intelligence, between human and non-human forms of life; the passage between death, mourning, and the afterlife; as
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Gwangju News: (GN): Thank you for taking the time to do this interview. First of all, could you please introduce yourselves to our readers? — Natasha Ginwala: I am a curator, writer, and editor based in Sri Lanka and Berlin. My interests lie in seeking collective methods of cultural production and collaboration, especially across Asia; feminist practices in the arts, and in the social sphere; as well as in ways in which the contemporary arts relate with civic challenges that we face globally. I am directing an interdisciplinary arts festival, Colomboscope, in Sri Lanka and am engaged as associate curator at Gropius Bau in Berlin.
▼ 13th Gwangju Biennale: Minds Rising, Spirits Tuning. Inside Gallery 1 of the Exhibition Hall.
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Korea, beyond the field of contemporary art, and focus on oral cultures, rural cosmologies, and forms of labor in agrarian life, laying the groundwork for intelligences of the “communal mind” to continually emerge. An example to highlight here is the participation of PARI (People’s Archive of Rural India), an organization that accrues oral cultures and poesies of rural women who convene around the grind mill, unveiling lessons on seasonal changes, women’s labor, caste politics, familial relationships, and festivities.
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Other artistic propositions tap into machine learning while addressing what lies in excess of algorithmic perception, how to use and sculpt data differently, and the restructuring of the relationalities between physical and virtual, online and offline, private and public. For example, John Gerrard’s intensive engagement with neural networks and deep learning and Ana María Millán’s virtual world-building exercise, both animate protagonists as a means of spatializing narrative logic and chronicling ecological precarity, gender disparity, and state-led militarist violence. Another example is the diagrammatic lexicons by Kate Crawford, Vladen Joler, and Matteo Pasquinelli, which we are presenting to reveal the complex networks of human labor, data extraction, wealth distribution, and planetary exhaustion.
well as the social models and intelligences that are hidden and remain oppressed through actively engaging with indigenous, ancestral, queer, and matriarchal modes of being in the world today. The exhibition is spread across three external venues: the Gwangju National Museum, Horanggasy Artpolygon in Yangnim-dong, and the Gwangju Theater, in addition to the five galleries of the Gwangju Biennale Hall. Each have their own narrative, and therefore, audiences will be guided through the various aspects of the artistic and scientific inquiry, bringing together local and international artists and thinkers.
GN: What are the major takeaways you would like visitors to the 2021 Gwangju Biennale to leave with? — Natasha Ginwala: Minds Rising, Spirits Tuning creates a planetary viewfinder and pathways through many of the upheavals and transformations of the time we are living through. We hope that audiences will find their own connections and stories through these artistic offerings. The ground floor of the Biennale Hall is accessible free to the public for the very first time with distinctive exhibition architecture by Diogo Passarinho. The sensorial forms and openness of the exhibition are ways to plot intimate and social encounters with the Biennale that is quite unique, especially given that over the last year, our bodies and minds have faced a severe alienation and separation from the vibrant intelligence that comes from ecology, living traditions, and sociality.
— Defne Ayas: Minds Rising, Spirits Tuning sets out to examine the spectrum of the extended mind – to challenge the structural divisions imposed on corporeal, technological, and spiritual intelligences – and seeks to bring forth dynamic aspects of the communal mind and its artistic and restorative potential in current struggles toward social justice. These themes are dealt with in the exhibition in a variety of ways and through a multitude of artworks in the Biennale. Sixty-nine artists – including thinkers, activists, and journalists – are participating, and we have consciously chosen to work with artists whose work embodies these qualities and ideas. For example, works on display actively draw from the visual culture of
GN: You are working as co-artistic directors for the Gwangju Biennale. What are some challenges of working on a team for such a major project? Do you ever step on each other’s toes, so to speak? — Natasha Ginwala: The world has transformed since we took up this Biennale directorship. There have been many hardships in working through the pandemic that affect the lives and creative capacities of our international and local team as well as each of the artists. We were unable to travel to Gwangju for an entire year after making in-depth research visits with artists and team members. However, artists have produced phenomenal installations in a range of mediums, and we are excited to reveal these for the
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▲ The artistic directors of the 13th Gwangju Biennale. Defne Ayas (left) and Natasha Ginwala. (Photo: choi.ok.soo)
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Day 202 a gender-diverse, intergenerational group of artists and thinkers, as well as produced the reader Stronger Than Bone, co-published by Berlin-based Archive Books and the Gwangju Biennale Foundation. Various museums and private collectors have trusted our vision and been generous in loaning artists’ works to the 13th Gwangju Biennale from India, Haiti, New Zealand, Qatar, and beyond. We hope local audiences will enjoy these compelling artistic expressions.
— Defne Ayas: We have been friends and colleagues for a long time. We were approached in January 2019 to put together a joint proposal for the Biennale, and that March we made our first trip to Korea together. By then we already shared certain intuitions about venues and interests, which anchored much of our early process. That was two years ago, and we have since continued to work together to realize those shared ideas.
Photography courtesy of the Gwangju Biennale Foundation.
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GN: We appreciate the work that you have done in creating this year’s Gwangju Biennale. I personally can’t wait for the chance to go and see the fruits of your labor. Thank you for giving of your time for this interview.
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GN: You both have a wealth of international experience. In what ways do you think this experience will help deliver the message of this year’s Biennale? — Natasha Ginwala: Our international partnerships have been crucial in gaining support towards the realization of 40 artist commissions, some of which will be featured in international exhibitions at partner institutions such as Kunsthall Trondheim in Norway and Bonniers Konsthall in Sweden. Our curatorial and programs teams are based in Korea and six other countries, and they have carried out this monumental collaborative effort throughout the pandemic, including presenting specialized digital content that is artistic, literary, and scientific. We have been committed to extending a dialogue about feminism, gender justice, and sexual violence as part of this Biennale edition. To this end, we have worked with
— Defne Ayas: The cultural ecology of Korea has a demand for art, which is a great thing for the Biennale, particularly this year, when the audiences – of the exhibition element, at least – will be local, rather than international. The Gwangju Biennale is Asia’s largest, oldest, and most prestigious biennial of contemporary art with an international reputation, but of course, it is firmly anchored in its local context. Our impression is that it continues to draw its energy from the legacy of the Gwangju Uprising, and every two years it sparks discussion about this traumatic experience, as well as passionate interest and discussion from the local community.
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city’s audiences. The construction and installation phase of this Biennale edition also held unique challenges, since the few who traveled endured strict quarantine measures and needed to always remain alert while working onsite. We are grateful that the process continued with a positive energy and commitment from the exhibition coordinators and hired companies. There have been two postponements and the Biennale’s duration has been shortened. This has made it impossible for numerous people to be present for the official opening ceremony of the Biennale, and that is hugely disappointing for us, our artists, and team. We hope the spring will bring a sense of renewal and ease in Korea.
GN: Lastly, on a more general note, what are your impressions of Gwangju and, in particular, the city’s ongoing enthusiasm and support for the Biennale? — Natasha Ginwala: We greatly enjoyed our visits to Gwangju and engaging with the cultural communities including artists, human rights activists, theater makers, historians, and students. Despite the ongoing pandemic, we were able to expand connections between international artists and various organizations, but also local residents became collaborators with Biennale artists given the nature of their projects, including a quilt maker, baker, gong maker, dancers, esteemed Seon Buddhist nun, and expert in temple food Jeong Kwan, who played an important role in the opening procession “Through the Gates.” Also participating in the opening procession were children practicing taekkyeon and samul-nori performers who participated with artists such as Angelo Plessas, Eight OS, Cecilia Bengolea, Siyabonga Mthembu, and Kim Sangdon as collaborators for the procession recording led by our producer Davide Quadrio.
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People in the Arts
www.gwangjunewsgic.com
April 2021
FEATURE
An Artist Couple Living in the Arts By Kang Jennis Hyun-suk ▲ Father and Son, by Goh Geunho.
FIRST ENCOUNTERS
A couple of months ago, I went to a gallery cafe on Gwangju’s Art Street (예술의 거리). A lot of wonderful artworks were hanging on the walls in the cafe. Among them, a little surface relief caught my eye. It was a nude. I asked the owner of the cafe whose work it was. The lady said that her husband bought the relief as a congratulatory gesture at an artist couple’s wedding. The couple was Ju Hong and Goh Geunho. She said the two artists’ wedding was held in a gallery, where they exhibited the works that they had made during their dating period. The surface relief was also made during this time by Goh. How romantic! I thought the artworks were like love letters the dating couple sent to each other. Thinking back, I remembered that I had once previously seen a piece of Goh’s work. It was a sculpture of two molded clay men. One was an older man in a loose suit. He had bent shoulders as if he had carried many heavy burdens on his back throughout his life. And the other was a young man in jeans with a skull-shaped buckle. One of his eyes was hidden by his long hair, and his arms were folded as if he was challenging the world. The title of the sculptures was “Father and Son.” I could empathize with the work. The era of my parents required going through a lot of difficulties on this land in the early 20th century. Thanks to them, the next generation could enjoy the fruits of life, but that is also why we do not have the ability to understand the shadows of the former generation. At the time, I wondered who this artist was who had depicted the stark contrast between the two generations. From these two encounters, I wanted to know more about this
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artist duo and thought that I could do so through an interview. I set up separate interviews for the two of them because I guessed that the artistic expression they were pursuing might be quite different. Before going to the interview with artist Goh, I browsed through his recent artworks on the internet. His works have changed over the years. Recently, Goh is known for his pop art. I had heard the term pop art before, but I was not sure exactly what it referred to. So, I headed to the library. This is my favorite part of writing art articles. Going to the library helps me to learn about the artists. What I learned from the library was that “pop art,” an abbreviation for popular art, was originally born in England in the mid1950s. After World War II, pop art emerged as an art movement in England and the United States. There are several world-famous pop artists you might know: Roy Lichtenstein, who is known for the work Happy Tears; Andy Warhol, who asserted that everyone in the world should be able to enjoy the arts equally, just as everyone can enjoy the same taste of Coca-Cola; and Jean-Michel Basquiat, who brought wild graffiti into the galleries. “But are there pop artists in Korea?” I thought. The concept of pop artists was a little surprising to me.
GOH GEUNHO
At last, I could meet artist Goh at his studio in Gwangju. When I followed him up to his studio, I thought I was in an animation park or Charlie’s Chocolate Factory. Colorful metal pieces were connected with nuts and bolts to create interesting stories. When I saw a bike emitting flower farts flying against the wall, I could not help but
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▲ Goh Geunho assembling a work of art.
▲ Darth Vader, by Goh Geunho.
In one of Goh’s artworks, there was a Buddha sitting and thinking inside a door. Behind the door, there was a line of people waiting earnestly for the Buddha to finish his thinking. The jovial aspect is that the waiting metal characters are from popular paintings by Klimt, Seurat, Picasso, and Munch. I felt that he was depicting diverse characters of common people in diverse waiting poses. I just dropped my jaw and said, “Wow” again and again. On the way up to the studio, I also saw his words written on a board. They read: “There is no point in life unless you are happy.” I think his words on life are expressed in all of his works.
Jennis: So, you were able to build your creativity safely on the other side of the wall. Goh Geunho: Right. I could not catch up with the speed
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Jennis: So, you grew up as a pop artist? Then did you major in sculpture in college? Goh Geunho: I used to do fine art. I liked painting since I was young. One day, Prof. Ko Jong-soo, who taught us sculpture in a practical course for experiencing various fields, told me that I was talented in sculpture. From that time, I became attracted to the field of sculpture – creating something that did not exist before – so I changed my major. And I have been doing pop art sculptures for the past 20 years, coloring and assembling plate steel. Jennis: As a pop artist, when is the happiest moment for you? Goh Geunho: When I exhibit at art fairs around the world, I am happy that my booth is popular with the children. Jennis: I can imagine. What do you think your next direction will be? Goh Geunho: With the encouragement of those who miss my old sculptures, I am now planning to establish a studio in Yeongam. Jennis: I hope to see your new sculptures and pop art in art galleries soon. Thank you for your time.
April 2021
Jennis: What does that mean? Goh Geunho: When I was a high school student, my teacher asked me why I had built a high barrier against studying. Actually, I was not interested in studying but in doing art at that time. After that, I call myself Gong-dam, or “wall against study” in Korean.
Jennis: How positive you are! Can I ask what your childhood was like? Goh Geunho: When I was young, my mother ran a bakery. Next to the bakery, there was an underwear shop and the owner of the shop always gave me the remaining cardboard paper after selling her goods. I kept myself happy by making robots and cars by cutting and pasting the cardboard.
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After this amazing “tour,” we sat down in Goh’s studio for the interview. Jennis: Where on earth does your creative mind come from? Perhaps you are the artist least influenced by schooling, not fitting into a mold that society may expect. Goh Geunho: How did you know that? My nickname is Gong-dam.
of my bursting ideas when I was young. But nowadays, they come at a proper speed so that I can jot them all down in my notebook.
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laugh. I could see a lot of metal creatures. Don Quixote on Rosinante; Darth Vader, who spread the phrase “I am your father” worldwide; Wonder Woman, who was my childhood idol; and the Little Prince, who went back to his asteroid, B612. I could not help but enjoy myself with the various poses of these metal heroes.
▲ Woman in Relief, by Goh Geunho.
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JU HONG
www.gwangjunewsgic.com
April 2021
FEATURE
Most artists’ works are displayed at exhibitions, and people who want to possess them can purchase them at the art galleries. However, in the 21st century, the art process itself has become the art. Ju Hong is an artist who is trying to be free from the constraints imposed upon art and the art industry. Sometimes she draws on paper or cloth with the freedom of a musician’s creativity. Sometimes she dances or creates a story with fine sand. But there is something in common in all her diverse artworks: conveying the message of nature or words of consolation to the people. I saw Ju Hong’s artwork in a downtown Gwangju art gallery, and we were able to talk about her artworks during our interview. Jennis: A few days ago, I saw your work with your lefthanded writing on Korean paper. Is that one of your early works? Ju Hong: Yes, it was the poem “On the Way to Eunju-sa” by Yim Dong-hwak. Eunju-sa [in Naju] is a temple that has a story handed down for centuries. A thousand years ago, the people on this land believed that if a thousand Buddha statues and a thousand pagodas could be built in one night, the ideal world could be realized. But the dream of the common people did not come true because their efforts were short by one statue. The poet recalled May 18 from the broken statues scattered here and there at Eunju-sa. I sympathized with his poem and expressed it as a painting. Jennis: I see. Was there any special reason to paint and write with your left hand? Ju Hong: One day, I had a chance to observe my actions one by one. I was so used to drawing with my right hand, and sometimes the hand went first without me even thinking about it. It is hard for quickly written and splendid words to convey one’s true mind. As you know, children’s crooked drawings express their feelings well. I also wanted to convey my mind with my unfamiliar lefthanded drawing. Jennis: I see. I heard that you stayed in India for years when you were a young artist. Would you tell me the story of your stay there? Ju Hong: I majored in Korean painting at Chonnam University, and I did my master’s program in fine art at ChungAng University. So, I loved to combine Western materials with traditional black ink on white paper. After completing my master’s, I had a chance to go to India to prepare for a contemporary art exhibition between Korea and India in 1995. The president of Varanas Hindu University expressed an interest in my paintings, and he suggested that I teach Korean paintings to his students. Jennis: Wow, did you teach Korean art in English? Ju Hong: There is a saying, “Art overcomes any language
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▲ Korea-Eurasia Roadrun, We Must Meet, painting performance by Ju Hong.
▲ Ju Hong depicting Gwanghwa-mun in sand art.
▲ Finding Lost Memories, by Ju Hong, 518 UNESCO Archives Exhibition.
barrier.” Fortunately, I was able to teach art with simple English. Jennis: How was your stay in India overall? Ju Hong: I stayed in India for four years, coming and going eleven times. I have written my story of India as a newspaper column. It was a wonderful experience for me, but because I could not eat properly, it damaged my health.
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Jennis: So, you came back to Korea? Ju Hong: Yes. I stayed near a temple on the outskirts of Gwangju to restore my health.
Asia Culture Center (ACC). In 2012, at the suggestion of pastor and artist Im Uijin, citizens and artists joined to create a space to preserve the spirit of Gwangju.
Jennis: I am curious to know how you met your husband, artist Goh Geunho. Ju Hong: It happened suddenly. One autumn day, as I was watching the falling leaves, I realized I was in my mid-30s. I suddenly missed having someone to have my meals with. Then I thought of Goh and called him to have dinner together. We had known each other as artist colleagues. And he said yes! But we were both too shy for just the two of us to meet. So, we brought some friends along, and it became a big happy dinner. That was the beginning of our story.
Jennis: I see, but the ACC was built in memory of and to keep the spirit of democracy, was it not? Ju Hong: Yes, but some of the citizens, including some artists, thought that the spirit of Gwangju’s citizens could not be properly preserved under the government’s control. So, every Saturday at 2 a.m., several people got together and painted graffiti on the walls of the ACC construction site. The people of diverse generations got together as one at that time and made a plan to create a space to preserve the spirit of Gwangju citizens. That is May Hall.
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AFTER THE INTERVIEWS
Artist Goh Geunho achieved excellent results at Hong Kong’s Asia Auction Week and Singapore’s Larasati Auction, and his works were also welcomed at the Tokyo Modern Art Fair and the COEX International Art Fair in Seoul. His Heroes series, which was created from cartoon and historical heroes, has been continuously popular. I wonder who his next hero will be. Ju Hong is working as an artist of Gwangju and for Gwangju. She is an artist with soul and wants to be a guerrilla of culture. I support the lives of this artist couple, who are different but similar, and who are ardent supporters of each other.
The Author
Kang “Jennis” Hyunsuk is a freelance English tutor and a once-in-a-while interpreter. She worked for the Asia Culture Center during its opening season and likes to grow greens and walk her dog. Every weekend, she goes to the countryside and takes photos of nature with her husband.
April 2021
Jennis: Amazing, I respect how you strive to develop yourself constantly. Now you work as director of a gallery, The Box of Thoughts (생각상자), and as curator of May Hall. Is May Hall concerned with Gwangju’s May 18? Ju Hong: Right. May Hall is located across from the
Jennis: It is said that art has come about to give comfort and hope from primitive times. It is amazing that you constantly develop yourself in diverse way as an artist. Thank you for your time.
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Jennis: Wow, what a story! Your love for your children was surely conveyed to the people. By the way, I read your profile and found that you are a healing artist. How did you come to want to be a healing artist? Ju Hong: After my marriage, I needed work to earn a living. Fortunately, I had a certificate as an art teacher, so I started to work as an art teacher on an island. The island of Anjwado (안좌도), one of the islands of Sinan [off the west coast], is the hometown of the famous Korean painter Kim Hwan-gi. However, there were some students there who lived with their grandmother instead of their parents and who had left the island to make money. Some of the children were mentally retarded , being unable to write letters or numbers. I taught them timetables and the letters of Hangul through art in their after-school classes. They surprisingly improved themselves a lot. Through this experience, I learned that painting has the power of healing, and I wanted to study more about it. So, I went to Wonkwang University for a doctorate in art therapy.
Jennis: And it has already been ten years since then! This might be a silly question, but what made you concerned about May 18? And would you tell me what your next steps as an artist might be? Ju Hong: I think the experience of May 18 at a young age has guided me through my whole life. I have kept thinking about why it happened, how we can heal ourselves, and what we leave for our following generations as a legacy of democracy. As an artist, I will keep finding ways of doing this. I think that artists exist to help people discover their abilities for self-healing.
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Jennis: That is how this artist couple was born! And, I also heard that you wrote books for your children. Ju Hong: Living as artists, especially since our art was experimental, we did not make much money at that time. But we wanted to give our children something special as artist parents. Their father made artworks out of junk materials and took pictures of the process, and as a mother, I wrote a story and made a picture book for it. The title of the book is The Worn-Out Bike (고물자전거). Luckily, the book was then introduced on a children’s TV program and became popular. Another TV program filmed the process of making picture books in a documentary and aired it nationwide. Later, the book was selected as an outstanding book at the Bologna Book Fair in Italy and at the Frankfurt Book Fair in Germany.
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16
Blast from the Past
The Supernatural Korean Dragons and Ghosts
www.gwangjunewsgic.com
April 2021
blast from the past
Korean folklore is full of the supernatural: flying horses, phoenixes, three-headed fowls, pipe-smoking tigers, prankplaying and evil spirits, and of course, dragons and ghosts of all sorts. We have gone back through our archives to find a duo of very interesting articles on the latter two. Adam Volle writes about dragons and their journey to Korea (“Dragons Are Important in Korean Mythology,” Gwangju News, September 2013), while Stephen Redeker tells us all about “Korean Ghosts” (Gwangju News, December 2012). Have no fear; pure enjoyment is to come. — Ed.
KOREAN DRAGONS
Dragons are important in Korean mythology, so how did they come to Korea? The simple answer is “from China.” Archaeologists have discovered dragon statues in Henan that date back to the Stone Age. The culture that made those statues probably shared the dragon concept with the ancestors of ethnic Koreans. But China is only the birthplace of the dragon’s appearance and basic associations (power, rain, and luck). To truly understand Korean dragons, look to the birthplace of their stories: India. India is the home of Buddhism, one of Korea’s major religions. India is also the home of the nāga, a spirit that usually takes the form of a king cobra and sometimes that of a human. The nāga can fly but does not make a habit of it for the understandable fear that a bird might attack it. As one of India’s old gods, nāgas have a place in most Indian religions, and Indian Buddhism is no exception. One famous nāga in Indian Buddhism is Mucalinda, king of the snakes. Legends say that when a storm rained upon the Buddha during his meditation, Mucalinda covered the Buddha with his hood. Afterward, Mucalinda invited the Buddha to his underwater palace and became the Buddha’s first follower.
became very popular with Chinese people, and it is not hard to understand how they heard the Indians talk about large, flying snakes and thought they must be talking about dragons. The misunderstanding greatly changed East Asian concepts of dragons. Before Buddhism, Chinese people understood dragons as controllers of rain, but they did not believe a dragon might live in any river, lake, or ocean. Nobody believed in dragon kings. Dragons certainly did not have the wish-fulfilling orbs, which in Korean are called yeouiju (여의주, dragon ball). The orbs are from an Indian legend about a jewel called the Cirimani. Most importantly, the job of dragons changed with the Indian influence; they became protectors more than rainmakers. Indeed, dragons even became the guardians of Buddhism’s Three Gems: the Buddha, the Buddha’s teachings, and Buddhist monks. As Korea became a Buddhist land, dragons logically became guardians of Korea itself – and though Buddhism later declined, Korean interest in dragons never has.
If you are acquainted with East Asian dragon stories, this story sounds familiar. Chinese, Korean, and Japanese mythologies all have dragon kings who live in underwater palaces. In all three cultures, dragons are also the Buddha’s first believers. Yes, many Buddhist stories about dragons in East Asia are actually nāga stories. Moreover, every dragon story in Asia is influenced by them. Like the teachings of the Buddha, the stories of nāgas told by Indian missionaries
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▲ Dragon Sculpture in Yongdusan Park, Busan. (Wikipedia/Michiel1972)
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17 KOREAN GHOSTS
What exactly are Korean ghosts? There are precisely four types of Korean ghosts, called gwishin (귀신), which are believed to be the spirits of the deceased who have not been able to fulfill their life’s purpose. They are stuck in the afterlife, still haunting the living, not able to cross over to “the other side,” and waiting for their souls to be appeased. The origins of these spiritual beliefs stem from shamanism, an ancient religion that still has its followers in Korea, which deals with supernatural spirits in the natural world. Numerous shamanistic rituals deal with appeasing these gwishin. Subsequently, there are many Korean horror films that feature ghosts looking like deathly pale girls wearing white gowns. Their lips are blood red and they seem to float on air. This resembles the ghost called cheonyeo-gwishin (처녀귀신).
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As in many other countries and cultures, Korea has its share of unique ghosts that have arisen from old beliefs carried down through the centuries. Although not as feared as they were in the past, they still serve their purposes as entertainment and as a glimpse into what people once believed to be true. Now, armed with an education in Korean “ghost lore,” many of these popular Korean horror movies may have more meaning. How about some Hollywood remakes with a few gwishin in the plot? Wouldn't it be great to see a Korean version of Ghostbusters featuring all of these ghosts? Written by Adam Volle and Stephen Redeker. Arranged by David Shaffer.
▲ Painting of Gumiho, the nine-tailed fox.
April 2021
Some people say drowning is the worst way to die. Well, there is a ghost for that. A mul-gwishin (물귀신) is the spirit of someone who drowned, a “water ghost.” These ghosts are very lonely, living in the cold water where they died, so they may pull the living down into the watery depths if they are not careful. This spirit has led to the Korean term mul-gwishin jakjeon (물귀신 작전), meaning “water ghost tactics.” This expression means that someone is dragging you down so that you suffer
Another ghost worth mentioning here is the “nine-tailed fox” ghost (gumiho, 구미호). Long ago, it was believed that certain animals could obtain human-like characteristics. This nine-tailed fox is an example, as it could change into a beautiful woman and lure an unsuspecting man to his death (by eating out his liver). This ghost is mainly seen as an evil spirit, but a recent Korean romantic film called My Girlfriend Is a Gumiho (내 여자친구는 구미호) totally changed that image. This film, starring Lee Seung-gi and Shin Min-ah, gives a very cute and bubbly depiction of the gumiho ghost. In the movie, the ghost is trying to have a successful relationship with her boyfriend in order to fully become human!
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The male equivalent to the cheonyeo-gwishin ghost is the chonggak-gwishin (총각귀신). Also known as mongdalgwishin (몽달귀신), he is the unmarried bachelor ghost. Sometimes there are shamanistic rituals that aim to unite these two forms of ghosts, the cheonyeo- and chonggakgwishin, so that they may be married. If successful, their life would be completed and satisfied (in a spiritual sense). At peace, they may then be permitted to enter the afterworld. In pop culture and films, the female ghost is much more common than the male version.
The ghost named dalgyal-gwishin (달걀귀신) might be the strangest. It is egg-shaped with no eyes, nose, mouth, or even arms or legs. According to legend, if one sets eyes on it, they will die. The ghost has no personality or discernable emotions or origins. This is the deadliest and most frightening ghost. Some say it lives in the mountains and haunts those who traverse its paths.
BLAST FROM THE PAST
The cheonyeo-gwishin is the most common of the four types of Korean ghosts. She is the “virgin ghost,” the girl who could not serve her full purpose in life. It was very difficult to be a woman in early Korean times; her life would consist of only serving her father, her husband, and her children. If she had failed in achieving her wish and had lifelong resentment, her life would have been meaningless and her soul would be stuck in our world. This ghost wears traditional white mourning clothes called sobok (소복) and wears her long hair down because she does not have the right to wear her hair up, as married women traditionally did. She holds grudges over those who may have caused her harm and continues to haunt them. The Ring is a film based on an earlier Japanese horror movie that features a ghost such as this.
along with them; a form of sabotage. It is something like the “I’m taking you down with me” expression.
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18
Around Korea
Enjoying Nature in Hwasun A Sheep Farm by a Cypress Forest
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April 2021
TRAVEL
By Melline Galani
G
wangju’s surroundings have a lot to offer in terms of spending quality time outdoors. During our summer vacation in Damyang last year, we took daily trips around the Gwangju area in search of interesting places to go and see. This is how we discovered a local sheep farm and a cypress forest. They should be visited in the same trip because they are really close to each other and are great opportunities to spend an entire day outside with tons of fun. We visited these places together several times during the summer and late autumn of 2020. The Mudeung-san Sheep Farm is located in Hwasun, less than 40 minutes by car from our home in Gwangju, or just 20 kilometers from The Damyang House – the starting point for our travels during this particular summer vacation. The farm as it is today was opened as a tourist attraction in 2016, but it has existed since 1974. When we first visited, we were really impressed by its resemblance to a European farm. I personally almost felt that it was like being home again. The space is quite wide and the sheep live freely. They have around 200 sheep and some cows on 330,000 square meters of land, according to their website. There is an entrance fee, but they provide one basket of hay for each person, so we were able to experience feeding the sheep, too. The prices are 6,000 won for adults, 5,000 won for teens, and 4,000 won for kids. I still remember the feeling of the sheep’s soft noses and their tender breath blowing on my hand as I fed them. I must admit I kind of miss this sensation. My kids were thrilled, too. We even walked slowly on the paths through the mountain nearby enjoying the beauty of nature. We also met a lone, strange goat on the farm, which we named “Vasilica.” If there were more goats, we were not able to see them.
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▲ Mudeung-san Sheep Farm
If the weather is fine and the air is clean, as it often has been for us, the view there is breathtaking. We were lucky enough to be able to admire it each time we went. Though beautiful, the visit does not take more than an hour and a half, even if you go slowly to see all the paths. It is a good place for healing the body and soul after exhausting periods of hard work and stress. And if you have kids, it is also a good opportunity for them to play freely outside and learn about animals through first-hand experience. Less than a five-minute drive away lies another hidden gem: the Mudeung-san Cypress Natural Recreational Forest. This is a private space, so you need to pay a fee for entry. The price is 2,000 won for adults and 1,000 won for children, with an extra 2,000 won for parking the car inside the complex. The staff provided us with a map of the entire complex, so we had no difficulties in exploring the area. On both sides of the road, the beautiful cypress forest delights the visitor’s eyes. There are hiking trails with different difficulty levels on one side and a huge recreation
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▲ Mudeung-san Cypress Natural Recreational Forest ▼
area on the other. A small, suspended bridge connects these two areas, and pedestrians who want to enjoy a bizarre sensation can try walking across the bridge – but be warned: The bridge sways back and forth when you cross it. Some might find this experience quite fun, but not all.
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April 2021
On the other side of the road, the recreation area provides many attractions. One is a Korean restaurant for those in need of a meal. There are also many cottages and small houses scattered throughout the forest that can be rented, though we did not spend the night – nor did
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For us, we loved the hiking part the most. We tried different trails and explored the forest thoroughly, breathing natural scents from plants, trees, and the soil. It had rained the day before on one of our trips, so the scent of damp earth was especially alluring to me. Exploring the forest on a hot summer day is the perfect way of escaping the heat, not to mention the healing effect it has on the body and mind. On top of all of these natural sights, there is an open outdoor concert area with benches and a stage, and I assumed there used to be concerts there, though this is not the case now due to COVID-19.
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▲ Feeding the sheep.
TRAVEL
▲ The small suspension bridge.
▲ Beautiful view of the surroundings.
During summertime, the stream that crosses the forest functions as an outdoor pool where people can refresh themselves and cool off while having fun. An outdoor playground nearby provides entertainment for kids, and a soccer field invites fans of physical activity for some well-deserved fun. A small pond with a pavilion near the field also invites travelers to rest and cool themselves near the water’s mist. There are also some picnic areas where one can enjoy a snack after a stroll along the mountain paths.
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April 2021
we eat at the restaurant. The architecture looked as if it had been built around the 1970s, and I admit some of the buildings could use a bit of remodeling to spruce the place up a bit. But for a day trip, we were not in search of accommodation and were thoroughly pleased with what the site had to offer.
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Overall, visiting these two places on the same trip is a great idea. We spent time enjoying nature in both areas, doing some outdoor activities that kept my kids away from their electronic devices, and as a bonus, we got a well-deserved deep sleep during the night that ensued after a long day. On top of all of this, these locations were not crowded, presumably due to COVID-19. For those in search of daytime activities around Gwangju, these two places may suit your taste, and I highly recommend checking them out.
MUDEUNG-SAN SHEEP FARM (무등산 양떼목장) Address: 537 Anyangsan-ro, Hwasun-eup, Hwasun-gun, Jeollanam-do 전남 화순군 화순읍 안양산로 537 Operating Hours: 10:00 a.m. – 5:00 p.m. (Oct.–Mar.), 6:00 p.m. (Apr.–Sept.); closed on Mondays. Phone: 061-375-6269 Website: www.mudeungsan-yangtte.co.kr Instagram: @ yangtte2016_
MUDEUNG-SAN CYPRESS NATURAL RECREATIONAL FOREST (무등산편백자연휴양림) Address: San 168, Ansan-ri, Iseo-myeon, Hwasun-gun, Jeollanam-do 전남 화순군 이서면 안심리 산 168번지 Operating Hours: 10:00 a.m. – 5:00 p.m. Phone: 061-373-2065 Website: http://moodoong.com/
The Author
Melline Galani is a Romanian enthusiast, born and raised in the capital city of Bucharest, who is currently living in Gwangju. She likes new challenges, learning interesting things, and is incurably optimistic. She loves exploring nature around Gwangju. Instagram: @melligalanis
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CROSSWORD PUZZLE
Look for the answers to this crossword puzzle to appear in May in Gwangju News Online (www.gwangjunewsgic.com)
Created by Jon Dunbar
DOWN 1 Record from TV 2 Gwangju News writer Wabe 3 Pouch 4 Liancourt ___ 5 Hooting birds 6 Golf hole starting point 7 Painter Kang 8 Upper-left key 9 Had a meal 10 Sehyoung of 40 across 13 Pest plants 15 Opposite of old 18 Inclined against something 19 Baseball player’s necessity
ACROSS
20 Mistake 21 Gullible
4 What organic waste will do
31 Negative elementary particle
22 What you do with something not disposable
7 Brennan or Cassady
32 Mazel ___
23 Sye-kyun or Myung-whun
11 US int’l broadcaster
33 “___ a moment”
24 Dangerous virus
12 Have a debt
34 “It’s ___ a Paper Moon”
26 Tie up
13 Goes with zero
35 Say no to what you don’t need
28 Suffix for ant- or pseudo-
14 Separate trash to do this
37 Sangmu restaurant Sushi ___
31 Goons
16 Event host
38 Commercials
33 Court worker
17 Approves
39 “Raiders of the Lost ___”
36 Fruit-flavored soft drink
18 If you shake this, your fortune will leave you
40 Community cafe ___ Space
37 TV show
43 Wasteful material
39 ___ vera
47 Cafe ___ Club recycling initiative
40 George Lucas’ VFX company
48 URL ender
41 Persimmon-like Korean surname
49 Japanese airline
42 Drug not needing RX
26 Green, rooibos, and Earl Grey
50 Art museum in Seoul, Gwacheon, Cheongju
43 Circuit backing
27 “Curb Your Enthusiasm” TV network
51 Author of “The Ultimate Guide to Simplifying Your Life...” Johnson
29 Math subj.
52 It might eat your nail clippings
19 Restaurant lists 22 Let go of things that are no longer of use 25 Country that seized Korean tanker
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44 Road material 45 “Once ___ while” (2 words)
April 2021
30 Don’t walk
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1 Radio station employees
46 Heathcliff or Grumpy
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Lost in Gwangju
Has the Sun Set Urban Parks?
on
Gwangju’s By Isaiah Winters
www.gwangjunewsgic.com
April 2021
TRAVEL
O
ne of my favorite places to go people watching these days is among the low, leafy hills around the World Cup Stadium, an area known as Gwangju Central Neighborhood Park (광주중앙근린공원). Etched with myriad footpaths, the hills are crawling from dawn till dusk with hikers, farmers, and the odd, camerawielding stray like me. This verdant patchwork spans the Juwol, Pungam, Hwajeong, Geumho, and Sangmu neighborhoods around said stadium in what makes up the city center’s largest respite from ever-encroaching development. It’s a novelty to have so much undeveloped green space within a major city, and I’ve grown to love the area as a result. Nevertheless, it’s not a proper Lost in Gwangju article without a little doom and gloom, so this month’s edition will focus on how the area is likely to change for better and for worse in the near future.
1,200 bodies interred throughout the park beneath burial mounds in motley states ranging from precision landscaping to unrecognizable heaps of undergrowth. Most have nevertheless been meticulously marked with a numbered signboard bearing a message again from
There’s a massive (but vague) plan in the works called the Gwangju Private Park Special Project that’s attempting to walk a fine line between preserving and developing these green spaces. At present, wrangling between City Hall and the Bitgoeul Central Park Development Company over the project’s cost and extent makes the whole thing rather opaque and highly tenuous, but from the few architectural renderings I managed to dig up online, it looks like one plan is to do a little of everything: a little housing construction, a little greenscaping, and a little (unmentioned) expropriation of farmland.[1] The latter process is already underway despite everything else still being rather speculative. Accordingly, a great banner war has broken out between local farmers on one side and City Hall together with the JoongAng Park Company on the other over issues of expropriation and compensation. The latter two have couched their messages in soft bureauspeak, promising interested landowners to “sincerely respond” to any “inquiry about land compensation.” As you can imagine, the farmers’ banners are infinitely more colorful in their phrasing. Meanwhile, the park’s countless burial mounds are being diligently marked for later disinterment and removal in what’s sure to be a grim process. There are well over
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23 City Hall and the JoongAng Park Company. The signs are an attempt to find the current caretakers of each grave and relocate the bodies at no cost to the living relations. However, almost none of the mounds bear the names of the deceased entombed within them, so the relocation process will likely be long and tedious. As if right on cue to help speed things along, many of the contact signs have been slapped with sticker ads for funeral and cremation services that smack of shameless opportunism. Ultimately, with so many burial mounds unlikely to be claimed – not to mention all the ones invisible to the naked eye – the upcoming project is literally likely to be built on bones. Plastic is another thing likely to be dug up en masse once development begins. Local farmers have used an ungodly amount of the stuff over the decades to either retain soil
moisture, protect plants, or seal off their land and, if we’re going to be honest, much of the farmland appears to be a polluted, chaotic mess as a result. A trek through the debris-hemmed microfarms of Juwol-dong, for example, takes you past a bevy of tumbledown, asbestos-panel sheds and across precarious bridges spanning smatterings of junk. To me, this is all fascinating in its own right, but for most normal people, it’s likely seen as a societal blemish that’s run its course. Coincidentally, a large part of the proposed development project in Juwol-dong is set to be built right on top of much of this farmland, which would certainly tidy the place up, though at the cost of cauterizing acres of Gwangju’s verdant, urban lungs. Naturally, the resilient community of local farmers would be decimated in the process. On my many walks through the fields, it was clear that the area derived its soul and charm (but also its trash) from them.
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April 2021
A tractor tills the urban fields of Juwol-dong in early March.
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April 2021 www.gwangjunewsgic.com
To be fair, City Hall has done pretty well in negotiations to restrict the project’s development area to under ten percent of the total parkland, so that’s a pretty good deal in exchange for a much-needed cleanup. In fact, this amount allotted to the development company is 11 percent less than the national average for similar projects, which cuts into the developer’s profits. But that’s the rub – the development company now considers the project too unprofitable to be attractive, especially since land prices are shooting up across this area of Gwangju, in part due to delays and to the project itself. The way the deal works is the city first allows the private development company to buy its parkland, and then the company cleans the parks up and improves public facilities. In exchange for this, the company then gets to develop luxury high-rise apartments on a fraction of the land and sell those at a profit. In the end, the company gives the spruced-up parkland back to the city and keeps the private apartments for itself. But with land prices on the rise, development allotments staying low, and COVID-19 dragging on, negotiations have reached a standstill.[1][2] To end at the beginning, this whole convoluted exchange between City Hall and the Bitgoeul Central Park Development Company was made possible thanks to the expiration of the Sunset Law which, after shielding local parks from development over the last 20 years, expired last July, thus lifting restrictions on new building projects. As negotiations over tiny percentages of land grind on, I’m surprised by how it’s practically taken for granted that enough land can be expropriated from local farmers, some of whom claim to have been farming the same plots for up to 50 years. Many legitimately own the land they farm while many others don’t, adding yet another wrinkle to this ongoing story. In total, nine local parks have been freed up for construction in the wake of the Sunset Law, putting the property of local smallholders across the city at risk and ensuring that these types of land disputes continue for the foreseeable future. Whichever way future negotiations go, the city center will certainly keep its lungs – now it’s just a matter of what type of phlegm they retain.
Sources 1
2
Park, J. (2020, April 20). 전국최고 공원보존율…도심 숲 둘러싸인 명품 주거단지. Gwangju Ilbo.
http://m.kwangju.co.kr/article. php?aid=1587308400693904004 Kim, K. (2021, February 16). 광주시, 고분양가 논란 '중앙공원 APT 개발' 원점 재검토. Today Gwangju-Jeonnam. https:// www.todaygwangju.com/news/ articleView.html?idxno=82349
Two retirees play a friendly but intense game of baduk (go) among the forests of Sangmu 2-dong.
▲
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▼ Farmers ready the soil for the spring planting season in Juwol-dong.
The Author
Originally from Southern California, Isaiah Winters is a Gwangju-based urban explorer who enjoys writing about the City of Light’s lesser-known quarters. When he’s not roaming the streets and writing about his experiences, he’s usually working or fulfilling his duties as the Gwangju News’ heavily caffeinated chief copy editor. You can find more of his photography on Instagram @d.p.r.kwangju
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TRAVEL
▲ A statue overlooks a burial mound marked for removal in Juwol-dong. ▼ An elderly man takes a photo break between pansori songs played on his janggu.
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April 2021
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26
All Good Things… The End of GFN’s City of Light By Arlo Matisz
April 2021
A significant portion of City of Light was news coverage. For two hours each weeknight, the show covered national, international, and local news. Stories of interest or relevance to the community were often discussed in greater depth with various guests. Sports, movies, art, and music were all topics of discussion. At any one time, the show had over a dozen different guests coming in each week to cover their areas of interest and expertise. Our thanks go out to all of them for helping build and maintain this show for so many years. Special thanks must go out to Daniel Choy, a longtime news anchor for Arirang TV, and also City of Light’s longest-serving guest. For a decade, Daniel was available every day for a call-in from Seoul in which he would discuss current news and events with the host. His unique blend of professional expertise and humor was something to look forward to each show. In addition to regular guests, there were occasions for special interviews with people visiting the city, including several ambassadors and even a former head of state. It is a testament to GFN’s reputation that the station is able to attract such prominent figures.
www.gwangjunewsgic.com
COMMUNITY
A
ll good things must come to an end, but this is not an end to all good things. From April 1, 2009, until March 19, 2021, GFN’s City of Light was on the air in Gwangju and Yeosu. This program launched with the opening of GFN, the Gwangju Foreign Language Network. With a mandate to provide entertainment and education to the community, programs such as City of Light were designed to meet the needs of both the Korean and foreign local communities.
Many in Gwangju still remember that Michael Simning was the original host and one of the creators of City of Light. While much has been said about him in past issues of the Gwangju News, let me just say that enough can never be said of this man and the impact he had in the foreign community here, which still resonates out despite his passing seven years ago. From 2010 to 2014, there were several hosts of City of Light, as Michael was receiving cancer treatment and could not continue hosting through all of that period. I was given the honor of hosting the
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program in early 2014. Initially a guest covering science and technology issues, I was asked to take over host duties until Michael Simning was well enough to return to the role. He passed away a short time later. Despite serving as host for seven years, I have never stopped thinking of the show as Michael’s, a dear friend to so many in the community. On a personal note, I want to say it has been a great honor to host City of Light for the last seven years. Over this time, I have had the chance to work with so many great producers, writers, engineers, administrators, and guests. Many have become dear friends. I will never forget my
Young Michael Simning and Arlo Matisz (Gwangju, 2007).
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27
COMMUNITY
▲ Michael Simning working at GFN.
surprise at being offered a chance, though temporary, to host the show, and I will always be grateful for that faith GFN showed. I must give my sincere thanks to Kim Miyoung, my first producer and the person who hired me, as well as Kim Mikyoung, my producer for over five years following.
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The Author Arlo Matisz is an economics professor and the former host of GFN’s City of Light. He tries to get by with a little help from his friends.
April 2021
GFN still has a place for me as the host of a new program. Face2face (stylized as "face2face") will air on Sundays at 7–8 p.m. Producing the show will be GFN’s chief producer Kim Miyoung, who produced City of Light for over half a decade, the first half of its existence. Face2face is an intimate and intense interview program. Rather
Photographs courtesy of Arlo Matisz.
www.gwangjunewsgic.com
All good things come to an end, but sometimes that is a chance for change and renewal. GFN conducted extensive surveys of listeners to determine what kind of programming they wanted and when they wanted it. For dinnertime and afterwards, our listeners asked for something lighter and more accessible to the whole family, Korean or foreign. In response, GFN is proud to offer its listeners Way Back with U, cohosted by Woong Tae Ryu (유웅태) and Aline Verduyn, and airing live in City of Light’s time slot of 6–8 p.m. on weeknights. Way Back with U is a bilingual program in which the hosts discuss national, global, local, and recent issues, all in English and Korean. The program can also be viewed as a live video stream on GFN’s YouTube channel.
than the ten-minute interview format that was standard for City of Light, this new program offers substantive one-hour interviews with guests involved with current events and the local community. The title, which is intended to provoke discussion, has multiple layers. One is as a paradox: As the program is on the radio, the faces of the host and guest are not visible to the audience but are visible to each other during the interview. The other is that during the pandemic, we have become accustomed to so many interactions not being possible face to face; teaching students, meeting coworkers, and attending events have all moved to virtual formats. I think being face to face is something we naturally crave, and in consideration of the many things we have been missing during this difficult time, I hope to satisfy some of our desire for concern, empathy, and intimacy with this new program. It is GFN’s honor and responsibility to give listeners something that is needed.
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Beyond the Frames Art Called Boris Yeghiazaryan
H
If you do not know who Boris Yeghiazaryan is, you may pass over his name, but once you know him, it is impossible to be indifferent to him and his art. Do not try to look at his works separate from him. He is not just an artist and painter, he is the art himself; he is the creator, the beginning and continuation
of the unique and spiritual “Boris Yeghiazaryan” world. His aura, his manners, his world, his faith, his symbols, and his masterpieces together create the art called Boris Yeghiazaryan. Boris Yeghiazaryan is an Armenian-Ukrainian painter living and working in Kiev, Ukraine. Although he was born and raised in Armenia, for many years he has been living in Ukraine. It is impossible to give any complete definition to the phenomenon called “Boris Yeghiazaryan.” You can only
feel him through talking to him, listening to his talks, reading his interviews, watching documentaries about him, and eventually exploring his masterpieces. He will take you to his world full of love and happiness. If you look at his recent works, you will think that Boris had the happiest and best life. Yet he has had a life full of hardships, one that has made him kinder and thankful for everything. His love for art was so big that for some time he was forced to be far from his most beloved wife and baby girl Lusine.
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April 2021
CULTURE & ARTS
uman and professional, mysterious and simple, spiritual and full of love, a most outstanding artist: Boris Yeghiazaryan.
By Christina Ghevondian
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Boris Yeghiazaryan in his studio.
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29 Boris’s academic journey started at the Terlemezyan College of Creative Art in 1974 in Armenia. He then continued his studies at the Mukhina Art Institute in St. Petersburg, and his last destination was the Academy of Art in Kiev, from which he graduated in 1986.
Throughout his life, Boris’s works have differed according to his mental and spiritual state. After the war, he suffered from depression, and it took quite a long time for him to return to a life of art and to be able to create something new again. Boris also suffered one of the worst nightmares that parents can experience. His lovely daughter, Lusine, tragically perished in a car accident. It was the love of God that saved him and gave him and his wife the strength to live and create.
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The harmonious combination of bright colors is one of the key points in creating Boris’s mysterious world. His colors make the paintings come alive, as if you can see them moving
▲ My Daughter Lusine (1981). ▼ Anastasia (1998).
April 2021
An additional ordeal was ahead of him. In 2020, he was diagnosed with stage IV cancer. His friends started a fundraising campaign for his treatment, but he used some of this donation to start a campaign for other people suffering from cancer. At the end of 2020, war broke out
Boris is well-known not only in Armenia and Ukraine but in other countries as well. He has been participating in numerous exhibitions in Ukraine, Armenia, the U.S.A., Greece, Canada, France, Switzerland, Germany, and elsewhere since 1986. He has held many individual exhibitions, participated in group exhibitions, and was part of international art festivals. You can find his works in collections of the Kiev National Art Gallery, the Museum of Parajanov in Armenia, the National Gallery of Armenia, the Vinnitsa Museum of Art, and other galleries and museums, as well as in private collections of famous people.
▲ Nune (1988).
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In 2013–2014, he actively participated in and was injured during the Euromaidan demonstrations in Kiev, demonstrations that sought the implementation of an association agreement with the European Union. Boris is always quite active both socially and politically.
Different stages of his life certainly had an impact on his works. He never puts himself in any frame. He paints whatever he feels at that moment. His sister, art historian Gayane Eghiazaryan, wrote about his art saying, “It is hard to put him into any kind of -ism.” He may be considered as an avant-garde artist trying to see and create beyond the boundaries. Some people have described him as a Christian artist because of his symbolism. However, there is only one way to understand his art: Just look at it as not any -ism but as Boris Yeghiazaryan’s art world. His daughter described it as “a borderless land of fine art.”
CULTURE & ARTS
Back in Armenia, Boris participated in the Artsakh Movement (1988– 1992) that later transformed into the Pan-Armenian National Movement for the unification of Armenian territories. Because of this participation, he was stalked by the KGB, taken to jail, and then experienced the worst that could happen to any artist: They brunt his studio with his works from the preceding ten years.
again in Armenia. A huge number of soldiers sacrificed their lives and many were severely injured. Due to circumstances, Boris could not participate this time. However, while struggling with his disease, he painted day and night, selling his works for the rehabilitation of wounded soldiers, for their families, and for the families of those who died.
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30 distorted paintings with a gloomy and desperate aura. Sadness, nursing homes, psychiatric hospitals, and portraits of old men were some of his main themes. He has a series called Psychiatric Hospital that he created by visiting hospitals, trying to understand and live through the tragedies of the patients by painting them. This left a scar on him as well.
CULTURE & ARTS
Through all his depression and hardships, Boris found his way to God. Through all the difficulties, he found the beauty that life has to offer him and people in general. “If I am painting, that means I am praying,” Boris has said. For some period, he gave painting lessons at a school. The simplicity and sincerity of the children’s paintings were the source of inspiration for his future works. So, he has recreated the reality of beauty, love, joy, purity, peace, freedom, and happiness from the perspective of a child but as an
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April 2021
▲ Love (1996).
▼ Woman with Crocus. Portrait of Boris’s wife (1992).
and talking to you. His works are very simplistic, while containing the whole universe inside them. You can often find Christian symbols and themes, such as fish (representing Jesus), eyes (representing the eye of God), pomegranates (representing the church), angels, the color gold (representing light and purity in medieval Christian art), light (in the form of lamps, music, and violins), Noah’s Ark, and more. Colors and icons are quite static in his art. But there is no obsession with any ideology or phenomenon because nothing is planned or deliberate. He paints whatever he feels. At an earlier stage in his career, his works were more expressionistic, showing his mental state, his inner worries, and his emotional state. It was a difficult period for Boris, and all his anxiety and worries were reflected in his works. In his earlier self-portraits, you find
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31 adult painter. Even after losing the most precious person, his daughter Lusine, he has never lost his faith and love for God, and his paintings have never lost their light and vitality.
Let us try to understand Boris’s world through one of his works: “Love,” which has a figurative meaning. It includes figures of three women, standing for the trinity; a fish in the middle, symbolizing Jesus; and an eye, symbolizing the all-seeing eye of God. In contrast to the closed eyes of the women, the eye of the fish is open. This painting depicts the concept of unconditional and infinite love, and the integration of the fish, the eye, and the three women forms the trinity.
If you want to feel happiness, love, harmony, and liveliness, explore the world of Boris Yeghiazaryan.
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Main Awards
• In 1998, Boris was voted one of the top 20 Ukrainian Artists by the Association of Ukrainian Fine Art Galleries. • In 1999, Boris received the Diploma of the International Biographical Centre for his major contribution to 20th century fine art. • Boris was included among the 2,000 Outstanding Artists and Designers of the 20th Century in honor of his outstanding contribution within the artistic medium of painting. Facebook: @BorysEghiazaryanArt or facebook.com/boris.yeghiazaryan. References Boris Yeghiazaryan Catalogue, 2005. Gayane Eghiazaryan, “Human and Nature in Boris Yeghiazaryan’s Art,” 1998.
The Author
Christina Ghevondian is an Armenian student at C h o n n a m N a t i o n a l University. She is doing a PhD in Korean language and literature. Boris Yeghiazaryan is her uncle. She hopes that one day a Boris Yeghiazaryan exhibition will be held in Korea and people will be able to share in his wonderful world. Email: christinaghevondian@yahoo.com
▼ Pomegranate: The Family (1998).
April 2021
Boris is not limited to oil and watercolor paintings. His art includes graphics, collages, frescos, sculptures, and mural paintings. One thread is not sufficient to express his world.
Although he has had many exhibitions in Europe, so far there has been no opportunity to exhibit in Asia. Who knows, maybe Korea can become the first Asian country to introduce Boris Yeghiazaryan’s art to its people?
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Boris’s music theme is also worth a mention. It is amazing how it becomes possible to feel the music through his paintings due to the right combination of colors. Boris had the opportunity to create the icon of the Virgin Mary with Jesus for the Altar of the 4th Century Church of St. Cross in his hometown of Aparan.
▲ In the Garden (2004).
CULTURE & ARTS
After the war, Boris started his series called Pomegranate. Not only static Christian symbols but other static figures can be seen in his works, such as girls with downcast eyes, kings, lions, trees, and the idea of pairs – for example, two people in a boat. His simplicity and many figures and symbols take us back to our childhood, “reawakening the familiar sense of harmony and safety,” as expressed by Hanni MalcotsisUrsprung (Galerie “Anixis,” Baden, Switzerland).
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Photo Essay
Spring By Joe Wabe
S
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April 2021
pring is delight. It starts with a lonely, melodious minstrel of a bird, which is soon echoed in the nearby trees by other singers. The world awakes to a universe of colors and blue skies, and a mantel of warm and fragrant ambience embraces us with hope – hope that renews our spirit and soul from the lonesome and frigid winter. The symphony of colors and fragrances is a beautiful reminder from Mother Earth that it is time to revive.
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The Photographer
Joe Wabe is a Gwangju expat who has been contributing to the GIC and the Gwangju News for more than ten years with his work in photography and writing.
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Culture & Arts
The Nature of Emotions Via Moosan, Huh Hwe-tae
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April 2021
CULTURE & ARTS
H
uh Hwe-tae (also known by his artistic name, Moosan, where moo means “exuberant” and san “mountain”) is a well-known Korean calligrapher and contemporary artist. Exploring Chinese calligraphy, Huh goes beyond traditional writing and rises to a new level of artistic expression by using new forms that he has invented. Over time, his work takes on more abstract forms, inspired by art and nature, created by man and without him. Focusing on emotions, moods, and a different state of mind, he departed from the fixed notion of the objects in calligraphic art, breaking away from the restraint imposed by them and exploring his own artistic freedom. In a way, he expresses himself by uniting his emotions with a brush. In 2005, Huh Hwe-tae made his breakthrough transforming his two-dimensional calligraphic murals into three-dimensional art objects, some of which can be described as sculptures. However, we are not talking about traditional sculptures, although the artist creates his objects by modeling, adding material to canvas. This new form that merges calligraphy and painting is called “emography” (emotion + graphy), which transcends the boundary of the modern distinction between writing and drawing/painting. Huh complements the surfaces of his compositions with text and picture elements, producing works with paper that can be seen as “bas relief.” He uses traditional Korean hanji, twisting it into small forms that are covered with finely scribbled calligraphic signs. Hanji refers to paper handmade with mulberry bark that is thin and translucent, easy to press, starch, or fold when it is still not completely dry. It affords great freedom of creation. Huh describes his work process as follows: “First, I write many words and sentences relevant to the theme I have in mind on a small piece of paper, then I wrap them around styrofoam divided into four pieces – the four cardinal points – with papers individually and manually glue them on a canvas one by one. This process looks to me like a process of creating the universe. At first, many tiny, meaningless pieces are integrated together to bloom. The manual process looks like I am planting the codes of emotions to seamlessly communicate with people.”
Immersed and formed in a specific socio-ethnic cultural layer, every artist creates work based on the experience
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By Dr. Tatiana Rosenstein of his social space for certain viewers, focusing on the cultural symbols and representations of society. To understand the art of Huh Hwe-tae and what shaped the artist’s views, it is necessary to place his work in historical context. An important milestone in changing the minds of Koreans was the year 1987, as it marked the activities of the resistance movement, whereupon the citizens of the Republic of Korea were finally able to achieve the establishment of democracy. For national art, this meant the spread of pluralism, postmodern trends, and the opportunity to discover international art, preserving at the same time the originality of their own culture. The trends are reflected in new features like the desire for pure abstraction or emphasized expressiveness inspired by similar movements in Europe, particularly in France, where they are known as art informel. The influence of American art, in particular action painting, undoubtedly built on a heritage of the most prominent representative of the genre, Jackson Pollock, should not be underestimated as well. Protests against academic art came to Korea at the end of the 1960s. They were led by representatives of the informel movement. For example, there was the street display of avant-garde works on the walls of Gyeongbok Palace, while the exhibition of nominees for the National Art Exhibition was held nearby. According to the ideas of informel artists, the affectivity and spontaneity of art works are more important than their rationality. The largest experimental movement in Korean art, in the 1970s, was dansaekhwa (단색화), where style is characterized through monochrome painting and flatness. The style at first glance resembles the color field painting of Mark Rothko or Clyfford Still. Neither Korean nor American artists depict anything specific, but instead utilize monochrome color fields. By closely examining dansaekhwa paintings, one can see the surface, which is composed of numerous textures, including the repeated application and removal of smears. Representative dansaekhwa can be explained as removing paint from the canvas with repeated pencil strokes or scraping and then redoing parts of the paintings, using ideas from the ancient Eastern philosophical schools, in particular Buddhism, in which techniques were compared with the
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37 long and painful meditations of Buddhist monks. In the history of the Korean experimental art of the 1970s, we should mention associations like the Korea Avant-garde Group (AG) or the Fourth Group. Their representatives were looking to blur the boundaries between art and everyday life, paying particular attention to new ways of creative expression by freeing art from limited formats such as flat paintings and sculptures on a pedestal.
Huh’s new form of art is a mix of calligraphy, painting, and sculpture. It was influenced equally by nature and
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I first visited the artist’s studio on my third trip to Korea. In Seoul’s Gangnam District, a cozy space filled with brushes and paper samples, books, heavy catalogues, and graphic work, in addition to paintings, sculptures, and “emographic” (emotion + graphic) pieces. Everything felt to be in order, harmonious, and simplistic. The artist was preparing for a new exhibition, selecting works and pondering concepts.
April 2021
“During that time, I was thinking of the legendary calligrapher of the Joseon Dynasty Kim Jeong-hui and his Chusa style. I thought there was no way I could surpass him with the existing styles, no matter how well I imitated him. I needed to start something new that was demanded in my time. I focused on the fact that most letters are considered as nothing more than just letters used within certain countries. They could not be communicated globally. So, I tried to capture imagery in letters that would go global.”
by human beings. Engaged with emotions and intuition, he adopted one form of human communication – language – by transforming it into another one based on the universal instincts of people, their thoughts, and feelings. He discovers eroticism rooted in the human desire of existing and making things exist. He searches for temptation and naturalness that is not governed by ideas, thoughts or ethics. In his “emosculptures” (emotion + sculpture), we sense the icons of the vulva as a universal source of life and creation, desire, pain, and pleasure. His early work is mostly monochrome. This choice could be an influence from calligraphy. However, restraint in colors was also inherent in the work of many Korean artists in the 1970s and early 1980s. Like them, Huh was also inspired by Eastern philosophy and Buddhism, exploring cycles of birth and rebirth, the concepts of reincarnation and transmigration. Sometimes the similarities of styles are not resulting from direct influence; the artist’s views are rather shaped by the zeitgeist.
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Huh Hwe-tae was born in 1957, at a time when protests against academism in Korean art began. Perhaps he chose a more secure path by studying calligraphy rather than art. According to the artist himself, he was just too keen on calligraphy. He created his first works at the age of only five. Known as a child prodigy, he collected his first awards in calligraphy contests at the age of 15. His first solo exhibition was organized while he was still attending high school. When the globalization of contemporary Korean art emerged internationally and the local art scene was opening up to the pluralism of opinions and joys of experimentation, Huh was in his late 30s. Towards the mid-1990s, he had mastered all the styles known in calligraphy. The time finally came when he wanted to create something new:
CULTURE & ARTS
The confrontation between the avant-garde groups and conservative artists ended in a victory for the latter, which resulted in the emergence of schools like minjung (people’s) art in the 1980s. However, the avantgarde movements undoubtedly left traces in the history of Korean art that led to new experiments even by representatives of new conservative trends who tried to discover different forms of figurativeness. Perhaps the hyperrealism of the new direction can be compared to pop art in Western art; however, Korean artists were more interested in subjective emotions and symbolism. While Western paintings were keen on transmitting the cult of modern society, Korean paintings turned mostly to nature, devoid of human figures as if they intended to metaphorically indicate the existence of people, instead of cultivating their presence as artists in the West often preferred. In the 1990s, the era of globalization of Korean contemporary art began. The artists started to travel abroad more often, sometimes undergoing training there.
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CULTURE & ARTS
38 My attention was drawn to a canvas. Its surface was divided into three equal parts covered by the colors blue, red, and yellow (according to the artist, yellow stands for “belief,” red for “passion,” and blue for “peace and stability”). It looked abstract, living in its own reality. It recalled similarities with the art performed by minimalists in a highly purified form of beauty. Stepping closer, I saw how the colors were blurring towards the edges while surfaces appeared to be moving and swirling like a whirlpool. The centers of those whirls were shifted sometimes to the right and sometimes down, building a rhythmic vortex of spaces, lines, and masses. Upon even closer inspection, I suddenly noticed that parts of the canvas were composed of tiny volumes hand-scripted by the artist. Countless reliefs – a painstaking, miniature work like handcrafted jewelry – together created a huge network. In their multiple layers and semantic diversity, they nevertheless created absolute harmony. From here on, the object still appeared abstract but becoming more conceptual. I was told the title of the series was “The Flower of Life.” The name was an art narrative within itself – now, in these abstract forms, I could imagine flowers or diverse elements of nature. The numerous lines depicting different shapes and surfaces seemed to form a third dimension. The viewer did not feel bored to peer into this endless universe, the riddle of which seemed solvable at the same minute when it immediately disappeared from view, creating new semantic interpretations.
www.gwangjunewsgic.com
April 2021
In a piece I saw next was a lot of indigo resembling a water surface with stains as if left from a boat that had just sailed here. Some of the canvases were more monochrome, like the one with the title “The Echo of the Heart, No. 5.” Another, with a similar composition but made in a more colorful combination, reminded me not only of blooming flowers but of the glowing sun or even a wheel of all life. These works could rightfully be called sculptures, because everything down to the smallest details was molded by the artist’s hands. The artist explains what was depicted: “I wanted to draw attention to particles that rush towards the center, which are marked with a gem placed in the middle, emitting intense light reflected in a homogenous space. This center becomes a symbolic heart of a person reflecting actions and feelings of its owner. It contains thoughts about me, nature, and myself in the space. The beginning of every work is a story of the universe where people build their ideas, expressing desires, giving and taking, asking and receiving answers. I wanted to create pieces that spread energy and feel like the breath of life.”
Some of the objects included in the upcoming show I could only see in pictures, like the installation “Emergency, Non-emergency.” Several outlandish, freestanding forms placed one by another reminded me of human figures multiplying and constantly increasing into crowds. The forms had floral motifs including also
2021�04��(April).indd 38
diverse symbols like female body parts, outlines of a baby, and the conventional process of life creation. Huh Hwe-tae’s new works are complex. They contain several styles that I can recognize in both contemporary Korean as well as Western art. The traditions of monochrome and flatness seen in avant-garde Korean art of the 1970s can be clearly traced here as well, with tendencies toward action painting – especially by recalling numerous artists’ performances with brush and ink – or toward conceptual art, where the whole work is subject to one idea. Focus on emotions is a legacy of abstract expressionism. Art has become a global phenomenon. The diversity of Huh’s art and his numerous experiments speak to his curiosity and tireless joy in researching life. Maybe historians and art critics are driven by a desire to explain art. They strive for an accurate analysis of works of art in order to organize it. A regular viewer is not required to do so because art can also be reflected by using the nature of emotions. This is precisely what Huh Hwe-tae hopes to achieve, namely, that a perception may unexpectedly lead to infinite imaginations and touch people’s hearts.
The Author
Dr. Tatiana Rosenstein teaches art history with a focus on contemporary art. She is a film scholar who has been reporting on international film festivals, design and fashion events as well as major art events for German-speaking and foreign media since 1999 and is active on juries of critics. Her postgraduate research advisor was Prof. Rainer Crone, who is known for discovering Andy Warhol and publishing his first catalogue. She writes articles in several languages, with her work appearing in publications from Europe and Russia to China and Korea. Email: info@kino-kunst.de
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39
Everyday Korean Episode 40
시간이 있어요? (Do you have time?)
Grammar ~ 이/가 있어요; ~이/가 없어요: Use this grammar point with
By Harsh Kumar Mishra 이번 주말에 시간이 있어요?
Jeongmin: Do you have time this weekend?
네하:
토요일에 시간이 없는데 일요일에 있어요. 왜요?
Neha:
I don’t have time on Saturday, but I do on Sunday. Why?
정민:
같이 영화 보러 갈까요?
Jeongmin: Shall we go watch a movie together?
네하:
좋아요. 저도 영화를 본 지 오래돼서 가고 싶었어요.
Neha:
Sounds good. I’ve also wanted to go watch a movie, as it’s been a long time since I’ve seen one.
정민:
저 영화표 두 장 있어요.
Jeongmin: I have two movie tickets.
네하:
우와! 그럼 제가 따로 안 예매해도 돼요?
Neha:
Wow! So, I don’t have to book any tickets, right?
정민:
네.
Jeongmin: Right.
express “to go for something / to come for something.” When a patchim is present, ~으러 가다/오다 is used. Ex: 내일 친구와 같이 쇼핑하러 가요. I’m going (to do some) shopping tomorrow with my friend. 저는 한국에 공부하러 왔어요. I came to Korea to study.
Vocabulary 이번 주말 시간 토요일 일요일 영화 보다 영화표 예매하다 따로 친구 노트북 자전거 여권 비자 카메라 이어폰 시계 집
this time weekend time Saturday Sunday movie to see/watch movie ticket to book separately friend laptop bicycle passport visa camera earphone watch; clock house
www.gwangjunewsgic.com
TOPIK GUIDE (topikguide.com) is the most comprehensive website devoted to the TOPIK exam. It has been helping Korean language learners pass the TOPIK (Test of Proficiency in Korean) for more than eight years. On our website, you can get all the TOPIK updates, grammar and vocabulary materials, and study tips. You can also visit our TOPIK Guide YouTube channel.
~ (으)러 가다/오다: Use this grammar point with verbs to
TEACHING & LEARNING
정민:
nouns to express that you have or don’t have something. When the word ends in a patchim (받침, “final consonant”), use ~ 이 있어요 (have) / ~이 없어요 (not have). If the word ends in a vowel, then use ~가 있어요 / ~가 없어요. Note: Often, 이/가 can be dropped in conversation. Ex: 저는 스마트폰이 있어요. I have a smartphone. 저는 차가 없어요. I don’t have a car.
April 2021
2021�04��(April).indd 39
3/25/2021 3:28:44 PM
40
GFN Radio
www.gwangjunewsgic.com
April 2021
CULTURE & ARTS
Top of the Drop This month, the Gwangju News introduces a new column, “Top of the Drop” by Daniel Springer of the Gwangju Foreign Language Network (GFN). Each month, Danno picks his favorite newly released tunes that you may have missed, along with some upcoming albums and EPs that you might want to keep on your radar.
By Daniel J. Springer Miss Grit – “Blonde”
If Mitski and St. Vincent had to pick a perfect musical offspring, it’d be hard to come up with anything better than this band. Miss Grit is based in NYC and led by Margaret Sohn, and this tune from an almost whispery opening (think Mitski’s “Best American Girl”) explodes in a smashing crescendo of vocals and guitars at its apex. “Blonde” appeared as part of the Impostor EP, which is the band’s second career release after “Talk Talk” dropped in January last year. It’s one of the best singles of the year thus far, even receiving a glowing feature in The New York Times.
Julien Baker – “Hardline”
At just 25, Julien Baker has marked herself out as one of the leading ladies of popular music. “Hardline” is the opening tune to her third career LP
2021�04��(April).indd 40
Little Oblivions, an album that outlets like NME are positively gushing over and for a very good reason, as this is a very solid musician’s most stellar outing yet.
Young Winona – “LA Waste”
This band originally hails from New Zealand but seems to be truly embracing their adopted and dichotomous home of Los Angeles in this grimy, jagged, rock ballad. “LA Waste” is the first of several singles planned by the band for this year.
Bomba Estéreo – “Deja”
The veteran Colombian o u t f i t announced their return after a four-year hiatus with this gem, the title track to their upcoming album due out later this year. The album itself is split into four sections based on the planet’s elements: Agua
(water), Aire (air), Tierra (land), and Fuego (fire).
Black Pumas – “Strangers” (feat. Lucius)
An interesting c o l l a b or at i on here with G r a m m y nominated, psychedelic soul outfit Black Pumas from Austin, Texas, and indie pop duo Lucius from Brooklyn, New York, teaming up on this beautiful cover of The Kinks’ original released in 1970. This new cover also appears in the promo trailer for the forthcoming YouTube Originals documentary, Life in a Day 2020.
Bobby Oroza – “I Got Love”
Two years ago, the Finnish soul crooner announced his presence to the world with his debut LP This Love, and now Bobby is back with “I Got Love,” the lead single to his upcoming, still-unnamed LP due out
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41 later this year courtesy of Big Crown Records. Keep an eye out for this LP if you love that silky West Coastinspired Latin soul!
Shame – “Alphabet”
Arlo Parks – “Hope”
Robert Glasper – “Better Than I Imagined” (feat. H.E.R. & Meshell Ndegeocello – DJ Tunez Remix)
2021�04��(April).indd 41
Black Pumas – Capitol Cuts: Live from Studio A (June 4)
The Author Daniel
J.
Springer (a.k.a.
MARCH RELEASES Serpentwithfeet – DEACON (March 12)
“Danno”) is the creator, writer,
host, editor,
and producer of “The Drop with
Floating Points & Pharoah Sanders – Promises (March 26) Tune-Yards – Sketchy (March 26)
Genghis Tron – Dream Weapon (March 26)
Danno,” broadcasting on GFN 98.7 FM in Gwangju and 93.7 FM in Yeosu nightly between 8–10 p.m. Prior to this, he was a contributor to several shows on TBS eFM in Seoul along with being the creator and co-host of “Spacious” and “White Label Radio” on WNUR in Chicago. Instagram, Twitter, Facebook: @gfnthedrop Show RSS Feed: https://feeds. transistor.fm/the-drop-with-danno
WATCH OUT FOR THESE Flyte – This Is Really Going to Hurt (April 9)
Field Music – Flat White Moon (April 23)
Manchester Orchestra – The Million Masks of God (April 30) (CDX, Unsplash)
April 2021
The Grammy winner for Best R&B Song in 2020 has gotten the remix treatment from Nigeria’s DJ Tunez, who spins this very American R&B original into an extra smooth, clacking West African hymn.
Fortitude
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In one of the most highly anticipated debuts in this young year, London-based Arlo Parks and her Collapsed in Sunbeams LP didn’t disappoint. An LP that’s so cool, mature, and confident for a young lady of just 20 years of age, the LP makes for an almost languid listen front to back, but it’s a potent record full of deft lyricism and biting insights.
The original of this tune was released on Ghost Funk O r c h e s t r a’s psychedelic soul smasher from 2019, “A Song for Paul,” and was one of the better tunes therein. Here we see Colemine Records labelmate Ben Pirani reworking the track into a string-heavy orchestral jazz phantom of itself to haunting, poignant effect.
Gojira – (April 30)
CULTURE & ARTS
The South London quintet announced their latest album Drunk Tank Pink with this tune late last year, the album’s opening salvo. You might be forgiven if you had to do a double take while listening to this LP, as it’s so different from their 2018 full-length Songs of Praise. Drunk Tank Pink is such a raw dichotomy of post-punk adventurism coupled with the band’s dark anxieties, creating a manic and borderline schizophrenic listen front to back.
Ghost Funk Orchestra – “Modern Scene” (Ben Pirani Remix)
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42
Local Entrepreneurs
Mastering Language the Tong Tong Way Where Korean Becomes Easy Interview by Melline Galani
www.gwangjunewsgic.com
April 2021
COMMUNITY
As an international resident living in Gwangju, I know that learning Korean is not only difficult but also time consuming, not to mention that there is the lack of proper classes available! But ever since I discovered Tong Tong Language Class, not only have I acquired more knowledge of the language, but I have also managed to do this in the evenings after finishing work, at my own pace and without any stress. With a desire to help other fellow residents like me, I reached out to the owners of Tong Tong Language Class for an inside and in-depth look at their work. — Melline
Gwangju News (GN): Hello, and thank you for taking the time to do this interview. Please introduce yourselves to our readers. — Hong Song-i: Hello, Melline. My name is Hong Song-i, and I am a native Korean instructor who has lived in Gwangju all of my life – except for a few years when I moved around with my father when I was younger and a single year when I went to the Philippines as an exchange student. — Ahn Pyeong-an: And my name is Ahn Pyeong-an. I teach Korean here at Tong Tong. I am not originally from Gwangju, but I have lived here continuously ever since I completed my military service and entered Chonnam University. Gwangju is my second hometown. GN: How did you become partners and how long have the two of you been working together? — Ahn Pyeong-an: It has been over four years already since I started working at Tong Tong in 2017, but I met Song-i for the first time much earlier than that, in 2008. We met for the first time in Manila in the Philippines, where we were both exchange students and college colleagues together, but now we are partners and joint executives. You may not believe it, but Ms. Hong is older than you think [smiling]. I think I am lucky to have met such a good partner, but it is true that I was hesitant when deciding to work together because I thought about my family first. (I wanted to make a careful decision because she was my wife’s sister.) — Hong Song-i: Pyeong-an said I am older, but there is only a one-year difference between us. When we were students studying abroad together, the Korean Wave was in full swing in the Philippines, and I was originally interested in teaching Korean, so I worked in a Korean club called Arirang. Chan-song (another Tong Tong staff member), Pyeong-an, and I worked in the same club,
2021�04��(April).indd 42
and we began dreaming of working together because we worked so well with one another. When we came back to Korea, Chan-song and I first started our Korean language teaching business, and we finally succeeded in persuading Pyeong-an, who worked at a company, to join us. After that, a Korean-American language instructor, Yoo Mi-ran (Miranda New), also joined us, and ever since then we have had a total of four Korean teachers working together. GN: What were you doing before you met in the Philippines? — Hong Song-i: Before participating in the exchange student program, I taught Korean to international students while studying English at Chonnam National University. Even though it was my native language, teaching Korean was more difficult than I thought, so I started learning it systematically, starting with a teacher training course. Before I solidified my career as a Korean language instructor, I worked at an English academy, but I always had a dream to start a Korean language academy with people I liked. After this, I taught Korean as a volunteer at the Gwangju International Center, and later I became a coordinator there. Luckily, I was able to work at the GIC for three years under Dr. Shin Gyonggu, whom I respected very much. I made precious memories and learned a lot through the GIC that I will never forget. That was when I met my first Korean language class students, who are still close to me even though they are now scattered around the world – we still correspond from time to time. Thanks to my experience at the GIC, I began dreaming of having a language academy that would leave warm memories in the hearts of those involved. In 2004, I began to communicate with several teachers, including Chan-song. At first, not only Korean but also Japanese and Chinese teachers joined. We named the
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43 academy “Tong Tong Language Class” because it means that we can communicate through both language and our hearts. In 2018, Chan-song finally succeeded in scouting Pyeong-an, and sometime after that, Miranda New joined, too, completing our team. After completing her master’s degree in Korean Language Education at Chonnam National University, Miranda has been providing wonderful classes employing her strong background in language learning. All the foreign teachers who were with us in the beginning have since left Korea for personal reasons, and now we are only teaching Korean. We do not know what other languages will be included in the future, but our name is still Tong Tong Language Class.
2021�04��(April).indd 43
▲ Christmas party at Tong Tong (before COVID-19).
Chinese characters that are frequently used in Korean. GN: What do you like the most about teaching? — Ahn Pyeong-an: I have liked teaching since I was young. I was not interested in studying because I was busy playing in middle school, but I was so into studying as a high school student that I used to tutor my juniors
April 2021
— Ahn Pyeong-an: Currently, 70 percent of our students are native English teachers. As Song-i mentioned, there are students preparing for the TOPIK and KIIP exams, as well as office workers who want to correct their professional terms or intonation for a smooth work situation. Sometimes there are children who are about to enter elementary school or need help with their homework after entering school. We teach through a children’s program under the direction of Chan-song, who majored in early childhood education. Also, we teach
▲ Ahn Pyeong-an (left) and Hong Song-i (right) with students.
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GN: What teaching methods do you use, and who are your target students? — Hong Song-i: Usually, Tong Tong follows a regular program. In the regular class, we teach using our selfdeveloped textbooks and a full-length book reading program. For the group classes, we do team teaching to make the most of the diversity and strengths of our respective team members. Special lectures or classes are held four to five times a year on various topics. I am constantly working on the textbooks, and my dream is to publish them someday. There are many different types of learners, so we need to meet their special needs. Students who are about to take the TOPIK or KIIP exams are preparing for those exams. There are also international students who want to get help with college entrance exams or classes and assignments.
▲ Our dearest wall of memories.
COMMUNITY
— Ahn Pyeong-an: I joined in 2018. When I was studying abroad, I was interested in this field, as I taught Korean in the Korean club Arirang with Song-i and Chan-song, and I felt that I collaborated very well with Song-i. Honestly, I did not think I would become a Korean teacher at the time because my major was engineering. After graduating from college, I worked as a researcher for four years. When I saw Chan-song and Song-i working at Tong Tong, Korean language education seemed appealing to me, and I had a vision. While working at my former job, I gradually acquired related degrees and qualifications, and began working in classes and on textbooks in earnest from 2018. I also managed Tong Tong’s YouTube channel.
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44 example, among the special classes that have been held, cooking classes and dialect classes are memorable. Both classes were suggested and tested with students first. The response was also very good, to the point where we received requests to open them again. As a side note, Pyeong-an loves marathons, and he had a lot of fun with students who wanted to go on a marathon, and mountain climbing, when time permitted.
COMMUNITY
— Ahn Pyeong-an: When teaching a language, it is often difficult due to certain aspects not directly part of the language, such as the culture it coincides with, and I think this is the reason to constantly learn. I always feel that I have to study and consider my history and cultural background. I will always try to learn with a humble attitude. I think our strength is that we are good at motivating our students. There is also a time when many students face a slump in language study, but there are many long-term students at Tong Tong who have made tremendous progress. For example, a student who left Korea two weeks ago participated in classes online at Incheon Hotel during her return trip, and one student got up at 4:00 in the morning their local time to participate in a group class at 6:00 p.m. Korean time.
▲ Ahn Pyeong-an with students at the marathon.
www.gwangjunewsgic.com
April 2021
and friends for free. The reason why I like teaching is that if I share what I know with others, I can learn much more thoroughly from the process of teaching itself. — Hong Song-i: I think so, too. While teaching Korean, I have met people from various cultural backgrounds with many different thoughts, which allows me to constantly learn. I try to learn my students’ mother tongues as much as I can, and as a result, I have learned English, Chinese, Japanese, French, Portuguese, and others. For most of these languages, I have not advanced beyond an elementary level, but I can understand the difficulties of my learners more deeply, which helps a lot when teaching. That said, I have learned not only languages but also culture, thoughts, and lifestyles that are different from mine. Little by little, I think I have learned to better accept people as they are. GN: How is Tong Tong different from other language academies? Also, what are the main challenges in teaching foreigners the Korean language? — Hong Song-i: First of all, it is because our teachers’ abilities are excellent. (Just kidding!) I think the advantage of Tong Tong is that we have small classes with a maximum number of six people. In addition, classes are planned according to the needs of the students. For
2021�04��(April).indd 44
GN: Because of the COVID-19 pandemic, we know many businesses are facing hardships. Please tell us how the pandemic has affected your business. — Hong Song-i: Of course, I was worried at the beginning of COVID-19, but Tong Tong’s advantage was that we had small classes and kept communicating with the students all the time. There were periods when meetings became difficult, and I was worried that we could not show our strengths. However, our strength has been even greater during the COVID-19 situation. Even though the academy was closed for several months, we still met online, sometimes exchanging homework for self-study. I did not stop communicating during those periods, and neither did the students. Tong Tong teachers always talk with one another. Crises come and go, but in fact, we are richer and warmer in our hearts as a result of our perseverance. GN: What is the most rewarding aspect of your job? What is the most challenging part? — Ahn Pyeong-an: I am very pleased not only when students improve their Korean language skills, but also when they show passion for Korean culture and open their hearts to Koreans. In addition, it is most rewarding when both the teachers and the students work hard to achieve their goals together. Not long ago, an international student at Korea University received a good grade with the help of Tong Tong, and they sent a thank-you message on SNS. And there is the time when I received a thank-you call from a student who passed
3/25/2021 3:28:53 PM
45 the welding industry driver’s test, and another call from an international lawyer who finished studying legal terminology. I was also overwhelmed when a student sent me a message saying that they got good results on their entrance exam, TOPIK, and KIIP tests at Chonnam National University. I know how hard they had studied, and we tried our best to teach them. The most difficult part of this job is the parting moments. When there is a long-term adjournment that becomes necessary, I am deeply saddened. I have gotten used to it a lot now, but it still is not easy to say goodbye.
Photographs courtesy of Tong Tong Language Class.
The Interviewer
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Seo-gu, Gwangju 광주 서구 상무오월로 51번길 2 (쌍촌동, 신천힐탑아파트 앞) Email: tongtongkorean@gmail.com Web: http://blog.naver.com/tongtong2014 Facebook: tongtong2014
April 2021
Melline Galani is a Romanian enthusiast, born and raised in the capital city of Bucharest, who is currently living in Gwangju. She likes new challenges, learning interesting things, and is incurably optimistic. She is currently learning Korean at Tong Tong Language Class. Instagram: @melligalanis
Address: 2 Sangmuowol-ro 51-beon-gil, (Ssangchon-dong),
www.gwangjunewsgic.com
GN: Thank you both very much for your hard work in teaching us the Korean language, and thank you for taking time to do this interview.
TONG TONG Language Class (통통‘언어’교실)
COMMUNITY
— Hong Song-i: At the entrance of the academy, there is an entire wall decorated with postcards. All of them were written by students during their travels or after leaving Korea. Each postcard is a special memory. At first, there were two postcards hanging on the wall, but the wall has become crowded over the years, so we are expanding the area to the other wall. When students leave Korea, they do not keep in touch as often as before, but they do not forget to tell us their good news on a special day. In February last year, when the spread of the coronavirus began, I received calls from a lot of people. And there are so many things to show off in regards to Tong Tong’s affairs, such as a design student who made the Tong Tong logo look really cool, and a computer programming student who made the Tong Tong app. I think the biggest difficulty in running the business has been dealing with the fact that some people treat our students differently because they are foreigners. It was sad for us to see students having a difficult time because of this. For example, in the early days of the business, I experienced giving up my first plan for a location in the face of strong opposition from local residents to Tong Tong’s planned office. The reason was foreigners, even though it used to be a daycare center. That experience aside, we are doing well in the place where we have settled down, feeling the consideration of the residents here, who are indeed very generous and kind.
3/25/2021 3:28:54 PM
Café Review
Sage:
FOOD & DRINKS
46
A Book & Music Café
www.gwangjunewsgic.com
April 2021
Reviewed by Jana Milosavljevic
B
ook cafés and boardgame cafés are nothing new in Korea, and due to my love of books and boardgames, I have frequented both. However, if someone told me I would find a coffee shop that has books, boardgames, and delicious coffee and homemade tea on offer in a truly home-like atmosphere, I would not have believed them! Therefore, once I found Sage, it felt like a dream come true. This family-run coffee shop in a cozy neighborhood of Ilgok-dong, away from the bustle and noise of downtown Gwangju streets, is the perfect place to get away from it all. With its charming homey décor, as well as a voluminous collection of books and board games, Sage welcomes everyone – from families looking for fun on a Sunday afternoon, to couples who fancy a relaxed but fun date off the beaten path, and students in desperate need of a study break.
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The first impression you will get once you enter Sage is the feeling that you entered the extended home of the owner. The description “Book and Music Café,” coined by the owner himself, genuinely reflects the amount of care and attention the owner puts into selecting the two. It is said that by looking at the books a person reads, one can get a good idea of their personality. At Sage, you could spend hours getting lost in the private collection of books the owner has put out to share with his neighbors and customers. The same goes for the music. At Sage, do not expect to hear your default coffee shop playlist or the usual mix of pop songs that are popular at the moment and can be heard around every corner. The owner, who is known around the neighborhood as a music lover, carefully
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47 chooses the daily playlist, finding inspiration not only in his personal music taste, but everywhere he goes. Since creating a place of comfort in his coffee shop is always on his mind, sometimes he mentions that when he hears a song on TV or elsewhere that he believes would fit the soul of Sage, he will quickly look it up and add it to the playlist. Another passion of the owner is photography. Therefore, naturally, he put his camera-related collection on display in his extended home as well.
FOOD & DRINKS
The menu is reasonably priced and includes everything from coffee, homemade teas, and smoothies, to cakes, ice cream, and even beer! I have visited Sage on numerous occasions – to study, play boardgames with friends, or just read – and during those visits, I have tasted some delicious coffee, affogato, and cheesecake. Since I am a true coffee lover, it is really important for me that the coffee tastes good. However, I would have to say that my personal favorite is an extra treat that the owner prepares himself and serves with every drink – roasted coffee beans covered in chocolate. If you like to snack on roasted coffee beans as much as I do, you will understand me when I say that having this delicacy dipped in chocolate is one of many reasons I keep going back to Sage! Speaking of being handmade and making extra effort, all of the tea bases (sweet, thick, pulpy syrups known as cheong in Korean) for popular Korean teas such as yujacha (citron tea), jamong-cha (grapefruit tea), and mogwacha (quince tea) are indeed handmade with love by the lady of the house herself. Thus, there is no way that true tea lovers will be disappointed by the taste.
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SAGE (세이지)
Address: 33-1, Ilgok-taekji-ro 99-beon-gil, Buk-gu, Gwangju 광주 북구 일곡택지로99번길 33-1 Operating Hours: Daily 11:00 a.m. – 11:00 p.m. Instagram: @sinseon
The Reviewer
Jana Milosavljevic was born and raised in Serbia. She currently lives in Gwangju, and she loves exploring and learning about new cultures and meeting new people. In order to be able to communicate with as many people as possible, apart from Serbian, she has learned English, Japanese, Korean, and German. Instagram: @janemiya
April 2021
Last, but definitely not least, my favorite part of the coffee shop experience are the boardgames. Since Sage is not a boardgame café per se, there are no limitations or extra charges for enjoying the wide variety of boardgames on offer. Sage’s shelves are packed with boardgames ready for everyone to enjoy with friends or family for as long as one’s heart desires. Finally, in case you would like to take a piece of Sage’s homey atmosphere with you as a souvenir, you can have a look at the gift corner – a cupboard with tea, coffee beans, and other small gifts such as cushions, candle holders, and flowerpots. I am sure that once you
visit Sage, its delights and unique atmosphere will make their way into your heart, and you will keep returning to enjoy them, just as I do.
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Another remarkable effort this family makes that cannot be left unmentioned is the one to protect the environment. Sage has joined hands with the environmental conservation organization called Café Latte Club. This means that all the milk cartons, which require a special recycling process, are washed, cut out, and sent for proper recycling after use in the coffee shop. If you are curious to find out more about the organization itself and its endeavors, you can find a more detailed explanation on its official Instagram page: @cafe_latte_club.
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FOOD & DRINKS
48 Restaurant Review
Pizzeria Piazza
www.gwangjunewsgic.com
April 2021
Real Italiano in Gwangju
I
talian cuisine is generally characterized by its simplicity, with many dishes having only two to four main ingredients. It features fresh, seasonal, and simply prepared ingredients with olive oil used mostly to dress raw vegetables and cheeses such as mozzarella, ricotta, or Parmigiano-Reggiano (Parmesan). Pizza and pasta have become global dishes that are not only cooked in restaurants but also by most home cooks. No matter where they grow up in Europe, all children are familiar with Italian dishes, such as Pizza Margherita and Spaghetti Bolognese (including my family, of course). Pizzeria Piazza is by far my favorite restaurant in Gwangju. Ever since I discovered it (more than a year and a half ago), I have kept going back on a monthly basis. This may be because I am European and love the Italian food they serve, but also because it brings back memories and tastes from home.
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Reviewed by Melline Galani Piazza is located just across from the ACC’s Haneul Madang at the entrance to Dongmyeon-dong. Being on the main street, it is impossible to miss. As soon as you enter the place, you notice the kitchen, which is on the first floor, and the golden round-style authentic pizza oven. Going up the stairs, you reach the restaurant in its perfect ambience with diffuse lights, green plants, soft music, and wide windows, all creating a cozy and relaxing atmosphere. It no longer feels like you are in Korea. There is a third floor, too, with all the chairs facing the wide windows – a perfect spot to admire the lights of the ACC and Haneul Madang, or just to enjoy a quiet meal on a rainy day. Being an Italian restaurant, it serves pizza, pasta, risotto, and steak. I have tried almost everything on the menu, and it was all delicious. The pizza crust is thin and crunchy, and the flavors are rich but not heavy, with few
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49
▲ Caprese & Inasalata di manzo ▼ Grill Chuck Flap Tail Steak
▲ Burrata e Prosciutto ▼ Mascarpone e Prosciutto
▲ Carbonara ▼ Pescatore
ingredients but high quality and really tasty. The pastas have either creamy sauce, tomato sauce, or olive oil-based sauce seasoned with fresh herbs, all types being equally delicious. The beef steak comes with grilled vegetables and is appetizing. Salads are always garden-fresh, tasty, and plentiful.
After placing your order and as you wait for it to arrive, they serve an aperitif or antipasti (it changes from time to time). And after finishing your meal, they also offer tea or juice of your choice. Both are complimentary.
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▲ Risotto con manzo
PIZZERIA PIAZZA (삐아짜 피자)
Address: 114 Jebong-ro, Dong-gu, Gwangju 광주 동구 제봉로 114 (장동 98-1번지) Operating Hours: 111:30–22:00, 15:30–17:00 break time. Phone: : 062-227-6100 Instagram: @pizzeria_piazza
The Reviewer
Melline Galani is a Romanian enthusiast, born and raised in the capital city of Bucharest, who is currently living in Gwangju. She likes new challenges, learning interesting things, and is incurably optimistic. Pizzeria Piazza is her favorite restaurant in Gwangju. Instagram: @melligalanis
April 2021
Eating at Pizzeria Piazza not only makes you feel satisfied but also assured that your food is both healthy and tasty. If you have not tried it yet, wait no longer. Pizzeria Piazza is a gourmet experience difficult to forget.
▲ Porcini
www.gwangjunewsgic.com
Pizzera Piazza offers two set menus, one for lunch and one for dinner, and menu cards are also available in English. The menus include a salad, a Margherita con Bufala pizza, and a pasta or risotto of your choice. The lunch menu is 39,000 won and comes with a grilled chicken salad, while the dinner menu is 41,500 won with a Caprese salad. These are the meals I order most often when I go with my children, but I have also tried other dishes separately. The prices vary between 13,000 to 20,000 won for the steak. For the quality and taste they offer, I would say they have reasonable prices.
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50
Book Review
Hongdae Fire by Jon Dunbar Reviewed by William Urbanski
BOOK REVIEW
I
am going to start this review by saying I liked this book quite a bit. Admittedly, after going through the first few pages, it was unclear what direction it would take, but I was pleasantly surprised by a couple of stand-out features, namely, the character development, the grittiness (which tends to be glossed over in other depictions of Korea), the use of locations throughout Seoul, and the incorporation of several prominent themes in Korean society. While parts of the book may seem over the top and quite graphic (it is definitely not PG13, if you know what I mean), I think it does a good job of “borrowing” inspiration from real-world events and combining them with just enough creative storytelling to make it a page-turner. Besides the story itself, it also serves as somewhat of a primer on important narratives on the peninsula.
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April 2021
Plot Overview and Themes: Drowning in the Mainstream
The story, which takes place in approximately 2005, centers around a lethal fire at an underground punk rock club called “Slammer” and the attempts of the story’s protagonist, 6kyung, to uncover the truth behind it. Shortly after the fire is put out, the presence of a bike lock on the door to the venue reveals that the fire was indeed deliberately set, resulting in the fire becoming a murder investigation. Now, I am not exactly Colombo, but it was fairly obvious to me who actually set the fire. What was completely unexpected were the reasons behind it and how the fire became a focal point of several co-existing and competing narratives in Korean society, such as conservative vs. progressive, new vs. old, and obedience vs. rebellion. The story also draws attention to the connections between politics, religious groups, and business. The whole concept of punk rock as a subculture of mainstream society is something more people should examine, even if they do not want to spike their hair and kick over a speaker while wearing army boots. Mainstream society, be it in Korea or North America, tends to be homogeneous and conformist with a very narrow range of acceptable behaviors and life paths. Hongdae Fire (and the punk rock scene as a whole, for that matter) poses an important question: Is there another way to meaningfully
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exist without adhering to the values and ideals of the majority, or “drowning in the mainstream,” so to speak?
Character Development
The main character is 6kyung, a nickname derived from her job collecting six-thousand-won admissions at Slammer. She is a little bit of a counter-culture figure (being a part of the punk rock scene and all) and eschews most of the common mannerisms and expected social courtesies of Korean society in the mid-2000s. She swears, drinks, is extremely direct, wears shabby clothes, and constantly picks her nose. Despite her rough-aroundthe-edges persona, she is quick-witted, tough, and earned a reporter position at the fictional Koryo News. Overall, she is a likeable character, and even though she does not fit in with Korean society per se, from a North American perspective, she is still pretty conservative in that she is not involved in anything particularly dubious or criminal. Her sidekick is a skinhead (i.e., a member of the punk rock scene who embodies a tough aesthetic without espousing the hateful virtues of Nazis or other supremacist groups) named “Bam-Bam,” who carries around a cute puppy whom he calls “Yeobo,” a term usually reserved for one’s spouse. He is a big dude and, on the surface, appears to be a bit of an idiot; however, he is surprisingly resourceful and reliable. My favorite part involving Bam-Bam is when he goes dumpster diving in an apartment complex and is able to scavenge enough computer equipment to set up a surveillance system. One scene in particular that made him more believable is when he gets a severe beatdown by the police and is put out of commission for a few weeks. There are many other characters in the book, and on this is a point: I feel some of the characters were a little overdeveloped. One section that illustrates my point takes place at a funeral home where there is a huge, threeday group funeral for the more than forty people who died in the fire at Slammer. 6kyung walks into various rooms one-by-one, and we learn a little about each character. I appreciate the thought and effort that went into developing the character backgrounds, though I felt this could have been edited out since we did not really see
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51 As well, I think some people (Koreans especially) may take offense to parts of this book – not because they are unrealistic, but because the book highlights certain aspects of Korean society that most people would prefer to be left unmentioned. To them, I would say that Dunbar did a good job of melding fiction and creative storytelling with facts. I was following up with Dunbar about some plot points, and he said that he was concerned that readers may think he was portraying Korea in a negative light, and that is why he thought it was important to incorporate themes that were “ripped from the headlines” (being a copy editor at The Korea Times, he had no lack of relevant news content to draw from). He also mentioned that a scene in which several of 6kyung’s friends storm the parliament building would have seemed unrealistic until certain unfortunate events in America only a couple of months ago. Although not much of a punk rocker myself, I appreciate Hongdae Fire’s stark juxtaposition of the traditionally conservative and hierarchal Korean society at large and the egalitarian and progressive punk scene. To that end, I feel that Hongdae Fire is not only a love letter to the punk scene everywhere, but also a convincing underdog story.
much of these characters, and they did not really play an important role in the story (besides dying in a fire).
Criticisms
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There are some unresolved plot lines and a few unanswered questions in the story (such as why 6kyung happens to speak fluent English), but for the most part, the crises are resolved without resorting to deus ex machina (a literary pet peeve of mine) while also leaving the door open for a possible sequel: perhaps one that will take place in Gwangju? Graphic courtesy of Jon Dunbar.
The Reviewer William Urbanski is the managing editor of the Gwangju News. He is married to a wonderful Korean woman, always pays cash, and keeps all his receipts. Instagram: @will_il_gatto
April 2021
One thing that I actually did not like at all was the negative portrayal of Western foreigners in the book, namely, English teachers involved in the music scene. While of course I have encountered my fair share of foreign teachers who just come to Korea to party, I felt that the drug-using, fight-starting foreigners (who also attempt to take up-skirt photos of a passed-out girl) were pretty exaggerated and not consistent with my experience here. On the same note, I felt that this was a deliberate choice by author Jon Dunbar to “shame” such behavior through parody.
Besides the plot, the characters, and the Korean context, there is another big reason you should read this book, and that is Dunbar’s clean but colloquial writing style, which paints a mental picture of the settings without getting overly descriptive. Even for someone who has never been to Seoul, it is very easy to visualize the action taking place. When 6kyung was in Slammer, sleeping at the police station (in the journalist’s room, not as a prisoner), or infiltrating a religious compound, I felt like I was right there. Given the number of locations in the book, this is quite an achievement.
www.gwangjunewsgic.com
After taking a few days to reflect on the book, I would say that Hongdae Fire is, in some ways, a little too comprehensive. That is to say, plot-wise, it is pretty convenient that the fire at the club brings together so many different aspects of Korean culture. Without spoiling the story, the reasons behind the fire involve political corruption, greedy developers, religious fanatics, a K-pop agency, and even a plastic surgery clinic. The book basically covers the entire gamut of everything that could possibly happen in Korea.
BOOK REVIEW
A Love Letter to the Punk Scene
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52
Language Teaching
Teaching Loanwords Bank on Them or Discount Them By Dr. David Shaffer
www.gwangjunewsgic.com
April 2021
TEACHING & LEARNING
I
dislike the word Konglish. This allusive coinage (Korean + English) is a difficult animal to corral. It has so many different meanings to so many different people (e.g., Koreanized pronunciation of English, common English grammar errors made by Korean learners, using the wrong English word for the intended meaning, misspelling of English words (e.g., grammer, lissen), and punctuation (e.g., Title : <Terminator 3> ). On top of all this, English words that have been borrowed into the Korean language are often referred to as Konglish. In addition to not easily being able to pin down exactly what a speaker is actually referring to when they use Konglish (which often is because they themselves have not formed a precise definition), I dislike the word because of its negative connotation: “English used incorrectly.” Here is one internet example: Konglish is “a disparaging term for various varieties of Korean English having distinctive lexis, syntax, and phonology.”1 Negative connotations in a society that values anything less than perfection as bad can be a harmful thing – that applies particularly to language learning. If you teach English to Koreans, you are acutely aware that students are very hesitant to speak English for fear of making mistakes. But as any language teacher knows, making mistakes is part of the language learning process – actually, a very positive part of the process because learning occurs as a result of mistake making. When learners are using English, mistakes are certain to occur. So, I can see how the term Konglish can be applied to such mistakes, especially when the mistakes are influenced by their mother tongue, Korean. However, when a Korean is speaking Korean and using some words originally borrowed from another language (loanwords; aka borrowed words, borrowings, loans, cognates), these words are to be thought of as Korean: They have been adopted into the Korean language. They may have been “Koreanized” in one or more ways (pronunciation, orthography, syntax, and/or meaning), but they are to be considered Korean once a majority of the Koreanspeaking community accepts them as such and freely uses them in speech and writing. Yes, they are loanwords,
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but they have been incorporated into Korean. One must realize that approximately 60 percent of the Korean lexicon is composed of loanwords from Chinese (yes; goggle it), but no one has a disparaging term for them. Therefore, I cannot support statements about English-toKorean (E-to-K) loanwords that label them as Konglish. I am referring to statements such as “words [that] have been modified in various forms, such as reducing the long word to Korean and making it easier to use, and now they have become Konglish”2 and such as “[Konglish includes] words in Korean that have been directly borrowed from English.3 The belittling of E-to-K loanwords has consequences. Because Korean educators consider recent loanwords to be a blemish on the “purity” of Korean, they are largely not treated in English coursebooks or in EFL classrooms. Likewise, because many native-speaking English teachers consider these same loanwords to be corruptions of English, they also do not introduce loanwords into their EFL lessons. As one EFL teacher states on the internet, “I typically do not list these borrowed words in the vocabulary of lessons.”4 Disregarding E-to-K loanwords in the EFL classroom is actually depriving students of a valuable resource. Many E-to-K loanwords are already known by students in their native Korean. What the students may not know is that these words are also used in English. Making students aware of this, and of these loanwords’ English pronunciation and meaning, is a fast way to increase students’ English vocabulary. The learning curve for E-to-K loanwords is not nearly as steep as it can be for other English words. This is because the student has already built up numerous associations with a loanword since it is used in Korean – semantic and phonetic associations. And on top of this, many of the E-to-K loanwords are among the most frequently used words in English. So rather than discounting E-to-K loanwords in the Korean EFL classroom, we should bank on them to increase the pool of vocabulary items that students have at their linguistic disposal. This is an especially useful concept in the teaching of young learners. Indeed, back
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53 in 1994, the Korean Ministry of Education had already found that there were approximately 3,000 frequently used E-to-K loanwords,5 and since then, they have been rapidly increasing. Some examples applicable to young learners and up are bus, car, truck, tigers, bears, lions, ice cream, coffee, book, news, seminar, report, computer, cellphone, telephone, television, and internet. Approximately 10 percent of Korean vocabulary items are thought to have come from English.6 A quick scan of my Korean dictionary confirms that 10 percent is a conservative estimate.7
Categorization by Structure
— Preservation of Form By far the largest number of E-to-K loanwords are nouns, and many of them have their structure preserved, save for adjustments necessary to conform to the Korean phonological system. K. keompyuteo (검퓨터), E. computer K. seipeu (세이프), E. safe K. keopi (커피), E. coffee K. model (모델), E. model K. hotel (호텔), E. hotel K. sopa (소파), E. sofa
K. taening-hada (태닝하다), E. tan (v.) K. paking-hada (파킹하다), E. park (v.) K. sain-hada (사인하다), E. sign (v.) K. kipeu-hada (키프하다), E. keep (v.) K. seumateu-han (스마트한), E. smart (adj.) K. dainamik-hage (다이나믹하게), E. dynamically (adv.)
K. eeokeon (에어컨), E. air conditioner
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April 2021
— Truncations Korean favors words of few syllables. So, when a manysyllabled English term is borrowed, it is often the case that its latter syllables are deleted.
— Fabrications Still another class of borrowings in Korean that are not directly from English words or terms, but have their origins in English are fabrications, that is, Korean words created from aspects of English. K. openka (오펜카), E. open + car = convertible K. selleorimaen (셀러리맨), E. salary + man = office worker K. seukinsip (스킨십), E. skin + -ship = relationship in volving skin contact K. keureop-hwaldong (크럽활동), E. club activities K. jumin-senteo (주민센터), E. community center K. reoning-hwa (러닝화), E. running shoes
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— Loanword+Bound Morpheme Another characteristic of loanwords is that they may combine with Korean bound morphemes, sometimes remaining the same part of speech but occasionally changing to another part of speech.
— Initialisms Another method that Korean uses to shorten loanwords is to transform them into a form of initialism, often using the initial letter of the first and a subsequent syllable of a word or term. Teachers must be careful to point out that these are not used in English. K. IC, E. interchange K. CC, E. country club K. D/C, E. discount K. B/D, E. building K. A/S, E. after-sales service K. R/C, E. reading comprehension
TEACHING & LEARNING
One important point to keep in mind when dealing with loanwords is that words often do not travel from the donor language 100 percent intact. There is often some sort of change that takes place. For example, one study showed that only about 60 percent of E-to-K loanwords carry their most common English meaning.8 Teachers should be aware of these changes (minute or massive) that loanwords undergo on their journey from English to Korean in order to make their English learners aware of these differences. The next section classifies the different types of E-to-K loanwords and gives examples of each.9
K. syupeo (슈퍼), E. supermarket K. noteu (노트), E. notebook K. waiteu (와이트), E. white-out K. seukin (스킨), E. skin lotion K. naiteu (나이트), E. nightclub
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54 Categorization by Meaning
In addition to structural changes, loanwords may have a number of changes in meaning that accompany the loanword’s journey from English into Korean. There may be semantic preservation, in which the English meaning is preserved; semantic narrowing, in which the loanword’s meaning is more restricted; semantic widening, in which the loanword’s meaning is extended; and semantic transfer, in which the meaning has noticeably been shifted. But remember that in 60 percent of the cases, the most common meaning of the English word is preserved in the Korean loanword.
TEACHING & LEARNING
— Semantic Preservation K. beoseu (버스) = E. bus K. maketing (마케팅) = E. marketing K. piano (피아노) = E. piano K. radio (라디오) = E. radio K. banana (바나나) = E. banana K. golpeu (골프) = E. golf — Semantic Narrowing K. miting (미팅; fr. E. meeting) = group blind date K. chyuri (츄리; fr. E. tree) = Christmas tree — Semantic Widening K. sopa (fr. E. sofa) = sofa or stuffed armchair. K. seobiseu (fr. E. service) = any item provided to the customer free of charge — Semantic Transfer
Summing Up
As language teachers, we need to not think of E-to-K loanwords as black sheep and ignore them in our lessons, but instead embrace them to increase our students’ vocabulary in a rather expedient manner. The majority of these loanwords preserve their English meaning and form, but a sizeable minority do not. It is incumbent on the language teacher to make students aware of these differences, and absence of differences. We should also remember that though these loanwords may have some differences from the English words from which they are derived, they do have some or many samenesses that the students already have knowledge of by knowing the Korean loanword. And it is these associations that students have before the classroom teaching occurs that make E-to-K loanwords easier to learn than other English vocabulary for which they have no previous associations. The more associations one has with a language item (especially associations that vary in type), the more easily they will be able to retain it. This actually applies to everything we learn, but especially to E-to-K loanwords. So, think of E-to-K loanwords as easily accessible language learning items rather than as artifacts that represent a negative aspect of the Korean-English interface. And employ them to enrich your students’ vocabulary.
www.gwangjunewsgic.com
April 2021
K. hipeu (히프; fr. E. hip) = buttocks K. keonning (컨닝; fr. E. cunning) = test cheating
In a random sample of 111 E-to-K loanwords, it was found that 67 percent exhibited semantic preservation and 25 percent semantic narrowing, with only 4 percent manifesting semantic widening, and 4 percent semantic transfer when comparing the main meaning of each word of the pair.10
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55 Footnotes
Definitions.net. (n.d.). Konglish. Retrieved March 1, 2021, from https://www.definitions.net/definition/KONGLISH 2 mickykim. (2019, December 28). What is Konglish. Joinus World. https://www.joinusworld.org/qa/3139-what-is-konglish/ 3 How to Study Korean. (n.d.). Lesson 134: Ultimate Konglish guide. https://www.howtostudykorean.com/unit-6/lessons-134-141/ lesson-134/ 4 Same as 3 above. 5 Cho, I. (2001). Recognition of English loanwords by learners of Korean. The Korean Language in America, 6, 69–74. http://www. jstor.org/stable/42922771 6 Fullerton, C. (2009). Origins of Konglish. The Korea Times. http:// www.koreatimes.co.kr/www/opinion/2019/09/162_57881.html 7 Gugeo silyong sajeon [Korean practical dictionary], rev. ed. (2000). Kyohak-sa. 8 Shaffer, D. (2010, May). English-to-Korean loanwords: Categorization and classroom instruction. In KOTESOL National Conference Proceedings (pp. 47–57). Daegu, Korea. 9 Following Shaffer, D. (2010). See 8 above. 10 Shaffer, D. (2010). See 8 above. 1
GWANGJU-JEONNAM KOTESOL UPCOMING EVENTS Check the Chapter’s webpages and Facebook group periodically for updates on chapter events and online activities. For full event details: Website: http://koreatesol.org/gwangju Facebook: Gwangju-Jeonnam KOTESOL
Support the GIC! Be a Member! The Gwangju International Center (GIC) is a non-profit organization established in 1999 to promote cultural understanding and to build a better community among Koreans and international residents. By being a member, you can help support our mission and make things happen! Join us today and receive exciting benefits! • One-year free subscription and delivery of the Gwangju News magazine. • Free use of the GIC library. • Free interpretation and counseling services from the GIC. • Discounts on programs and events held by the GIC. • Up-to-date information on GIC events through our email newsletter.
Annual Membership Fee
General: 40,000 won Students: 20,000 won Groups: 20,000 won per person (min. 10 persons) Inquiry: member@gic.or.kr / 062-226-2733
The Author
www.gwangjunewsgic.com
David Shaffer is an educator with many years of experience in the field of English education in Korea. During that time, he has taught and researched loanwords with his students. As vice-president of the Gwangju-Jeonnam Chapter of KOTESOL, Dr. Shaffer invites you to participate in the chapter’s teacher development workshops (now online) and in KOTESOL activities in general. He is also a past president of KOTESOL and is currently the chairman of the board at the Gwangju International Center, as well as editor-in-chief of the the Gwangju News.
April 2021
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56
Korean Recipe
Bibimbap: Mixed-Rice Bowl By Joe Wabe
B
ibimbap (비빔밥) is a renowned item on the world’s cuisine stage. It is not surprising that a few years ago, it was listed among the “World’s 50 Most Delicious Foods” by CNN Travel. This scrumptious and colorful bowl of warm rice topped with sautéed and seasoned vegetables, sliced beef, and chili paste is a classic on the list of spring dishes. Although there is not an exact record of where, when, or how bibimbap came into existence, it is assumed that it might have originated during certain rites performed outdoors in which all the food offerings were blended and consumed by the attendees at the end of the ritual in order to share the meal with the “gods.” Not only have ordinary people enjoyed this dish for centuries, but it is well known that kings liked a warm bowl of mixed rice for lunch or as a snack between meals.
www.gwangjunewsgic.com
April 2021
For most people, this dish is associated with the city of Jeonju, which is considered the mecca of bibimbap; however, there are other cities that share the same fame for their unique version of this dish. Tongyeong bibimbap, for instance, is made using a variety of seafood, and Jinju bibimbap introduces the singular savor of raw beef into the mix.
Preparation Soak the bellflower root in lukewarm water with a little salt for 15 to 20 minutes. Squeeze the water out gently and stir fry with a pinch of salt and pepper. Then set it aside. Blanch the spinach for about two minutes, rinse with cold water, squeeze out the water, add a pinch of salt and minced garlic, and set all aside. Sautee the mushrooms on medium-high until brown, adding a pinch of soy sauce and minced garlic, and then set them aside. Repeat the process with the carrots until crispy – this time do not add soy sauce or garlic. Then set this aside. Next, boil the bean sprouts for about seven minutes, rinse, dry, and mix with a pinch of salt and sesame oil, and then set it aside. After that, stir fry the meat with sesame oil, soy sauce, and a bit of cooking syrup. Add the cooked rice to a bowl, and then place the beef and vegetables (including the cucumbers) side by side. Add a tablespoon of chili paste, sesame oil, and a sunny-side-up fried egg on top.
The Author
Joe Wabe is a Gwangju expat who has been contributing to the GIC and the Gwangju News for more than ten years with his work in photography and writing.
The harmony produced by the combination of ingredients in this nutritional and savory dish is a symbol of balance and symmetry in Korean culture. Ultimately, the beautiful composition of colors and taste unlocks the magic of spring.
Ingredients
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(Serves 2) 3 cups of cooked rice 150 grams of lean beef 1 cup of shiitake mushrooms trimmed and sliced 1 cup of bean sprouts 2 bunches of spinach trimmed and rinsed 1 medium grated cucumber 1 medium grated carrot 1 cup of bellflower root (doraji) 1 egg 3 tablespoons of soy sauce 2 tablespoons of sesame oil 2 tablespoons of chili paste (gochujang) 1 teaspoon of minced garlic 1 teaspoon of cooking syrup black pepper
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