Gwangju and South Jeolla International Magazine
Gwangju and South Jeolla International Magazine
August 2021 #234
August 2021 #234 Gwangju Design Biennale 2021: Defining Design Revolution
Defining Design Revolution
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General Director Kim Hyun-sun
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1 Gwangju & South Jeolla International Magazine
From the Editor
A
nother hot month starts off with another hot issue of the Gwangju News! August, after all, is the month of the last of the dog days (Malbok, on the 10th) and the Lesser Heat (beginning on the 23rd). As Gwangju is known as the City of the Arts, our August issue brings an exceptional array of articles related to the arts in deep hues and soft tints.
Gwangju and South Jeolla International Magazine
Gwangju and South Jeolla International Magazine
August 2021, Issue 234 Published: August 1, 2021
August 2021 #234
August 2021 #234 Gwangju Design Biennale 2021: Defining Design Revolution
Defining Design Revolution
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General Director Kim Hyun-sun
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Cover Photo 2021 Gwangju Design Biennale General Director Kim Hyun-sun
THE EDITORIAL TEAM Publisher Editor-in-Chief Managing Editor Chief Copy Editor Layout Editor Photographer Copy Editing Online Editor Content Support
Dr. Shin Gyonggu Dr. David E. Shaffer William Urbanski Isaiah Winters Karina Prananto Kim Hillel Yunkyoung Joey Nunez, Thomas DeVore, Di Foster, David Foster Karina Prananto 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 Jieum 지음 (+82)-62-672-2566
Special thanks to Gwangju City and all of our sponsors.
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Blast from the Past this month features Gwangju and its history, along with some photos that you are sure to not recognize. Also of a historical bent is our new-column-initiating article on the hanok housing in Gwangju. Part of Gwangju’s recent history is also May 18. Read about one person’s struggle to make sense of the misinformation surrounding 5.18 [Gwangju Abroad]. Moving to Gwangju’s present, we offer one person’s suggestions for green transportation on Gwangju’s streets [Environment] and another person’s suggestions on how to give Gwangju a skateboarding future that works [Opinion]. If you’re not familiar with Suamgol Village in Cheongju, you soon will know a lot more about this art and filming site [Around Korea]. In August, we usually talk about vacations, but this month Everyday Korean talks about vaccinations. Language Teaching, however, does talk about “playfulness” (as it pertains to language learning). We present one writer who just completed her first children’s book, The Magpie Babies, and the short essay of another, The Man Who Owned Red. From GFN Radio, we bring you the latest releases in music [Top of The Drop] and an interview with a very interesting GFN PD. You will want to read up on Gwangju City News and see how quickly you can complete this month’s Crossword Puzzle. As always, stay Covid smart, stay Covid safe, get Covid protected, and enjoy the Gwangju News.
David E. Shaffer Editor-in-Chief Gwangju News
August 2021
For volunteering and article submission inquiries, please contact the editor at gwangjunews@gic.or.kr.
In the photography category of the arts, we have a feature interview with the editor of an urban-exploring photography webzine, The Bulldozed Future. Other exceptional photography in this issue includes that of an urban explorer venturing outside the city limits for this issue [Lost in Honam], a visit to a Gwangju talisman maker [Photo Essay], and our tranquil Photo of the Month. Another genre of art is creating comics; check out our new column, the webtoon Alan and Me.
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The Gwangju News is published by the 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 gwangju_news
Our cover feature starts things off with a preview of the Gwangju Design Biennale, which starts its two-month run next month. Another feature describes how Gwangju artist Kim Chang-deok combines beeswax, plum blossoms, and tea into yunhoe-mae.
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Photo of the Month By Kim Hillel Yunkyoung
“It’s time to paddle.” Taken on Jeju Island one fine day in June 2021.
The Photographer
Kim Hillel Yunkyoung is a priest in the Anglican Church and also a portrait photographer. More of his pictures can be found at @hillelkim.
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Contents
ISSUE 234, AUGUST 2021
NEWS 01. From the Editor 04. Gwangju City News FEATURES 06. Defining “Design Revolution” at the 2021 Gwangju Design Biennale 10. The Bulldozed Future: Sequel 13. People in the Arts: Beeswax, Plum Blossoms, and Tea – The Works and Ways of Artist Kim Chang-deok 17. Blast from the Past: Gwangju in History TRAVEL 20. Lost in Honam: The Region’s Ripped Backsides 24. Around Korea: Suamgol Village – The Warmth of Cheongju TEACHING & LEARNING 26. Language Teaching: Playfulness in Teaching and Learning 30. Everyday Korean: Episode 43 – 코로나-19 예방접종 받았어요? (Did You Get a COVID-19 Vaccination?) COMMUNITY 31. Environment: Gwangju, Creating a Personal-Mobility Green Transportation City 34. Gwangju Abroad: Making Sense of the Misinformation Surrounding 5.18 36. Opinion: Gwangju Skateparks – My Vision for Their Future
02. Photo of the Month 39. Gwangju Writes: The Man Who Owned Red 42. Mass-Producing Hanok Housing – Chapter 1: The Background of the Hanok in Gwangju 44. Photo Essay: Wooden Talisman Maker in Gwangju 48. The Magpie Babies: My First Children's Book 50. GFN Radio: GFN Goes Bilingual – Interview with PD Choi Hang 54. Gwangju Webtoon: Alan and Me 56. Crossword Puzzle
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August 2021
52. GFN Radio: Top of The Drop
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CULTURE & ARTS
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Gwangju City News From the Gwangju Metropolitan City website (http://gwangju.go.kr)
MONTHLY NEWS
Gwangju City’s Jobs Policy Receives National Acknowledgement Gwangju City won the Jobs Grand Prize at the 2021 National Local Government Jobs Awards ceremony hosted by the Ministry of Employment and Labor. Gwangju won the 2018 Presidential Prize and the top prize in jobs policy evaluation in 2019 and 2020.
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August 2021
The Jobs Grand Prize, held annually since 2012, is where the government comprehensively evaluates and awards the previous year’s jobs policy implementation performance for 243 local governments nationwide (17 metropolitan, 226 general) in connection with the local jobs target disclosure system, and shares and awards outstanding jobs creation results. Gwangju Metropolitan Government received its outstanding evaluation in 2020 for: — “Gwangju-type jobs finished-car factory construction,” a workplace for mutually beneficial growth created by local residents. — “Cultivating AI talent and attracting leading companies” to create an artificial intelligence-centered industrial ecosystem. — People’s livelihood stabilization measures for small business owners and SMEs in response to COVID-19 (including the new recruitment labor cost-support project, full support for the employer’s employment maintenance subsidy, and special guarantee for three small business owners). — Zero blind spots, support for start-ups at the ground level of local businesses. — Taking the lead in policies such as the creation of public jobs for daily life quarantine for citizens of the first and third classes.
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In addition, the “Evaluation System Establishment and Operation for Job Performance Management” led by local governments, the “All-Period Multi-Plan for Youth Jobs,” and “various policies to improve job quality” received favorable reviews. In particular, the construction of a Gwangju-type jobs, finished-car factory, which contributed to revitalizing the local economy by creating jobs by placing 100,000 local workers in the job force and placing an order for about 62.3% of the total construction cost with local companies, was also highly evaluated. The Gwangju-type jobs automobile factory was completed one year and four months after the start of construction following a sevenyear journey, and the aspirations of citizens and young people came to fruition as it was put into operation and included the hiring of young local talent.
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5 In addition, Gwangju won the Excellent Award (Minister’s Award) for its “Good Small and Medium Business Discovery Certification and Job Matching Support Project” in the evaluation of outstanding projects for local industry-tailored job creation support projects. This project promotes customized matching between excellent companies and talent by improving negative perceptions of SMEs and securing employment in good SMEs favored by young people. Through this, it has attracted positive responses from small- and medium-sized companies that are suffering from labor shortages and reducing the outflow of young talent for jobs elsewhere.
and for this, Gwangju was evaluated as a support model for SME employment expansion through job search matching.
Moreover, last year with the COVID-19 situation, the local government quickly switched to non-face-to-face mode to discover and promote excellent SMEs. It exceeded its target of customized employment connections by 107 percent,
Mayor Lee Yong Sup said, “We will do our best to realize a ‘just and prosperous Gwangju’ and to lead to job creation and revitalization of the local economy by putting more effort into opening a new future of Gwangju.”
With the award, Gwangju has secured 130 million won in incentives for capacity building and jobs projects. Incentives will be used to expand support projects for job creation tailored to regions and industries next year. Gwangju is the only city in the country to win the best award in the jobs policy evaluation for four consecutive years, and it was found through analysis that its performanceoriented jobs policy has paid off.
Construction of the Nanum Forest Space at Sohwa Angels House Last month, City Hall opened a green sharing space (Nanum Forest) at Sohwa Angels House, a welfare facility for the disabled, located in Bongseon-dong, Nam-gu. The project’s aim was to provide a space for mental and physical healing to facility users and citizens by creating a green space and shelters in an area where the socially and economically vulnerable live. An agreement with Sohwa Angel House was signed in February. There were 2,480 trees of 12 different species planted along with 12 kinds of herbaceous plants and 2,640 flowers in a 1,500 square-meter area that includes a wooden staircase, a paved road, and two pergolas built for rest.
Earlier this year, Gwangju was selected for the 2021 Green Fund Contest Project organized by the Korea Forest Welfare Promotion Agency under the Korea Forest Service and secured a project budget of 150 million won.
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“The quality of life of facility users and residents living nearby is expected to be improved through the creation of these green spaces,” said Chung Joo-hyung, head of the Green City Office, adding, “We will continue to work hard to create forests that can heal both the underprivileged and the citizens of Gwangju in general.” Translated by Melline Galani.
August 2021
In addition, the city has received a total of 3.4 billion won in green funds from 2010 to this year to create green spaces at thirty-three social welfare facilities to provide high-quality services to the underprivileged. Next year’s green fund open-call project is scheduled to be received by the end of
July for other social welfare facilities, medical institutions, and special schools.
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Shelters are located throughout the slopes along the trails to help the disabled with mobility difficulties and to provide them and local residents with a green space for healing and relaxation.
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FEATURE
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▲ International Pavilion: Design, Use, Build (DUB) Experience.
Defining “Design Revolution” At the 2021 Gwangju Design Biennale
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August 2021
By the Gwangju Institute of Design Promotion (GIDP)
O
ne of Gwangju’s prestigious art events, the Gwangju Design Biennale (GDB) is back this year with the theme of “d-Revolution.” This theme is a compound composed of “D” for Design” and “Revolution,” which refers to the paradigm of a new era driven by design, not a revolution propelled by industrial inventions as in the past. Considering the post-COVID-19 era, it is composed of an exhibition that matches the original “Design for Humans” purpose. While the 2019 GDB’s “Humanity” theme induced harmony between designers and the general public, the 2021 GDB will expand collaboration and communication between designers and ordinary people, between master craftsmen and foreign designers. It is expected to present a new paradigm for future design amid waves of change, induced by the post-COVID-19 era and the 4th industrial revolution era. To facilitate all this, 2021’s GDB will have both offline and online events.
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Kim Hyun-sun, who is currently a professor in the Graduate School of International Design at Hongik University and is the sixth and seventh president of the Korea Women Designers Association, has been appointed general director for this year’s Biennale. When asked how she feels about being selected as the general director, she said, “Gwangju Design Biennale is the world’s first design biennale. I have felt a lot of overlap with my beliefs in regards to the concepts and the will of Gwangju and its people; that is the true function of design. So, I tried to challenge myself in this regard, and this is how I became the general director for 2021. The theme for this year is d-Revolution, or Design Revolution. The focus of the design revolution is ‘healing.’” Kim added, “The 2021 Gwangju Design Biennale itself must be a reflection of the paradigm of the times, and we all need emotional healing in Gwangju, which has
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7 historical pains from its past, and now the ‘corona blues.’ Through the theme of d-Revolution, you will discover new ideas about differences and encounter various designs that have changed the world through mutual understanding.” Kim said that the success factor of the 2021 Gwangju Design Biennale that differentiates it from the previous Gwangju Design Biennales will be namely the implementation of “healing” in the exhibition spaces through a combination of emotions. This approach is being implemented so that the visitors can be healed by stimulating all senses as much as possible. In the Theme Pavilion, music, fragrance, and color – and especially light – are used; while in the AI Pavilion, visitors can visualize thoughts; and in the International Pavilion, visitors can witness the “d-Revolution” that people from other cultures have thought up, which is a new and different approach. The 2021 Gwangju Design Biennale will present a variety of pavilions: the Theme Pavilion, the International Pavilion, the AI Pavilion, the Experience Pavilion, and the Regional Industry Pavilion, as well as the International Conference. Here is an overview: Theme Pavilion: Various uses of light expressing Gwangju’s identity and values. • The Theme Pavilion is a space where all five keywords
describing the design revolution are gathered under the theme of “d-Revolution, Beyond” and is a space that contains the publicity of design and the identity of Gwangju. Kim will be the curator for this pavilion. • Inviting works from various countries will break existing molds and present various topics from the environment, to nature, to human sensibility. International Pavilion: DUB experience • DUB (design, use, build) is an artistic act that creates a new concept of originality by recombining foreign items with local ones. • It consists of a DUB Stage zone where DUB performances take place, a DUB Floor zone, and a DUB Record zone. AI Pavilion: Collaboration of “Humans and Technology” • This is an exhibition of smart home system technology and a virtual AI vehicle. It is an AI experience exhibition where interactive experiences can be had between installations and visitors. Experience Pavilion: Media art depicting the evolution of mankind through design in a time of revolutionary change spurred by COVID-19 • The design revolution that will lead the evolution of mankind after COVID-19 will be shown through a variety of exhibitions.
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August 2021
▲ Theme Pavilion: Various uses of light expressing Gwangju’s identity and values.
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August 2021
▲ AI Pavilion: Collaboration of “Humans and Technology.”
• Numerous experiential exhibitions will be offered that can be experienced with family and friends.
d-Revolution theme. They will also hold a poster forum for cultural exchange.
Regional Industry Pavilion: Experience of the excellent cultural industry in Gwangju where you can see the identity of Gwangju design • Cosmetics developed jointly with Gwangju beauty companies will be exhibited. • Gwangju’s four main industries – cognitive intelligent home appliances, the optical convergence industry, smart mold, and digital biomedicine – form an experience zone.
Kim said, “Through design, we want to convey the spirit of the times that embraces change and difference, expanding the horizons of the future and dialogue with the past and present. Healing moments will be expressed through new communication methods such as non-faceto-face interaction. When artists, their work, the audience, and spaces all interact in various ways that can reveal differences beyond existing methods, we can expand beyond daily life, beyond contact, beyond face-to-face, and beyond revolution.”
Aside from these pavilions, there will also be an international conference and a special exhibition held during the Biennale event. The international conference will focus on academic groups and associations in the fields of design and industry in Gwangju, and various presentations and discussions will be held accordingly. Invited guest speakers include Peter Zec (chairman of Red Dot), Karim Habib (executive vice president of Kia Global Design), and Yoon Song-i (president and chief strategy officer of NCSOFT). Details of this conference will be announced later. The special exhibition will be held simultaneously during the GDB period. Named the Gwangju Design Biennale 2021 International Invitational Poster Exhibition, with more than 400 artworks from 50 countries, a network of designers working in different countries around the world are set to jointly work on this poster exhibition under the
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Kim closed her interview by adding, “Gwangju Design Biennale will enhance the brand value of the world’s first international design biennale and will prepare Gwangju to raise its international status by strengthening its role as an Asian design hub. Through design, experience, and conferences at the 2021 Gwangju Design Biennale, I hope that each of us, big or small, will be comforted and healed. Please look forward to this year’s Gwangju Design Biennale.” Website: http://gdb.or.kr/ Email Inquiry: bob0328@gdb.or.kr Ticket Purchase: http://www.ticketlink.co.kr/product/ 34859
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August 2021
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The Bulldozed Future: Sequel Inter view with Ryan Berkebile
FEATURE
This spring the Gwangju News carried a feature on The Bulldozed Future, a newborn webzine on urban exploration, as an interview with its Seoul-based urban exploring photographer and editor, Ryan Berkebile (March 2021 issue). Since then Ryan has done more exploring and has come out with the second issue of his webzine. His adventures include numerous explorations in the Gwangju area that make it into the zine’s latest issue. Recently our managing editor caught up with Ryan for this interview. — Ed.
G
wangju News (GN): Hi, Ryan! Thanks for doing this interview. What have you been up to since our last interview back in March? Ryan Berkebile: Hello! It is always a pleasure to make time for the Gwangju News. Happy 20th anniversary, Gwangju News!
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August 2021
Since we last chatted, I have continued to explore four or five neighborhoods in Seoul in the process of redevelopment, taking photos for future blog posts and zines. In April, I wrote an article about exploring Korea’s urban redevelopment for the Royal Asiatic Society Korea Branch’s annual journal, Transactions. It was an honor to have contributed to the 95th volume of their publication. I hope people can get a chance to read it.
am still learning to put together issues with pictures that emphasize the bulldozed future in Korea. GN: Making a magazine is one of those things where you have to learn by doing. What are some skills or perspectives you’ve picked up between issues one and two?
I recently received slides from my grandparents’ short visit to Seoul in 1969. There are some fantastic pictures from the set, and I am trying to figure out what to do with them. These pictures motivate me to keep taking pictures because who will remember what these working-class neighborhoods looked like? GN: A belated congratulations on the second issue of The Bulldozed Future! How’s this issue different from the first? Ryan Berkebile: Thank you! It is not much different, except a bit meatier. There are more pages, more juxtaposed images from Korea’s abandonments and condemned neighborhoods. It is a continuation of telling short, visual stories of the moment before a place is gone forever. I prefer to use few words and let the viewer make sense of the scenes. But who knows what will happen in future issues? I might want to contextualize images in later editions to accentuate meaning. At this point, I
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11 Ryan Berkebile: I am learning a lot about restraint. It would be easy (and very punk rock) to put together an issue by just throwing pictures together without much thought, like a Dadaist collage. Still, I am intentionally slowing down to focus on quality. Without extra perspective from my wife, my untrained eye would want to put what I consider “the best shots” together without considering if they work well with the corresponding image on the next page. I need other people’s input because another viewpoint will help me see the value in photos I might initially toss to the side.
rich become the new landlords and raise the rents so that the original residents and artisans have to move out and find a new cheap place to live. Once a neighborhood with distinct character, it becomes an uninteresting strip filled with coffee shops and craft beer bars.
GN: Is a third issue in the works? If so, how are you going to tweak the zine this time? Ryan Berkebile: Yes, a third issue is in the works. It is in the beginning stages, and I hope to have it out by August, just in time for the Kinektid Book Fair and the Zoom lecture I will give to the Royal Asiatic Society Korea Branch in August. There will not be too much difference between issue three and issues one and two; it will be the same size and feature pictures just like previous issues. Maybe there will be more text, but it depends on what images make the final cut.
Demolition and redevelopment in Gwangju have picked up over the last seven years since I first visited. I remember Gwangju in 2014 as an incredibly run-down city. It was gritty and super easy to find abandoned hanok houses and other buildings in the city center. I was shocked by all the neglected buildings and neighborhoods of Gwangju; the scenes made an impression on me, and I have been exploring and documenting Korean abandonments (aka K-abandonments) ever since.
GN: Do you have any recent adventures or exploits you’d like to share? Ryan Berkebile: I think the recent visit to Gwangju’s Hak-dong area is the adventure that stands out. Who knew that there would be a tragedy just after our most recent visit to the neighborhood? Hak-dong was a longterm exploration for Isaiah Winters and me. In early 2020, demolition crews began to tear down the area in earnest. We found many cool things like a calligraphy hagwon and a photographer’s house filled with countless images throughout Korea’s yesteryear (see Isaiah’s article in the July 2020 issue of the Gwangju News). Throughout the pandemic, we kept tabs on the progress of Hak-dong’s demolition. On May 30 of this year, on a whim, my friends and I went to check out the redevelopment one last time to see if there was anything left. Indeed, a few abandonments were still standing, with the few people still occupying buildings protesting their evictions. It was
While it is great to see significant sites connected to 5.18 [the May 18 Uprising] like the Jeonil Building and the old Red Cross Hospital become revitalized to preserve their historical significance, I see Gwangju going through the same gentrification process that has been happening in Seoul and around the world. Artisans move into workingclass neighborhoods because they are affordable. When these areas garner the attention of the upper classes, the
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August 2021
GN: Where can people pick up a copy of your zine? Ryan Berkebile: I have a few copies available at some independent bookshops in Seoul, like Manyuinryeok (만유인력, https://www.facebook.com/ MANYOUPOWERPEOPLE) and Kinektid Bookstore (https://kenektidxbookstore.shop/), but the best way to get one is directly from me. Please shoot me a message at longdistancerunner.org to purchase one. At this point, I am only sending out physical copies to people living in Korea. Postage is still expensive to send out across the world. If anyone living abroad is interested in buying the zine, you can purchase PDF copies through gumroad.com.
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GN: I heard issue two is “Gwangju heavy” in terms of content. It may be a perception bias thing, but it seems to me there’s a lot more demolition going on in Gwangju than in other parts of the country. Do you agree? If so, why do you think this is? Ryan Berkebile: There has been a strong representation of Jeollanam-do and Gwangju in the both of the first two issues of The Bulldozed Future, and I imagine it will continue in future editions. I always enjoy traveling down to Gwangju, meeting with friends, and exploring the region’s forgotten or soon-to-be-redeveloped areas with my adventure partner, Isaiah Winters.
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12 always be unknown risks while exploring abandonments and redevelopments in Korea. I am willing to accept these risks, as I have developed a deeper appreciation of Korea through unorthodox means. GN: Please add anything else you’d like to mention! Ryan Berkebile: As I mentioned earlier, I have contributed an article on exploring Korea’s urban redevelopment zones to the most recent edition of Transactions, the annual journal put out by the Royal Asiatic Society Korea Branch (http://raskb.com). If you are interested in Korean culture and history, I recommend joining and supporting the world’s oldest Korean studies organization! While speaking of RASKB, I want to mention that I will be giving a Zoom lecture about my explorations on August 10. Feel free to join or watch my address on YouTube afterwards. The talk also coincides with the release of issue number three of The Bulldozed Future. The best way to get a physical copy is through me directly at my website, longdistancerunner.org.
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August 2021
a relatively quick and relaxed stroll through Hak-dong. Then ten days later, a building (and area) that Isaiah and I had never explored in earnest collapsed, killing nine and injuring eight. As soon as I saw the pictures of the scene, I immediately recognized the place, and my heart sank. GN: As an urban explorer, what are your thoughts on that tragic (and completely preventable) building collapse in Hak-dong? Has it made you rethink this passion of yours? Ryan Berkebile: It is the latest in a long line of tragedies in the country that would have been prevented if companies observed proper safety protocols. The government also needs to hold those people who do not follow them more accountable. Frankly, I am surprised this has not happened more often. It seems that governing bodies ignore whistleblowers’ complaints as the norm. People are only shocked after the fact. As for how I go about urban exploring, the disaster has not deterred me from continuing. The risks that come with urban exploration are numerous. I am not a high-risktaker myself; I am not willing to do anything too crazy at great heights. The risky situations I usually put myself in are climbing over or under small walls, walking over glass shards, or exposing myself to mold or asbestos. Even before the pandemic, I made it a habit of wearing masks while in highly moldy locations. With that said, there will
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GN: Thank you, Ryan. We wish you the best with your upcoming presentation, your webzine, and your urban explorations. Interviewed by William Urbanski. Photographs courtesy of Ryan Berkebile.
The Interviewee
When Ryan Berkebile isn’t taking photos of abandoned neighborhoods, he writes blog posts for his website, Long Distance Runner. He is about to release the third issue of his photography, The Bulldozed Future, soon. You can find out more about this and other projects at longdistancerunner.org and on llllll@l0ngdistancerunner and @naturaryan1600
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People in the Arts 13
FEATURE
Beeswax, Plum Blossoms, and Tea By Kang Jennis Hyun-suk
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that tea makers should not use fragrant cosmetics, soap, or shampoo because tea leaves can become coated with their fragrance. In East Asia, food materials are divided into two main types: materials having cold energy and materials having warm energy. Most Asians believe that cooking allows the materials to be in harmony. Green tea grows well with a little moisture, so it has cold energy. Cold-energy foods can cause stomachaches if eaten cold. Making green tea is the
August 2021
I
think most people living in Korea have heard that the tea plantations in Boseong are one of the mustsee locations in the country. The endless rows of tea plants on the plantations give us wonderful views and photographs. In Korea, most tea is grown in the low mountains of South Jeolla Province, in places like Boseong, Yeongam, Jangheung, Naju, and Mt. Mudeung in Gwangju. Hadong-gun, which is close to Mt. Jiri is also famous for its wild tea. Luckily, I had a chance to make green tea at a temple named Bulhoe-sa in Naju years ago. I learned
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The Works and Ways of Artist Kim Chang-deok
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August 2021
▲ Yunhoe-mae (Reincarnating plum blossoms), by Da-eum.
▲ Spreading the Fragrance of Tea, plum blossoms and bowl by Da-eum.
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▲ An Old Future, plum blossoms and vase by Da-eum.
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15 process of reducing the cold energy from the tea leaves. It takes considerable time, but here is a brief introduction to the process: Begin by warming the tea leaves in a large iron pot. 1. Rub the warmed tea leaves against a thick cloth or straw mat. 2. Put the tea leaves in the large iron pot again and stir, turning the leaves over to enhance evaporation. 3. Spread the lightly baked leaves on hanji (한지, traditional Korean paper) and dry. 4. Repeat steps 1–3 nine times. When the moisture is low, only steps 2–3 are needed: heating in the pot and spreading for drying. 5. When the color of the tea leaves turns black, elimination of the cold energy is complete. Especially with large batches of tea leaves, making handmade green tea requires physical strength, taking about 8–10 continuous hours. So, some tea makers do variations on the tea-making process. They might bake the tea leaves once or twice at a high temperature. Some tea makers ferment the tea leaves. The taste of the tea differs depending on how it is made. I think good taste is the product of passionate hours. When the tea is ready, tea lovers get together for teatime! For the tea table, one must prepare a teapot, teacups, tea leaves, hot water, and some snacks – and do not forget flowers for decoration! The flowers on the tea table are called dahwa (다화). In a moment, I will introduce the artist who makes dahwa with plum blossoms and beeswax.
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Jennis: It is awesome! What is the origin of yunhoe-mae? Do you know who started to make it? Da-eum: It was first made by the scholar named Lee Deokmoo (1741–1793) during King Jeongjo’s reign of the Joseon Dynasty. The Joseon Dynasty was a society controlled by Confucian discipline, and the children who were not born from the first wife could not be government officials. However, Jeongjo, the 22nd king of Joseon, implemented an unconventional policy to give official posts to competent people regardless of family prestige. That is how Lee Dukmoo was able to obtain government posts. He was also a scholar, a poet, and an artist who appreciated tea. Early in the spring, Lee Deok-moo enjoyed having tea along with the scent of plum blossoms. He might float a plum blossom petal on his cup of tea as he gazed at fresh plum blossoms in a vase. But plum blossoms bloom for only a few days of the year. There is a saying in Korean, hwa-moo-sip-il-hong (화무십일홍), which means “No matter how beautiful a flower is, it can’t last for more than ten days.” Its inner meaning is “Beauty or power can’t last forever.” But Lee Deok-moo, the tea-loving scholar, was able to make long-lasting, artificial plum blossoms with beeswax. Jennis: How did you come across Lee Deok-moo and the yunhoe-mae? Da-eum: I have read a lot of books related to tea because I like to drink tea so much. I learned that this scholar made artificial flowers to enjoy during his teatime. Lee Deokmoo wrote many books in his lifetime. His last books were published by his son after he passed away. The name of the book series is Cheongjanggwan-jeonseo (청장관전서). Lee’s penname was Cheongjanggwan, and he recorded the lives of the figures of his time in the 71 volumes that made
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Passing through the small garden, I could hear classical music from the cafe’s large speakers. The cafe had several traditional Korean beverages on its menu. As a tea lover, I ordered green tea. While drinking the tea, I looked around the café and noticed some artworks hung on the wall. Inside the frame of one, an artificial twig with plum blossoms was placed in a relief vase. I thought the artworks went well with the tea and the music. The owner of the cafe said that her husband was the artist. It just so happens that the following year I came across his works at the Gwangju Art Fair.
Jennis: Thank you for making time for this interview. I learned your beeswax plum blossom works are called yunhoe-mae (윤회매). Could you tell me what it means? Da-eum: As you know, yunhoe (윤회) means “reincarnation,” and mae (매) means “plum blossoms.” In Buddhist terms, yunhoe is samsara, the cycle of birth, death, and rebirth. The wax plum blossoms are made by the rebirth process. Bees get honey and wax from flowers, and people make plum blossoms with the wax. So, the beeswax from flowers goes back to being flowers. That is the meaning of yunhoe-mae: plum blossoms reincarnated.
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To any visitor to Gwangju, I would love to recommend walking along the streets of Yangnim-dong after visiting the historical sites of Gwangju’s May 18 Uprising. In Yangnim-dong, you will see some Korean traditional houses and a few Dutch-style buildings built over 100 years ago by Western missionaries living in the Yangnim-dong area. Walking along the alleys of Yangnim-dong, you can also find adorable small cafes. This is how I came across the cafe Yunhoemae.
We are now going to explore tea as well as the accompanying beeswax plum blossoms called “yunhoe-mae.” The artist, Kim Chang-deok (김창덕), who goes by his artistic name Da-eum (다음), spends most of his time these days in his studio preparing for an upcoming exhibition. Though he was busy, he happily made time for this interview about him, plum blossoms, beeswax, and tea.
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16 Jennis: It is interesting that the beeswax blossoms are artificial, but all the materials that make them are natural. Da-eum: Right. They are all part of an integrated cycle, like yunhoe-mae. Jennis: Do you have any plan for your artworks in the future? Da-eum: I hope that many people can enjoy yunhoe-mae, and I hope that UC Berkeley will return Lee’s original Cheongjanggwan-jeonseo to Korea someday. Jennis: I hope so, too. Thank you, Artist Da-eum, for your time. I have learned so much, and I hope that all your wishes come true. THE ARTIST’S PROFILE Da-eum (Kim Chang-deok) majored in the art history of Buddhism at Dongkuk University. He was once a Buddhist monk and learned beompae, the Buddhist music used in Buddhist rituals, as well as jihwa (지화), from the Buddhist master, Jigwang. He is also talented in writing Chinesecharacter calligraphy. He has named his artworks yunhoedojahwa (윤회도자화, transmigration of ceramics and blossoms). He does sanding on relief pottery and paints on it in various ways. He sometimes includes in his potterymaking process a Bara dance performance, which is also used in Buddhist rituals.
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▲ Blue-and-white porcelain vase by Da-eum.
up this series. The set of books is like an encyclopedia. In Volume 33, Lee described how to make beeswax plum blossoms with a detailed description and accompanying drawings. But sadly, the original volumes are kept in the East Asian Library at the University of California, Berkeley, now. After reading copies of Lee Duk-moo’s books, I came to respect him and his life as a scholar. I learned the basics of yunhoe-mae from my master, Buddhist monk Jigwang (지광스님), who was designated as a human cultural asset for his skills in making traditional paper flowers (jihwa, 지화). Jennis: Could you tell me how to make yunhoe-mae? Da-eum: Boil the beeswax and cool it down to about 75 degrees Celsius. I am able to sense the proper temperature with my fingertips. Scoop up a little beeswax with a small, spoon-shaped, petal-making tool and allow it to dry into a thin petal resembling the seed coat of a bean. Make five of these petals and combine them into a single plum blossom. The stamens and pistil are made of roe hair. About 45–47 strands of roe hair are bound together with wax, and the one end is coated with a yellow powder to resemble pollen. After making a sprig of plum blossoms, I create a vase in low relief to go with the plum blossoms and complete the art piece.
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DA-EUM’S MAJOR EXHIBITIONS Gwangju International Art Festival (2019), Hwaum-sa Individual Exhibition (2018), Triennale di Milano Open Exhibition (Italy, 2015), National Museum of Korea’s Cheong-hwa Exhibition (2015), Gwangju International Art Festival (2013), Exchange Exhibition (Gagosima, Japan, 2013), Gwangju Design Biennale (2009), Exhibition at British Museum and UN Headquarters, (United Kingdom and New York, 2007), Korea–Venezuela Diplomatic Performance (Caracas, Venezuela, 2005), Korean Modern Art Hamburg Exhibition Performance (Germany, 1995), Folk Art Festival (Los Angeles, USA, 1990) Yunhoemae Cultural Center & Cafe (윤회매문화관 찻집) Address: 21-2 Seoseopyeong-gil (199 Yangnim-dong), Nam-gu, Gwangju Hours: 11:30 a.m. – 10:00 p.m. daily Phone: (062) 375-3397
The Author/Interviewer
Kang Jennis Hyun-suk is a freelance interpreter who loves to read books and grow greens. She has lived in Gwangju all her life and is certainly a lover of the City of Light. speer@naver.com
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Blast from the Past 17
Gwangju in History When we think of the history of Gwangju, our thoughts flow back four decades to the May 1980 Uprising, but that event was like yesterday in the long span of Gwangju’s bygone days. To bring us more up to date on the city’s past, An Se-in (in cooperation with Hong Chang-woo) originally contributed “The History of Gwangju” to the March 2014 issue of the Gwangju News. We are again running the article here, revised with several updates. — Ed.
Gwangju predates recorded history in that human artifacts from the Stone Age, as well as from the Bronze Age and the Iron Age, have been discovered in the region. Many examples of “jar burial,” interment in a unique jarshaped earthenware coffin, have also been discovered in the Gwangju and Yeongsan River area.
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In the 13th century, the Mongol Empire invaded Goryeo. At the time, Goryeo’s government was dominated by military officials called musin. Because of the endless war and the musin’s exploitation of the people, many revolts occurred across the country. In the Gwangju area, Lee Yeon-nyeon rebelled against the harsh treatment his people were receiving (1237). Goryeo continuously stood against the Mongols. The Sambyeolcho, the special military unit of the musin government, continuously fought against the Mongolian forces (1270–1273). After defeat at Ganghwa Island, the Sambyeolcho moved to Jindo Island, just off the southwest coast, and held influence over the Gwangju area. After the establishment of the Joseon Dynasty in 1392, the name of “Gwangju” continued to be used, but just as in the Goryeo period, it frequently changed. The Gwangju area eventually became part of the Gwangjuhyeon administrative unit, from which Gwangju-mok later became independent in 1634. Since Gwangju rests on a large plain and was located at a traffic juncture, it was rich in agricultural products, and trading was brisk.
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In 660 A.D., Silla joined forces with Tang China and unified the three kingdoms as Unified Silla. In Unified Silla, the district remained as Mujinju for a while, but
The Later Three Kingdoms were finally reunified by Goryeo in 936. During the Goryeo Dynasty, the name “Gwangju” began to be used for the first time in 940. The South Jeolla area was known as Jasa, and within it were three administrative districts that were of the rank of “ju” (주/州): Damju (present-day Damyang), Paeju (present-day Boseong), and Gwangju. Redistricting of administrative units was frequent, as was the status of population centers. By the end of the Goryeo period, Gwangju was known as “Mujin-bu.”
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The Samhan states of Mahan, Jinhan, and Byeonhan (1st century B.C. to 3rd century A.D.) eventually developed in the southern half of the Korean Peninsula. Of these three states, Mahan was in the southwestern part of the peninsula. It was at this time that the Gwangju area developed into the mini-state of Gusao-danguk (구사오단국). Following this period, the three ancient kingdoms of Goguryeo, Baekje, and Silla were established, and the Gwangju area came under the control of the Baekje Kingdom (18–660 A.D.). At the time, the administrative area that the Gwangju area was part of was known as the Mujinju (무진주) district of Baekje.
eventually its name changed to Muju. At the end of United Silla, many new powers rose up and began the Later Three Kingdoms Period, a fragmented period with less central control. In 892, Kyeon Hyeon established posts in Later Baekje, based in the Jeolla areas of Jeonju and Muju and called himself “king.”
blast from the past
W
hat is Gwangju? The answer is not as simple as the question. Gwangju has been called the city of Uihyang (의향), Yehyang (예향), and Mihyang (미향). From the time of the Japanese invasions in the Imjin War (1592–1598) to the May 18 Democratic Movement (1980), Gwangju has taken pride in being a “righteous” city (Uihyang), growing as a city internationally renowned for its commitment to human rights. As a city of the arts (Yehyang), Gwangju is the home of artists such as Im Bang-ul, a master singer of pansori, and Oriental painter Heo Baek-ryeon. Gwangju is also the host city of the Gwangju Biennale, which has been drawing attention from contemporary artists around the world. Finally, Gwangju is well known for its delicious cuisine (Mihyang), and not least for its annual World Kimchi Culture Festival.
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18 Gwangju was designated as the capital of the newly formed South Jeolla Province in 1896. Thereafter most public institutions were moved from the former capital of Naju to Gwangju. As an aside, that Naju (羅州) and Jeonju (全州) were once the two main population areas of the Joseon Dynasty period’s province of Jeolla (全羅) can be attested to by the naming of the province: The provinces of Joseon were named by combining the first character of each of the two major cities of the province. During the Japanese occupation (1910–1945), the size of Gwangju grew and grew, as numerous modern urban facilities such as banks, schools, a train station, and hospitals were established. As a Japanese administrative unit, the Gwangju area was known as “Gwangju-eup” and was part of Gwangju-gun until 1935, when Gwangju-eup was promoted to “Gwangju-bu.”
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▲ Top: Gwangju's Chungjang Post Office (circa 1920). Above: Gwangju Train Station (1922).
Gwangju played an important role in the era’s independence movement. There were huge demonstrations in Gwangju during the March 1 Movement of 1919 and during the Student’s Independence Movement in November of 1929, which started in Naju and Gwangju and spread throughout the country. To commemorate this, November 3 is designated as Student Independence Movement Remembrance Day.
Through the Joseon Dynasty era, Gwangju became known as a town of loyal troops and Confucian scholars known as salim. New groups of Confucian scholars influenced the progress of Neo-Confucianism in the Honam region. Heated debate between Lee Hwang and Ki Dae-seung, particularly over explanations for the Neo-Confucian idea of sadan-chiljeong (사단칠정, the term referring to the four aspects of human nature and the seven emotions) had an important influence on Confucian ideas. As a Gwangju scholar, Ki Dae-seung put emphasis on practice over theory. This period was the peak of Neo-Confucianism and literature in Gwangju. During the Imjin War, Ko Gyeong-myeong and Kim Deok-ryeong led loyal troops from the Gwangju region and played an important role in the war. South Jeolla’s coastal region was also where Admiral Yi Sun-shin famously defeated the much larger Japanese navy. In 1894, the Donghak (동학, Eastern Learning) Peasant Movement occurred in Jeolla as a response to imperialist countries coercing Joseon to open its ports to trade. Son Hwa-jung was one of three key figures of the Donghak Uprising in Gwangju. Even though the rebellion against Japanese influence and the feudal system ended in failure, it was an important historical event.
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▲ Top: Jeollanam-do Provincial Hall (1930). Above: Geumnam Street 3-ga (1946).
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19 After Korea gained independence, Gwangju developed in many new ways. Its status was raised to that of “city” (Gwangju-si) in 1949. From 1946 to 1958, 94 schools and two universities (Chosun University and Chonnam National University) were established, as well as courts, a newspaper company, and a broadcasting station. The population of Gwangju rose rapidly from 50,000 in 1939 to nearly 500,000 in 1970.
"During the Goryeo Dynasty, the name 'Gwangju' began to be used for the first time in 940.” Last but not least, the May 18 Gwangju Democratic Movement exploded in 1980, a strong representation of the Uihyang (= cradle of righteousness) spirit. After President Park Chung-hee was assassinated and Chun Doo-hwan seized power with military backing, only Gwangju refused to cease demonstrating in the face of martial law. Students and citizens of Gwangju fought back against the martial law forces dispatched to the city, resulting in large civilian casualties. This is why May means so much to Gwangju, and also to Korea in general. ▲ Top: Chonnam National University (1959). Above: Gwangju Stream (1965).
▲ Top: Chosun University Main Building (1951). Above: Chungjang Street 2-ga (1955).
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Arranged by David Shaffer.
August 2021
As the central city of the Honam area for many years, Gwangju has become one of the metropolitan cities of Korea, along with Seoul Special City. In the future Gwangju hopes to be host to numerous international sporting events, as Gwangju has now hosted the Summer Universiade in 2015 and the Aquatics World Championships in 2019. It also hopes to be known as a hub of Asian culture with the establishment of the sprawling Asian Culture Complex in downtown Gwangju.
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The name-changing custom for Gwangju has continued. In 1986, Gwangju-si became Gwangju-jikhalsi (광주직할시), a city directly administered by the national government, no longer a part of Jeollanam-do but instead a city on par with a province. About a decade later, in 1995, the city’s name again changed as its status changed to its present Gwangju-gwangyeoksi (광주광역시), a “metropolitan city” of which there are now seven in Korea. Though its official name has changed, the city remains known by its residents, the nation, and the world as it has been for generations – simply as “Gwangju” (광주/光州).
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TRAVEL
20 Lost in Honam
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August 2021
▲ The Sewol ferry rests as a reminder at a port near Mokpo.
The Region’s Ripped Backsides By Isaiah Winters
H
onam’s hidden side has kept me and my camera busy for almost a decade, yet I don’t write much about some of the more impressive regional finds. So, in a departure from my usual Lost in Gwangju column, this month I’ll go beyond the city limits and share the best of the region’s ripped backsides, along with a few tangents about why I sink so much time into finding them. Nature is a good place to start. Ever since I first came to Honam, I’ve been on a quest to find good beaches across
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the region. This is admittedly a subjective aim, but as a Californian raised by a surfer, I was imbued early on with very specific notions of what made a beach “good.” Sadly, most of Honam’s vast and varied coastline falls short of “good.” The majority of its beaches are mudflats with a dramatic tidal range rather than swimmable sand beaches no matter the tide. Few have anything akin to waves, and those that do often produce a few gentle ripples that glide across the shore rather than sets of waves that swell, barrel, and crash long before they hit the shore. Worst of all, beach culture in Korea is such that if any good waves
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21
▲ A shipwreck at one of my “good beaches” following a stormy summer in 2020.
emerge, swimmers are likely to get ordered out of the water by lifeguards.
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There’s some uncertainty about what to do with a hulking memorial the size of the Sewol ferry. Should it be disassembled and scrapped, moved elsewhere to free
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Therefore, my longstanding challenge in Honam has been to find sand or pebble beaches with deep water and as few visitors as possible. Waves are a non-obligatory bonus, as is anything within a two-hour drive from Gwangju. (Driving longer than that becomes a real drag for a daytrip.) Using this standard, I’ve found a few worthwhile beaches that keep me cool during the summer months. The one featured in this article produced an impressive little shipwreck during 2020’s particularly stormy summer. The shipwreck photo was taken on the last good beach day that year, so to drink in the final vestiges of summer, I stood by and watched waves smack into it for what seemed like a long time. I love the ship’s almost skeletal appearance, like a beached carcass that’s turned to mostly bone. It’s one of the most evocative images and moments from my time in Honam.
Remembrance looms large when I visit (and later revisit) certain haunts across the region. The one that hits harder than any other is the Sewol ferry docked in Mokpo. I often stop by when driving down to Jindo and reflect on what was lost in its 2014 submergence. The over 300 lives taken in the wholly preventable catastrophe is enraging. Just writing about it makes me scowl and bite my tongue in the same way the recent deadly collapses in Hak-dong and Surfside (Florida) did. The sidestepped protocols, the cost cutting, the derelictions of responsibility – it’s all an indictment of the neglect and avarice behind so many avoidable disasters. That’s why paying a visit to the Sewol ferry is so important. We need to see its badly rusted portside and all its illegal, top-heavy modifications so that we can’t unsee what corruption can do to people.
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22 however, and you get to see an amazing view of a colossal construction failure towering above bucolic rice fields. Even better, make it out alive and you’ll be jolted with the greatest adrenaline rush your body’s ever produced. Why would anyone take such a risk? I blame testosterone and stupidity. But even without risking death, this site is also endearing because of the massive lien graffiti someone angrily spray-painted on the building sides facing the main road. They include the name of the person responsible for the project’s failure and his phone number. Maybe one day I’ll call.
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August 2021
up port space, or kept in place long term? It’s not unlike the issue of removing names and statues that venerate historical figures who’ve fallen from grace. What’s the best way to remember human failures so as not to repeat them? I certainly don’t know the solution to that and doubt there’s one clear answer that works for all cases. What I do know from my visits to the Sewol ferry is that given enough context, even grotesque symbols of past shame can become reverent reminders that we need to live better lives. As painful as they are to see, I think it’s important to stop in at poignant sites like this across the region, and I encourage readers to do so, too. Real estate is all the rage in Korea, and I can’t say that I’m immune to the allure of homeownership. The ramped-up real estate market we see today engenders lots of urban redevelopment, often in older, more historic parts of cities that encapsulate past ways of life. This mad rush to invest in new housing is far from merely an urban phenomenon, however. Even Podunk towns along the region’s periphery are getting their share of oversized vertical suburbs (aka apartments). Like with any business venture, sometimes the projects reach completion and turn a profit, and sometimes they don’t. When they don’t, that’s when lurkers like yours truly turn up with a camera in hand and curiosity that kills. Unfinished concrete husks like the ones pictured don’t usually yield much in terms of personal or historical artifacts, but their size can often produce dramatic images. Sometimes they also produce the greatest vantage points of all: abandoned cranes. I’ve climbed about seven cranes in a few countries, and this one in rural Honam stands out as my favorite. In fact, it’s the only one I liked enough to climb twice. Unlike all the others, this one’s out in the middle of nowhere, so that heightens the stakes. One fall here and you’re a monthsold undiscovered corpse. Make it to the top and down,
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Honam’s got a surprising number of abandoned amusement parks despite not being a huge population center in Korea. What makes the one featured here special is that it’s larger than most despite being in a no-man’s land far from any real population center at all – large, medium, or small. It’s just about the most illogical place to put a decent-sized park, and one wonders why nobody talked the builder out of it. Naturally, it was a financial flop that now rests under a canopy of ever lusher overgrowth. It was a nightmare getting inside this place due to the person with yappy dogs living near the park’s lower end – perhaps it’s the bankrupt owner. To get in, I had to take a hellishly circuitous route that luckily didn’t result in me getting a tick infestation. But I didn’t complain through it all because the hardest part had already been completed: finding the park in the first place. To discover places like this, I sometimes have to spend an inordinate amount of time scouring online maps. This one I found the old-fashioned way – by doing what I call “clicking and dragging.” This involves, well, tediously clicking and dragging my way across a map for a really long time until I notice something out of place. Once you imagine this process, it’s a bit like seeing the man behind the curtain for the first time. It’s underwhelming and lame. There’s no secret intel I receive or superhuman research capability I have that helps me find cool, weird stuff like this. It’s just an above-average tolerance for boredom. And so, dear readers, I encourage you to not waste your time like I do and instead enjoy your lives. I do this sort of thing so you don’t have to – consider it a public service. Photographs by Isaiah Winters.
The Author
Born and raised in America’s largest county, Isaiah Winters is a pixel-stained wretch who loves writing about Gwangju and Honam, warts and all. When he’s not working or copyediting, he’s usually punishing himself with long hikes or curbing his mediocre writing and photography with regular practice. Regarding the latter, you can check his progress on @d.p.r.kwangju.
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▲ “One fall here and you’re a months-old undiscovered corpse.”
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August 2021
▲ Rides at an abandoned amusement park jut out from the overgrown hillside.
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24 Around Korea
Suamgol Village: The Warmth of Cheongju By Emmanuela Sabatini
TRAVEL
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ave you visited North Chungcheong Province yet? If not, I would recommend visiting Suamgol (수암골) Village, an old settlement in Cheongju City that has been revived as a community of culture and art. Located between Cheongju City Hall and Cheongju University, Suamgol Village is easy to find. This attraction is easily reached by taking a bus directly from the Cheongju Bus Terminal. My friends and I recently had the opportunity to see this beautiful village in the heart of the province, and I cannot wait to share what I have learned.
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MURAL ART TOUR IN AN OLD ALLEY The integration of artists within this community led to the creation of various stunning wall paintings starting in 2008. Known as the Suamgol Mural Village, these paintings can be appreciated by visitors who walk along the alley where they are displayed. There are comical images, flowers, animals, and communities painted on the walls of the houses. The Suamgol Mural Village’s art tour also serves as a reminder of the past and stirs up old memories among visitors. After the tour, I went to Suamgol Observatory, the highest point in Cheongju City, which offers a fantastic view, especially at night.
“The Suamgol Mural Village’s art tour also serves as a reminder of the past and stirs up old memories among visitors.” FILMING STORY After the murals were made, Suamgol became a famous filming site for dramas like Cain and Abel (2009), The Baker King, Kim Tak Gu (2010), Glory Jane (2011), and
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You Are My Spring (2021). The village even has a statue marking it as a symbol of drama and film. I also visited Palbong Bread, located at the entrance of the village. Since it was featured in The Baker King, Kim Tak Gu, this local bakery has become a hotspot for tourists and movie fans alike. You can also get lunch at Yeonggwangine (영광이네), the guksu (noodle) house that was made famous by Glory Jane. Lastly, I recommend you try one of the local cafes. Suamgol boasts of a variety of cafes, and they all have a beautiful view of the area. My friends and I chose the Fullmoon Cafe, the filming location of The Baker King, Kim Tak Gu. Then we went to the rooftop and enjoyed the scenery of Cheongju City. The people my friends and I met in Suamgol Village were all warm, humble, and welcoming. Since moving to South Korea, I have rarely been greeted by strangers on the street, especially in the big cities. But Cheongju presents a different atmosphere. The residents greeted us while we looked around Suamgol Alley. We felt so touched by their warmth that we said hello to every person we saw on the street. We even had a few conversations along the way. I was delighted to meet the residents of Suamgol Village and experience what their local culture had to offer! Photographs by Emmanuela Sabatini.
The Author
Emmanuela Sabatini is originally from Jakarta, Indonesia. After graduating with a master’s degree from Keimyung University, South Korea, she landed an internship at the Gwangju International Center in 2020. In March 2021, she started working at one of South Korea’s many educational institutions. You can follow her journey at www.emmasabatini.com. @emmasabatini
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26 Language Teaching
Playfulness In Teaching and Learning
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TEACHING & LEARNING
An Inter view with Br yan Hale
Learning a second language is time-consuming hard work. We do not usually think of it as something enjoyable. But maybe that is where our thinking has gone wrong. Bryan Hale is an advocate for “playfulness” in EFL teaching and learning whom we were recently able to interview on the topic. Bryan teaches at Yeongam High School. He is presently the president of Korea TESOL and a past president of the Gwangju-Jeonnam KOTESOL Chapter. — Ed.
I
nterviewer: For some time now, you have been researching the topic of integrating playfulness into EFL pedagogy. When I think of “playfulness,” the first thought that comes to mind is just playing fun games in class. The second thing I think of is “edutainment,” specifically, video games that have an educational aspect to them. Is either of these in any way related to what “playfulness” in EFL refers to? Please describe “playfulness” for us. Bryan: I think that is a great starting point because it is useful to distinguish between “just games” and “playfulness.” Of course, there is nothing wrong with “just” a game, but I think many classroom games and edutainment-type products are basically an un-playful task with a game attached. They can be really motivating and engaging, but what got me so interested in playfulness in language teaching was noticing how, when a task itself encouraged learners to be spontaneous and flexible, they often produced much more language and seemed to have a better time doing so. I could go on and on about the meaning of “playfulness,” but I think this is the most important meaning: a positive feeling that encourages spontaneity and flexibility [Bateson & Martin, 2013, pp. 12–13]. Playfulness and games obviously overlap, but gameplay can shade off into unplayful, competitive behavior. For me, a playful classroom task might be a game, but the key thing is that it encourages learners into a space of novelty and vivaciousness with language. Interviewer: “Vivaciousness with a second language” – that is an interesting concept. How did you get so involved with the concept of playfulness in language teaching?
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▲ Enjoying language play with cards.
Bryan: Lots of EFL teachers have probably experienced the “It’s not a game, it’s an activity” syndrome, where students push and push for activities that are fun, but others (such as bosses or parents) want to be reassured that classroom time is being spent productively, so you end up trying to find activities that look capital-E Educational, but also kind of feel like games. As a hagwon teacher, I certainly dealt with these seemingly contradictory demands! It was sometimes frustrating and stressful, but I think it actually motivated me to find activities that learners felt good about (or at least complained about less) while also being clearly useful for language practice. And I found that those tended to be activities where there was some kind of playful ambiguity, where students eased themselves into language use that was ridiculous and wonderful and rich. And when I found those kinds of activities, I also valued them because I could see they were helping learners
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27
▲ Above: Making novel connections can help language to blossom (Rory’s Story Cubes). Right: Ambiguous images can help foster playful language use (Dixit board game).
Am I being too abstract? Let me give a more specific example. Lots of language teachers have probably tried some version of “Alibi,” where there is a fictional crime and some “police” students investigate the others, who need to try to offer good excuses about where they were. As a hagwon teacher, I tried lots of different versions of this. When students had almost complete freedom about what to say, or alternatively, when I gave them too much support with what to say, everything was kind of robotic and dull, and the activity did not take off. But I found it was helpful if the suspects were stuck with a particular alibi, but had enough flexibility to squirm away from police questions. For example, if you give them an image to turn over, whatever it shows is their alibi. Say it is a picture of a PC bang [internet café]. Then the police can attack, ferociously, about how the suspect never goes to PC bangs because they are terrible at games! But then the suspect can counter that, actually, by saying that they are practicing League of Legends unranked, and soon they will be a good player. Suddenly there is this cat-andmouse exchange going on, students’ eyes are sparkling, and the squirming and wiggling around the ambiguity of the picture is generating a lot of language. When activities worked like this, it made me stop and think, “I want to understand more about how this is encouraging so much language practice, compared to seemingly similar tasks that do not take off like this.”
Bryan: Play is a vital topic in lots of different fields, and unfortunately the different fields have not always been good at talking to each other. I actually started out reading about playfulness in ethology, the study of animal behavior, before discovering the second language acquisition work on “language play,” which I think deserves a lot more attention. In between these there are so many different important ideas and theories, especially in developmental psychology and education, where there are multiple threads of scholarship.
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Interviewer: Is playfulness best incorporated into young learner pedagogy, or can it also be used with older learners? I know that you teach high school students. Does playfulness work well with them also? Are the principles associated with playfulness the same for younger learners and older learners, or does it manifest itself quite differently? Bryan: If you want to get really abstract, I think that play is an emergent phenomenon in many systems at the “edge of chaos” [Goodwin, 1994, p. 179; Larsen-Freeman & Cameron, 2008, p. 57; Wheatley, 2006, p. 75], where systems try to maximize the possibilities open to them. That is an extravagant way of saying that playfulness can be valuable with language learners of any age – and probably, alien language learners as well, if we ever meet any. I do
August 2021
Interviewer: Is playfulness a topic mainly associated with second language teaching and its accompanying language activities and games, or is it more generally related to education and has now come to also be related L2 pedagogy?
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to overcome some ongoing classroom challenges. For example, discomfort about communicating with fluency or letting go of the crutch of accuracy. Or, generally, helping all learners to use English in meaningful and social ways, even if they had no “real” need to do so.
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www.gwangjunewsgic.com
August 2021
28 not know enough about very young learners, and I think the type of playful teasing I was describing earlier might not work with them, but at a broader scope, across ages, and even in animals, I think what makes play so valuable is that it allows learners to prepare for unknown future situations. There is no way to prepare for every situation you might encounter – in fact, one of the paradoxes of language learning is that there really does not seem to be enough time to do it in a human lifetime. But playful practice can give learners experience with coordinating complex behaviors and do so without feeling cognitively or emotionally overwhelmed. I do not think play is a necessary part of language learning (though perhaps it is for very young learners), but for lots of learners, it is a great boost.
the slide behind them, reveal five things that relate to a particular topic, including one or two silly examples. For example, if the topic is pets, you might show pictures of a dog, a cat, a mouse, a snake, and a skunk. Then, ask other students to recommend one of the choices to the student at the front without giving away the topic. They might say “I recommend number five because your hair is similar to this,” or “Number three suits you because you are very quiet.” Once recommendations are exhausted, have the student at the front choose one of the choices by naming its number. They can also try to guess the topic. Then have them look at the pictures, and get their feedback on how they feel about their choice and about the recommendations their classmates gave them in general.
I have found that playfulness emerges out of particular situations, social relationships, and contexts. So, it might manifest differently depending not only on age groups but for any particular group. That is part of what makes play powerful, but also challenging to incorporate into education, especially if you want stringent predictability. With play, processes can be more important than exact content. So, with very young learners, that might mean encountering various stories and songs and playing with language form and sound, playing with characters and plot, and acting language out. With teens, I am fond of the kind of playful teasing I have described – so long as it is friendly – but teenagers can also experiment with language form and meaning. Adult learners can take really well to parlor game-type language play, but also to being playful in a really positive way with more traditional language classroom tasks! With any group, I think a key point is building flexibility into classroom activities so that learners can throw out a lot of gambits and see what takes off for them.
There is no winning in this activity. There are no points. When I do this in class, I try to include as many students as possible, but I also just let the activity go until it runs out of steam. The point is just to find ways to make the pictures and the recommendations socially meaningful and fun, and to do a little bit of friendly teasing. By including several pictures for each slide, and slides covering various topics, the activity makes possible a lot of potential social meanings and novel connections – far beyond what you could specifically plan as a teacher.
Interviewer: Could you give us some examples of how playfulness can be incorporated into the EFL classroom and curriculum? Could you also give us some examples of activities that especially demonstrate playfulness pedagogy for different learner age groups: young learners, teens, young adults, and adults? Bryan: Here is an example of an activity I do with teenagers that I think demonstrates how playfulness can help to practice a particular language function without much of a game per se. It works well with a group that knows each other fairly well – I would never do it as part of a first lesson, but I like doing it with my high school first-graders about halfway through the first semester. Have one student come sit in front of the screen or projector, so that they cannot see what is on it. Then, on
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Flexibility like this can allow learners to throw out various gambits until an activity blossoms. Maybe young learners are better at being playful right away, but with teens and adults, this kind of intentional ambiguity helps, and I think it can come into all kinds of topics and need not be limited to tasks that are obviously playful. In debate, for example, learners might feel more free and spontaneous if the topic is somewhat ambiguous, maybe even silly. When helping learners develop writing skills, it might be more productive to start with weird and wonderful creative writing prompts, so that learners can stretch their language muscles, before asking them to hone in on particularities around structure and cohesiveness. Interviewer: Do play and playfulness pose any challenges to EFL as it is often practiced, or institutionalized, in Korea and elsewhere? Bryan: In play, processes can be more important than any particular content. The value of the practice can be in coordinating complex language behavior without feeling overwhelmed, but the specific language might not be essential or even something you can plan exactly. I have mentioned giving learners the flexibility to throw lots of different things at an activity and see what works. I think this can involve learners using language in ways that might make teachers feel a bit anxious. For example,
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29 in the version of “Alibi” I mentioned, I have found that students often end up doing a kind of shared storytelling in the simple present, rather than the “wh-” question-and-answer routine that a teacher might hope for. But this helped them to get out a lot more language and to find the activity socially meaningful. So, incorporating playfulness into EFL might mean being a bit less controlling about language at different levels such as grammar or patterns of interaction. This might be the biggest challenge, because teachers are so often expected to plan everything and determine exactly what goes on in classrooms, but playfulness is all about emergence and letting language blossom. Interviewer: Thank you, Bryan. With your explanation of playfulness, I imagine your classes as being interesting, warm, nonthreatening, and super-language-learning sessions! Interviewed by David Shaffer, vice-president of Gwangju-Jeonnam KOTESOL and Gwangju News’ editor-in-chief.
GWANGJU-JEONNAM KOTESOL UPCOMING EVENTS
For full event details: Website: http://koreatesol.org/gwangju Facebook: Gwangju-Jeonnam KOTESOL
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August 2021
Check the Chapter’s webpages and Facebook group periodically for updates on chapter events and online activities.
www.gwangjunewsgic.com
References Bateson, P., & Martin, P. (2013). Play, playfulness, creativity, and innovation. Cambridge University Press. Goodwin, B. (1994). How the leopard changed its spots. Phoenix Books. Larsen-Freeman, D., & Cameron, L. (2008). Complex systems and applied linguistics. Oxford University Press. Wheatley, M. (2006). Leadership and the new science: Discovering order in a chaotic world (3rd ed.). Berrett-Koehler.
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30
Everyday Korean By Harsh Kumar Mishra
Episode 44
TEACHING & LEARNING
코로나-19예방접종 받았어요?
Did You Get a COVID-19 Vaccination? The Conversation 네하:
언니, 거기 코로나 상황이 어때요?
Neha:
Eonni, how is the coronavirus situation there?
정민:
점점 나아지고 있어요. 네하는 예방접종을 받았어요?
Jeongmin: It's getting better. Did you get vaccinated?
네하:
1차 접종을 받고 2차 기다리고 있어요. 언니는요?
Neha:
I got the first dose and am waiting for the second. What about you?
정민:
아직 안 받았어요. 이번 주에 예약하고 다음 주에 받으려고요.
www.gwangjunewsgic.com
August 2021
Jeongmin: I haven’t got it yet. I will schedule one this week and get it next week.
네하:
아, 네. 빨리 모든 사람이 접종을 받았으면 좋겠어요.
Neha:
I see. I hope everyone gets vaccinated soon.
정민:
맞아요. 마스크 없이 사는 게 꿈이 됐네요.
Jeongmin: Right. Living without a mask has become a dream.
Grammar Points ~고: Use this with verbs or adjectives to connect two phrases with the meaning “and.” This is also used with verbs to show the sequence between two phrases, as in “and then.” Ex: 한국 음식이 맵고 맛있어요. Korean food is spicy and tasty. 저는 아침을 먹고 회사에 가요. I eat breakfast and then go to the office.
~았으면/었으면/했으면 좋겠어요: This grammar point is used with verbs and adjectives and expresses a speaker’s wish or hope for something. Use ~았으면 with words ending in “ㅏ” or “ㅗ” vowels, ~ 었으면 with the remaining vowels, and use ~했으면 with verbs ending in ~하다. Ex: 한국어가 쉬웠으면 좋겠어요. I wish Korean were easy.
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Vocabulary Items 상황 점점 나아지다 예방접종 받다 기다리다 아직 예약하다 빨리 모든 꿈
situation gradually to get better vaccination to receive to wait yet to book/reserve quickly every dream (n.)
Coronavirus Pandemic-Related Expressions 확진환자 격리해제 격리 중 사망 사회적 거리 두기 검사 현황 건강상태 예방접종 증명서
The Author
confirmed cases cured/discharged from hospital to be in quarantine death(s) social distancing test (n.) current situation health condition vaccination certificate
Harsh Kumar Mishra is a linguist pursuing his PhD in Korean linguistics at Chonnam National University. He is also a freelance Korean translator/ interpreter, content creator for TopikGuide.com, and does online Korean teaching through the same organization.
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Environment 31
COMMUNITY
Gwangju, Creating a Personal-Mobility Green Transportation City By Chung Hyun-hwa
GWANGJU: A GREEN TRANSPORTATION CITY Gwangju set up a plan to be carbon net-zero by 2045, but how? Mr. Jang Hwa-seon, the director of the Gwangju Namgu District Town Community Center who has been a strong advocate of personal-mobility green transportation all his life, believes that going green on transportation is a good starting point to reduce carbon emissions. Nationally speaking, the industrial sector releases the most carbon, but a city like Gwangju does not have as many factories, so transportation makes up the biggest portion of carbon release. According to the 2019 Gwangju Greenhouse Gas Inventory Research Report, published by the International
August 2021
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were rainbows after rains, sometimes two at the same time. Thinking back, it was the kind of town I would like to live in again; most crucially for this article, people rode bikes.
www.gwangjunewsgic.com
THE LOST BIKE TOWN When I was a first-grader, I was living in Namwon. There was something really interesting about Namwon: It was a bike town. Everyone rode a bike, whether young or old, male or female. Some bikes with wide rectangular carriers behind the seat were used to carry heavy things such as big rice bags. A lot of bikes had baskets in the front to carry the stuff bought at the market. My mom would even carry me on the carrier. People did not wear padded pants or helmets because bikes were just transportation. Namwon did not have public buses or cars but did have a few taxies; however, it had a clean stream flowing across the town, where children went to catch fish or little shrimp. There was the cloud-like Milky Way as well as big stars dangling in the night sky. The streets were dark, and there were fairy-like fireflies floating in the summer breeze. There
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32 Climate and Environment Center (ICEC, 2021), 92 percent of all greenhouse gas emissions was produced by the energy sector from 2005 to 2017 in Gwangju. Out of the total greenhouse gas produced by the energy sector, about 32 percent was from transportation, while homes, the commercial sector, and the industrial sector produced about 20 percent each. A lot of cars are carrying only one person most of the time. Personal transporters consume much less energy to serve the same purpose for sure. Now there are already many different kinds of personal transporters on the street: bikes and electric bikes, electric kickboards and onewheels, as well as electric wheelchairs, but there is no system to operate them safely. I especially feel sad to see electric wheelchairs run in car lanes. Therefore, I strongly urge that Gwangju’s government should start changing one-car lanes into a two-way personal transporter road system to help the city reach its goal of being carbon neutral by 2045.
www.gwangjunewsgic.com
August 2021
Some people worry about the amount of car traffic if the number of lanes are reduced, but if more people use personal transporters to cut down on car usage, it will be effective. At the moment, construction of the city’s second subway line is going on, and the drivers all know how to avoid the traffic jams resulting from this project. Therefore, this is the best time to institute a personal transporter road system, especially when the first part of the new subway line is completed in 2023. An average bike can travel at 12–20 km/hr, and the rough diameter of Gwangju city is only 15 km, so theoretically speaking, you can go anywhere in the city within one hour by bike. If you are not living at one extreme end, and if you are not going to the other extreme end, you may be able to get to most places within 20 to 30 minutes. If you ride an electric bike, this will cut down the time to half because they guarantee the same speed all the way, and you do not need to ride around in circles to find a parking spot. Health benefits are also a plus. ▲ Ecobike App Report
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THE OBSTACLES AND THE SOLUTIONS 1. Riding a bike is dangerous and inefficient because of cars, bumps, and people. – If I go downtown on my bike, it is only 1.6 km. According to Naver Map, it takes seven minutes, but in reality, it takes longer because of illegally parked cars blocking the bike path, which make me get off my bike. There are bumps on and off the bike path along the sidewalk, and there are always people to be careful of. The bike path on the sidewalk sometimes disappears, so you have to go into traffic lanes. The law has changed lately for bike riders to cross the road with pedestrians instead of moving with the traffic signals. It is safer this way. In the Netherlands, where there are more bikes than people, there are different signals for cars, bikes, and people, and they all take turns. If we want to encourage personal transporters to cut down on car use, it should be safe, fast, and convenient. It is better for drivers and pedestrians as well. 2. Riding a bike is not healthy because of the fumes. – In countries such as the Netherlands, the U.K, and France, where bikes have become the major mode of transportation, there are tree zones between traffic lanes and bike lanes for safety and health reasons. The trees also provide shade that is great for bike riders. (Another idea for shade is to install a structure to put solar panels on top, so this would serve as separating walls and as shade that would protect the riders from strong sunshine and rain while producing electricity for the city.) Also, the number of cars would decrease if there were fewer car lanes, and the portion of electric cars is set to increase rapidly, so the hazard of fumes will decrease also. 3. Riding a bike limits our outfits, and helmets mess up our hair. – A lot of people do not want to ride bikes for transportation because of the helmet requirement. If we had independent personal transporter roads, the risks we would take would decrease tremendously, so helmets could be worn only by those riding at high speeds. Denmark and the Netherlands do not compel riders to wear
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33 street because it can scare the bike rider and put them in danger. Pedestrians should try to walk avoiding the bike lane on the sidewalk until there are independent paths for bikes. 3. Gwangju’s city government should cover its citizens’ bike accident insurance, as in Daejeon, Chuncheon, Namwon, Sejong, Goyang, Anyang, Jeongeup, and many districts in Seoul. In Gwangju, Gwangsan-gu is the only district that is insuring all its bike riders. 4. Gwangju’s city government should try to connect the bike lane system with the two subway lines and the public bus system so that bike riders and bikes can be accommodated in the transfer to public transportation.
▲ Jang Hwa-seon rides his bike to work every day.
helmets to promote riding. They ride bikes in their normal attire, even in skirts. 4. Riding a bike is only for young people. – Because of the advent of electric bikes, physical strength is not an issue any more. There are also tricycles that are hard to fall from.
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Reference ICEC. (2021, July 6). (재)국제기후환경센터, 2019년 광주광역시 온실가스 배출통계 및 배출특성 연구 보고서, 국제기후환경 센터 홈페이지 자료실. http://icecgj.or.kr/Board/kr/0203/
List#Down List33470cefec84ea2671b61903c1c00479
The Author
Chung Hyun-hwa is from Gwangju and is currently leading Gwangju Hikers, an international eco-hike group at the GIC, and getting ready to teach the Korean language. Previously, she taught English in different settings, including Yantai American School and Yantai Korean School in China, and has worked for the Jeju school administration at Branksome Hall Asia in recent years. She holds a master’s degree in TESOL from TCNJ in the U.S.
August 2021
SUGGESTIONS Jang Hwa-seon has a few additional suggestions: 1. Use the Ecobike public app, a potential big data source for the bike lane system in the future. This functions the same as ordinary bike apps, by tracing your trips and including your bio information as well. 2. A campaign to make bike riding in the city safer should start as such: Automobile drivers and pedestrians should respect the current bike lanes so that riders can travel faster and more safely. Drivers should not park their vehicles on sidewalks, illegally blocking bike lanes, and should not honk at bike riders on the
Illustration by Wi Hun-ho. Photographs provided by Jang Hwa-seon. www.gwangjunewsgic.com
TIME OF INTERNATIONAL COLLABORATION Recently, Daegu’s city government had a bike path conference, and the Dutch Embassy enthusiastically shared its learnings from their almost 50 years of bike culture. Because their land is below sea level, the Dutch know global warming actually threatens their lives, and they cannot stop this by themselves. Daegu is the hottest city in Korea due to its basin-like geographical features, so global warming is also a looming concern. Watching the conference on Zoom, I was encouraged by their internationally collaborative actions. I hope Gwangju’s city government will also take such actions.
THE VISION The family vehicle culture started in the 1990s in Korea, and bikes have become a means of exercise more than transportation. However, it is high time things change again: Bikes should come back as a transportation weapon to fight against the climate crisis. The vision here is that Gwangju can be reborn as a real ecological city that everybody wants to visit or live in. Gwangju once seemed somewhat far from the capital, but with the internet and fast train connections, now there is not much you cannot do because of location. During the COVID-19 pandemic, Gwangju has also proven to be one of the safest cities. More people who can work online will choose to live in Gwangju and enjoy the slower pace of life here: riding a bike in the city, going to the Yeongsan River for the wonderful scenery, going hiking in Mt. Mudeung, and enjoying the southern delicacies. The paradigm is changing, and Gwangju is going to take the initiative. Go, Gwangju!
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34 Gwangju Abroad
Making Sense of the Misinformation Surrounding 5.18
www.gwangjunewsgic.com
August 2021
COMMUNITY
By Ashley Sangyou Kim
F
or my senior thesis at UC Berkley, I chose to write about photography from 5.18, the May 1980 Uprising in Gwangju. Early on in my research, I ran into a question that stalled my process for an entire semester: How do I communicate the weight of 5.18 to my American audience? I decided on photography in hopes that the images would speak for themselves, but physical violence was only one piece to the puzzle that this event posed to Korean society. I found myself falling back on commemorative language, but that only simplified the implications of these pictures – South Korea is a democracy now, so have protesters not achieved what they risked their lives for? The more I tried to explain to my American professors and colleagues that there was more to see, the less satisfied I was with where the conversation went next. There was something that I could not explain, or something that I thought would not register even if I tried. After beating around the bush for one semester, I was able to trace my finger back to the source of my exhaustion and frustration with explaining this event: the lies surrounding 5.18. I could not articulate why absurd conspiracies would provoke an emotional response from me, or why they were able to circulate in the first place. For many 5.18 scholars, misinformation is the reason they start studying and publishing on this history, and from the very start, I was reluctant to admit that I was one of them – there was nothing appealing about doing “corrective” work. In fact, it felt like an insult that my academic paper would have to engage with those unsubstantiated remarks. Yet such statements never failed to spur resentment in me, regardless of whether they came from politicians, YouTubers (Figure 1), or anonymous comments. Episodes of this resentment often replaced my words with sighs.
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Figure 1. YouTube is a prolific platform for misinformation about 5.18. Pictured above is a thumbnail that echoes Representative Kim Jin-tae's statement that throws doubt on the list of people who receive national recognition for their efforts during 5.18. (Credit: YouTube Channel 손상대TV)
My initial reaction to understanding my rut was to consider the falsities as pure distractions. Anger was terrible for clear thinking, which I needed to write. More importantly, there were countless profound questions that 5.18 left behind – questions about community, selfgovernment, jung (정, affection), and death. The list goes on. On the flip side, chasing false narratives and details was a cul-de-sac. Lurking in the back of my mind was the question, “Why should foreigners care about how Koreans talk about 5.18?” Or even, there must be some reason that these narratives stick around. These thoughts became nagging voices that kept me excessively worried about factualness, which wore me out every time I sat down to write my thesis. Part of me wanted to avoid the fact that the right to free speech 5.18 helped bring was being used to spread lies or mock the victims. But looking away only hindered my thoughts, so I wanted a way to think about the group
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35 of people that spread the misinformation and how that adds to the weight of 5.18.
“5.18 was a radical assertion of freedom during South Korea’s military dictatorship in that protesters did the unthinkable – they fought back against martial law.” It would be inaccurate to say that every person who spreads false information does it for the same reason. Some people do it for their ten seconds of fame (Figure 2), while most use it as a political rallying point (Figure 3). Others fight the symbolic fight of undermining the importance of 5.18. This includes attempts to remove 5.18 from nationalized history textbooks or banning the song “March for the Beloved” (임을 위한 행진곡) from 5.18 ceremonies. My frustration always came at this point. I could not explain why such malicious attempts would gain any governmental and popular support, especially
The most coherent explanation for the discourse around 5.18 that I came up with was putting it in terms of freedom. 5.18 was a radical assertion of freedom during South Korea's military dictatorship in that protesters did the unthinkable – they fought back against martial law. When South Korea democratized in 1987 and liberated itself from oppressive rule, the country entered a new era of rights and decision-making. People could now choose their leaders and make demands from them. But decades of colonialism and dictatorship did not subside overnight, especially in the minds of people inculcated by those rulers’ ideology. Those years crippled the spirit of critical thinking and open debate in Korean society, which made it especially vulnerable to lies from powerholders who perceived true democracy as a threat to their prosperity. To borrow Toni Morrison’s words, “Freeing yourself was one thing, claiming ownership of that freed self was another.”
“On top of the misinformation, many of the people responsible for the killing have not been held accountable.” On top of the misinformation, many of the people responsible for the killing have not been held accountable. Some Korean media companies continue to publish articles that distort the history of 5.18 or suggest derogatory stereotypes for Jeolla people. This all adds to the weight that I could not communicate to people at my university. It is unnecessary weight, since the history is so much more than the detractions from agitators. I might be naïve in showing strong emotions towards such careless words, but thinking through this misinformation reveals just how unfinished 5.18’s mission remains to this day.
The Author
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August 2021
Figure 3. Politicians Kim Jin-tae, Lee Jong-myung, and Kim Soon-rye have repeatedly spread misinformation about 5.18. (Credit: SBS News)
Ashley Sangyou Kim (김상유) is a senior at the University of California at Berkeley studying rhetoric. She loves reading Toni Morrison, hiking, and baking with her little sister. She currently lives in Brea, California, but spent her early childhood in Gwangju. Her hope is to return to the city after graduation and work with the youth there.
www.gwangjunewsgic.com
Figure 2. North Korean escapee Kim Myung-gook once stated that he came to Gwangju as a North Korean guerilla soldier during 5.18. Years later, he admitted that he never came to Gwangju. (Credit: JTBC News)
when 5.18 played a key role in democratizing the country. “Some people are just like that” was never satisfying.
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36 Opinion
Gwangju Skateparks: My Vision for Their Future By William Urbanski
www.gwangjunewsgic.com
August 2021
COMMUNITY
W
ith the growing popularity of skateboarding in Korea, which will surely be bolstered by skateboarding’s inclusion in the Tokyo Olympics this summer, it is time to face a cold, harsh reality: Gwangju needs a new skatepark. Many other urban centers around the peninsula, especially in the Seoul-Incheon-Gyeonggi area, have invested in free, quality skateparks that provide a safe space for people of all ages to participate in an activity that is positive, inclusive, fun, and great physical exercise. While Gwangju technically does already have an “extreme sports facility,” it is a laughable example of virtually every single mistake that is possible to make when constructing a skatepark. After skateboarding for over 25 years and having visited well over a hundred skateparks that range in quality from excellent to awful, I can say with complete confidence that when it comes to good places to skateboard, the Gwangju “extreme sports facility” in Seonam-dong is the worst one imaginable and serves no purpose other than to discourage people from ever picking up a skateboard. Even though those may seem like harsh words, they also mean that right now is the right time for Gwangju to build a world-class, or at the very least a respectable, skateboard facility. THE CURRENT GWANGJU “SKATEPARK”: MISTAKES WERE MADE Anyone who knows anything about skateboarding will instantly recognize that the current “extreme sports facility” in Gwangju is a brilliant, shining example of how not to build a skatepark – so much so that I would suggest that it is not actually a skatepark, and I will not refer to it as such. The current facility is actually more of a playground that beautifully illustrates what happens when concerned and vocal individuals who have zero idea of how skateboarding works get involved in the planning and design process of a place designed for it. A sticking point seems to be the apparent risk factor involved in riding around on four wheels attached to a piece of wood. Admittedly, skateboarding can be a bit of a dangerous
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activity, but no more so than biking, taekwondo, or ice skating, and certainly less than contact sports such as hockey and football. That being said, there is a curious phenomenon of parents (and park planners) honing in on the dangerous aspects of skateboarding and trying to design a skatepark that mitigates this perceived danger, ironically making it more dangerous and practically unusable. So, what exactly makes the current facility so bad? Let’s look at the three major violations. EXHIBIT A: RUBBER GROUND The rubber mat that covers the entire surface is by far the stupidest thing I have ever seen at any skatepark anywhere in the whole world and actually prevents skateboards from rolling. Any attempt to push and roll results in the board coming to a complete stop almost immediately, and more often than not, pitching the rider off the board. Ostensibly, the rubber mat was installed to increase safety when children fall, but the truth is that skateboarding has to be done on hard, smooth surfaces so that the wheels can roll freely and smoothly. Ideal surfaces are concrete or marble (asphalt, the material that roads are made of, is somewhat workable but tends to deteriorate quickly). Putting a rubber mat over a surface made for skateboarding is akin to putting a rubber mat over an iceskating rink to protect people from falling on the hard ice. EXHIBIT B: SKATE STOPPERS ON THE LEDGE Many of the basic and most common maneuvers on a skateboard involve sliding and grinding on ledges. Gwangju’s “extreme sports facility” actually has an excellent ledge for this purpose (although it sits on the above-mentioned rubber ground that renders it pretty much unusable). Unfortunately, someone who has no idea of how skateboarding works came along and put rubber knobs (commonly referred to as “skate stoppers”) on each end, thereby making the obstacle completely useless. Why was this done? Probably because the edges of the obstacle are at a ninety degree edge and someone imagined their child falling into the corner of it, slicing their head open
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▲ Exhibit C: For context, I am about 175 cm tall, and this ramp is over head-height – much too tall for most riders. (Photo via look360.vr) ◀ Exhibit B: Knobs on the end of the ledges make this obstacle completely unusable even if it were not sitting on rubber. (Photo via look360.vr)
and leaving their brains all over the ground. What this ill-informed person failed to realize is that to be used for their intended purpose, the edges have to be smooth, clear of obstacles, and preferably square-shaped.
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LEAPFROGGING INTO THE FUTURE: SKATE PLAZAS AND SKATE DOTS Counterintuitively, as a worldwide trend, the idea of a “skatepark” is becoming a bit of an antiquated notion. In many urban centers, city planning committees
August 2021
EXHIBIT C: EXTREMELY LARGE MODULAR RAMPS A “modular ramp” simply means a ramp that was made in a factory somewhere then transported to a skatepark. Modular ramps stand in stark juxtaposition to custommade wood or concrete ramps that are made onsite. Now, I am not opposed to modular ramps per se, but they are
Rubber mats on the ground, skate-stopped ledges, and huge modular ramps are what happens when people who have no experience riding a skateboard are put in charge of making decisions about a skatepark and focus on ways to make a skatepark “safer.” The real way to mitigate skateboard accidents is to provide some basic instruction and build a quality, smooth skatepark.
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When you think about it, it is really not necessary to put rubber knobs on the corner of the obstacles because anyone over the age of two would instinctively realize that it is a bad idea to ride full-blast into the corner of anything. Case in point: There are many tables, benches, and ledges all over the world that have true, flush corners, and how many people crack their heads open on them? Few.
often problematic because of their scale. Case in point: The “halfpipe” ramps at the “extreme sports facility” are intimidatingly oversized and too steep. These large halfpipe structures often take up an inordinate amount of space and are underused because learning how to ride them properly is a special skill set that requires instruction. Therefore, it is actually a really bad idea to install a ramp over one meter high because only a small percentage of all skateboarders will ever use it. Now of course most people have seen very large halfpipes and bowls on TV or YouTube, but it is important to remember that these usually exist in areas where skateboarding is long-established and firmly entrenched into the culture, unlike in Korea where it is relatively new. Mostly, these ramps end up being used as slides by children.
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38 eggs in one basket” with one massive skatepark that risks being a massive piece of dog caca.
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August 2021
▲ A beautiful and well-built skate plaza. (Photo via google.com)
working closely with skateboarders are foregoing bland, standardized skateparks for “skate plazas”: designated areas for skateboarding that mimic and even replicate city areas that are ideal for street skateboarding. A far cry from modular ramps dropped onto rectangles of concrete, these skate plazas integrate well into existing areas and at first glance could be confused for urban art installations. The useable obstacles that could be included in these plazas vary, but almost always include ledges of various sizes, rails, and stairs – all things that could be encountered in the streets. One of the greatest advantages of a skate plaza is the aesthetic appeal that can feature expressive and innovative skateable architecture. The skate plaza is also the antidote to one of the biggest problems that plague skateparks worldwide: poor construction by grizzled, old contractors who have no clue about skateboarding. All too often, contractors or cement companies are not well-equipped to create the concrete bowls and curves featured in the pre-conceived notions of what a skatepark should be, resulting in skateparks that are horrible and fall into disuse. While building a skate plaza does require a degree of specialized expertise, it does not require the deft craftmanship of top-tier (and prohibitively expensive) skateparks. All a skate plaza really needs is some flat ground, a few rails, some ledges, maybe a few low stairs, and a special designation by the city. Speaking of prohibitively expensive skateparks, which are by nature centralized and large, many cities have started to develop “skate dots,” which basically resemble miniature skate plazas that are spread out over a city. A shining example of this is the CKE Skatespot in Calgary, Alberta, Canada, which looks like a sort of smooth, wide sidewalk with perfect ledges on the side. This approach greatly reduces the probability of a city putting “all its
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The fact that Gwangju does not have a skatepark now actually means that it has a unique opportunity to create something great. Viewed on an evolutionary timeline, the progression of skateparks looks something like this: concrete bowls > wooden ramps > modular parks > poorly constructed skateparks > properly constructed skateparks > skate plazas and skate dots. Instead of creating a run-of-the-mill skatepark, it has a chance to leapfrog right into making skate plazas or skate dots. The beauty of this approach is that there would be many more options on how to construct the park so it would not really matter who did it (as long as it is not the same construction company that was responsible for the disaster in Hak-dong). BUILDING WITH THE COMMUNITY FOR THE COMMUNITY In the same way that it would not make sense to build a race track without consulting with someone who knows about racing, or to build a ski jump with someone who has never tried on a pair of skis, building a proper area for skateboarding, be it a skate plaza or a skatepark, requires close cooperation between the concerned parties: those who live near the area, those who will use it, and those who allocate the funding for it. A skatepark should not be considered a necessary evil, a way of giving noisy skateboarders a place to go far away from people they might disturb. Rather, it should be seen as an excellent way to build community ties and exhibit cooperation between all the people who live in an area by providing useful infrastructure for an activity that is already big and only growing by the day. Photographs by William Urbanski.
The Author
William Urbanski is the managing editor of the Gwangju News. He is eagerly awaiting his second dose of vaccine so that he can start traveling again. He can also eat spicy food. He can be found at @will_il_gatto
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Gwangju Writes 39
CULTURE & ARTS
The Man Who Owned Red By Grace Ryoo
he man’s name was Ryan. Ryan Edrund.
He had a thin face, untidy hair, and thick glasses. But he had a rather nice smile, and he would sometimes give out treats to the children who passed by his house.
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The man was an artist. He would sometimes grab his pencils and sketch and paint quickly in an attempt to capture the everyday lives of the people around him. He never sold many of his paintings, but he would often claim that his goal was not recognition or reward.
The neighborhood that he lived in was like him, plain but warm. But the most important characteristic of this little town was that it was white. Almost everything was white – the grass, the houses, the roads – in fact, the only black colors occasionally seen were the hairs of people who had not yet dyed their hair white. The artist was no exception. His white clothes were often stained with white paint. But unlike the other villagers, he had traveled often when he was a boy. He had been to many places, to the capital of his chalk-white country, to the milky white cities around it, and even to the edges of the nation he called home. It was there where he had first seen a black man.
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The black man looked exactly the opposite of the white people the man had seen. He had obsidian, licorice-black skin and clothes that the man quoted later as being “made of black flowing fabric that rippled in the wind. It was beautiful, but for me, it was also the strangest clothing I’d ever seen.” While the artist was not the kind of person who would judge people quickly, the black man somehow seemed, well, wrong. In fact, the only factor that seemed right to him was the black man’s hair, which was snowy white. It was a weird and unpleasant feeling, to judge someone before even knowing them. The man learned later that he was not alone in feeling this way. This was how many people felt towards others who had a different color. He read books about black people, and according to the tales of the past, they had once lived with white people, and white people had also lived in the cities of the black people. It, however, led to trouble. Although the two peoples were very much similar to each other, just the fact that one man had white pigmented skin and the other black seemed to be the cause of diverse forms of discrimination. The man wondered why the simple fact that their colors were different had such a strong impact on them. Maybe it was because in a world where there was only white and black, it was hard for a person of one color to ignore their clear differences. Or maybe it was because white people had always thought of black as the “other” color and one that needed to be tailored to become white. They might have unconsciously believed that the ideal image was white, while black was seen as an opposition, and the blacks might have thought conversely. The man realized that, ironically, because people tried to compare one color to the other, arguing that one was better instead of realizing their differences, conflicts emerged. If they had realized that they were on equal terms, and had acknowledged that other people were just different and not to be feared, the level of conflict would not have grown to one that resulted in a division of countries. According to the old stories, the two groups of people found it increasingly difficult to live together, and so they separated and did not come back. It had been like this for about a hundred years, and the people eventually forgot about each other, and except for a few unexpected meetings at the border, they did not see each other. But now it was the present. The artist was sitting on his sofa drinking a cup of warm, white tea before he got ready to go to bed. He looked out of the window at his garden and took a sip of tea. He then looked back out the window, and this was when he saw it for the first time. Something was streaking across the sky. It was blazing with light and heading straight for his house. The artist sat, frozen, as it came closer and closer gathering speed, and at last, it became a ball of fire that landed with,
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quite strangely, a soft plop in his garden. The man sat in his chair for a full five minutes before shakily getting up, not believing what had happened, and going out to his garden. The meteorite was sitting among his lilies, seeming oblivious to the shock it had caused. The man, after poking it with a stick and finding it surprisingly cool, picked it up and took it inside. At first glance, it looked like a piece of solid rock, but turning it around, he found a crack. Curious, he carefully cracked it open. Inside, there was a crystal of a color he had not ever seen before. It was a blazing, passionate color. It was bright like the white he had often seen, but it had a radiance to it that was different from white. It almost hurt his eyes to look at it, but he could not take his eyes off the crystal, realizing that he had found a new color, one that no one had known before. He decided to name it "red," after his name. After a few months, the artist was not just an artist. He was the man who had discovered a new color, the man who owned red. After he found that the crystal produced a red pigment when put in the sun, people from all over the country came to look at his paintings, now filled with splashes of white and red. There were also hundreds who asked for the usage of the color for clothes, paper, pictures, and anything you could color. It was a tremendously popular discovery. Although it was soon found that red could not be covered up with white when you made a mistake coloring, it was still a sensation. A few months later, as if it had been planned beforehand, news was heard that two new colors were found in the county of the black people. This was the first time many people from the white country had heard news from the black country, and it made waves of curiosity about what the two colors were. The man was called upon to negotiate with the black people. The idea was to offer a trade: They would give some of the colors red and white to the black people and get the new colors, which were named “blue” and “yellow.” It would be the first official meeting between the two countries in a hundred years. The man stood inside a building on the plains, looking out at the border. The scenery was a sudden change, like someone had drawn a line and colored one side white and the other black. Two black people were coming toward him from the black side, dressed in billowing robes, and each held in their hands a bottle full of pigments of the beautiful new colors. Formal greetings were shared, treaties were signed, and the colors were exchanged. Everything went carefully in order.
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41 When it was all done, the man expressed his thanks and went to leave. The black men, however, asked him to wait and gave him a bottle full of the color black. One black man looked at the artist and said, “We are gifting this to the white people in the belief that it would not be a color that opposes white anymore, but a color that can add to the diversity of your palates. We believe it would be an important color as well, for we know that it is the only color that can fully encompass another color and cover up coloring mistakes. This is similar to how we think white will be the only color that can mingle with another without losing that color’s characteristic, and be able to create lighter versions of each hue.”
each other. If their world were to undergo an amazing development with the discovery of the new colors, the blacks and whites would have to work together. Neither people could achieve this goal on their own. A few years later, the world was a very different place. With the colors red, blue, and yellow, along with the colors black and white, a greatly diverse discovery of colors followed. And the world was soon filled with sensations of new colors. The man, however, remained the same as before, before the day he had made the discovery that would change his life. He was outside in his garden, sitting on his chair bathing in warm sunlight, adding paint to his sketches. A neighborhood boy walked up to him. He asked with curiosity what the man was drawing. The man looked up, and with a twinkle of a smile, he answered that he was drawing how beautiful the world could be when everyone and every color was harmonized and respected as they were. The boy cocked his head to the side and walked over to the other side of the artist’s canvas to see what he was painting. In the middle of the canvas, donned with brilliant colors and bridging between two clouds, was a rainbow. Graphics by Grace Ryoo.
The Author The man looked at the black man, and at once he understood that the harmony of the two colors black and white was a key to the potential of the new colors, a key to the development of all the colors together as one. Black and white should not be forced to adhere to each other’s rules; rather, each should be respected as it is. They needed
Grace (Yeonwoo) Ryoo is a college freshman majoring in global affairs. She volunteered to translate articles for the GIC for three years in high school. She likes to read, draw, write, and take pictures in her spare time. She also likes to imagine and look at the world from a different point of view. @grace_ryoo
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42 Restoring the Past
Mass-Producing Hanok Housing
Chapter 1: The Background of the Hanok in Gwangju “Une maison est une usine-à-habiter”*
When I first came to Gwangju, I lived in a hanok. It was nothing special back then. Every house in the neighborhood was a hanok: one story, tile roof, floor-heated with coal briquettes, and sporting an exterior chimney. But like much of Korea, that has changed. The hanok in the neighborhood are gone, replaced with modern multi-unit living spaces. Losing those magnificent structures completely and the memory of them would be a regrettable culture loss. One Gwangju resident, though, is exerting his efforts to see that this does not happen: Kang Dong-su restores hanok. He is also authoring this new column in the Gwangju News through which he plans to bring together his research, observations, and thoughts on hanok for the enjoyment of our readership. — Ed.
E
ven among residents of Gwangju, most don’t know the fact that this city had actually been one of the biggest hanok cities in Korea. It’s estimated that in the 1980s, there were more than 100,000 hanok in Gwangju. I guess that as soon as you read the word "hanok," you probably imagined a traditional Korean house built in the Joseon Dynasty and located in an idyllic village setting. Surprisingly, they were mostly built in crowded megacities during a series of so-called “five-year economic development plans.” This massive economic project was divided into three periods, the first being 1967–1971, the
second in 1972–1976, and the third 1977–1981. Gwangju’s many hanok of this era were mostly produced during the first two of these periods. This concentrated, short-term housing-supply plan was inevitable, as the city planning done during the Japanese colonial period (1910–1945) couldn’t keep up with the city’s rapidly increasing population. (That plan expected the population of Gwangju to increase to 150,000 by 1967, while in fact it already exceeded 300,000 in 1960.)
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August 2021
CULTURE & ARTS
By Kang Dong-su
▲ A representative, mass-produced hanok from the early 1970s found in Jungheung-dong.
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43 cement block bricks, factory-made glass, and briquetteoil heating systems. One of the distinctive features of Gwangju’s massproduced hanok is the briquette chimney. Each has a unique design derived from the Jeolla provinces’ colonial period and created by Chinese bricklayers who were hired by American missionaries, many of whom came to Korea fleeing the anti-Western Boxer Rebellion in China during the early 20th century. These brick chimneys were broadly used even after the Korean War and became one of the symbols of the Gwangju cityscape.
▲ Briquette chimneys from among Gwangju’s mass-produced hanok. These began to disappear as the briquette heating system changed to oil boilers and gas stoves.
After the independence of Korea, many people from the countryside came to Gwangju for many different reasons. Good education for the next generation, to be rich, to get a job in a factory – a lot of people came to the city emptyhanded but with a strong will and hope for the future. Also, Koreans who had been abroad in places like Manchuria or Japan came back to their homeland. Naturally, these migrations led to serious overpopulation in nearly every major city in Korea at that time.
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▲ Mass-produced hanok town established in 1972 at what was previously a juvenile detention site in Dongmyeong-dong.
The Author
Kang Dong-su is a traditional Korean carpenter born in Gwangju in the year 1996. He started learning and archiving historical architecture in Gwangju at the age of 17. He is currently the representative of his company, Baemui, which researches and renovates homes and historical architecture in Gwangju and the Jeolla provinces. @baemui.naru
August 2021
Until the 1970s, mass-produced hanok dominated the housing market, and we can still see those models in the old city center of Gwangju that were rapidly built by many different small real-estate developers targeting the working class. They had styles and floor plans that were similar to those of rich people who lived in the Jeolla provinces during the colonial period and were functionally modernized, using contemporary materials and equipment like cement Japanese rooftiles, glazed tiles, Western-style wallpaper, baked bricks,
* “Une maison est une machine-à-habiter.” Le corbusier, the so-called “father of modern architecture,” said this famous sentence, declaring the end of ornamentalism and the birth of new humanism based on pragmatism. I replaced the French word machine (machine) with usine (factory) to amplify how this architectural modernism was brought to Gwangju in its own context (i.e., “A house is a factory for living in”).
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From the 1950s, Gwangju started to build a lot of factories and “new towns” for economic growth and new residents. But as there were no deliberate master plans for increasing the housing supply, and as the city government had no funds to build every single house itself, said government prepared the land around the city center with rudimentary infrastructure and imprudently sold it all to private enterprises to build the “new town” houses. In turn, these private developers built massproduced hanok (1950–1970), “citizens' houses” (1950–1970, also called “culture houses,” which derived from the colonial period during the Japanese Empire), so-called “Western-style houses” (1970–1980, often called “French houses” or “Italian houses”), and early-stage Korean apartments (from 1960).
Through these iconic chimneys, we can better imagine the lives of Gwangju’s blue-collar workers during the period of the 1960s–1970s. While fathers and older siblings worked in their factories, workplace chimneys would billow out smoke. Meanwhile, mothers preparing dinner as all the red chimneys of the city’s massproduced hanoks discharged smoke and the smells of cooked rice would call out to their children on the street to come in and eat dinner. Factory smokestacks and mass-produced hanok chimneys would not stop smoking until they had accomplished their final goal: the rapid economic development of Korea.
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CULTURE & ARTS
44 Photo Essay
Wooden Talisman Maker in Gwangju By Isaiah Winters
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August 2021
A
mong my most unique experiences in the City of Light was a chance meeting with a modern-day shaman outside his home near Songjeong Station. The green gate out front had caught my attention because it had something I’d never seen before: talismans (부적, bujeok) made of wood. These were either glued or nailed to parts of the front gate for good luck, and I couldn’t help but wonder who’d made such interesting good-luck charms. Then, out of nowhere, the artist appeared, and we had a short chat about his bujeok, though I have to admit he was quite hard to understand. No doubt I was for him, too. Knowing there was more to this guy and his creative work, I decided to return with reinforcements. A few weeks later, I brought friends Sounion Hong and Ryan Berkebile to his home for another chance to learn more about the man behind the bujeok. He invited us in and showed us samples of his work, most of which were in paper bujeok form. The red ink he used was imported from
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▲ The bujeok maker himself outside his home in Gwangju.
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outside Korea and was quite expensive, we learned. It turns out his services aren’t cheap, with some bujeok costing upwards of 300,000 won. He claims they can help protect people from pretty much anything, including car accidents. When asked where he got his training and inspiration from, he simply said “spirits.” A special thanks to Sounion Hong for acting as translator.
Previous page: ◀ Top: His prayer room, equipped with a microphone for surround-sound chanting. ◀ Lower left: Flipping through a book of bujeok templates. ◀ Lower right: Pointing to one of his wooden bujeok.
▼ A paper bujeok is displayed. One of these can cost hundreds of dollars.
The Photographer
Born and raised in America’s largest county, Isaiah Winters is a pixelstained wretch who loves writing about Gwangju and Honam, warts and all. When he’s not working or copyediting, he’s usually punishing himself with long hikes or curbing his mediocre writing and photography with regular practice. Regarding the latter, you can check his progress on @d.p.r.kwangju.
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August 2021
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CULTURE & ARTS
48 Book Review
The Magpie Babies My First Children's Book
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August 2021
By Shilpa Rani
I
believe stories add color to our imagination. Stories are an integral part of childhood, the ones we hear, read, or make up. They make a lasting imprint on one's memory. As a child, I made up stories to memorize mathematical tables, and as an undergrad, I made up stories to remember the lengthy pathogenesis of different diseases in animals. Now as a parent, I create stories to entertain my son. Like art, stories have the power to transform anything mundane into something extraordinary. Stories can take us across uncharted territories to mysterious worlds only a few privileged ones can travel to or give us a perspective on reality right here on earth.
(GIST), I was doing just that. While my brain was trying to figure out the molecular basis for heart diseases, my heart was always looking for ways to be surrounded by books and tell stories. So, I took every opportunity to relive the magical world of stories with children. I am grateful that I have had the opportunity to volunteer to read books to children at the Children’s English Library in Gwangju, at the KONA Storybook Center, as a volunteer at the GIST library, and through storytelling programs at the GIC. I should also credit my son: He has had a major influence on bringing me back to falling in love with storytelling. These experiences gave me time to read and absorb children’s literature.
As children, we have all experienced this magic: of creating stories, narrating them, and dreaming about them. But most of us forget this art as we grow older and our priorities change to chasing a career or a family or both. As a doctoral student at the Gwangju Institute of Science and Technology
Writing a children's book and becoming a part of someone's childhood memories has been a dream of mine. It was not hard to find inspiration while living in Gwangju. The Magpie Babies is inspired by my observations of Oriental magpie families year after year. They would start building
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49 their nests from scratch in leafless metasequoia trees, painstakingly bringing each stick and twig to arrange them into a home. The nest would be occupied by noisy chicks in a few days, but soon in spring, the trees would sprout, obstructing our view of their beautiful world. Regardless, the chicks would grow older and leave home. This became the foundation of the story of The Magpie Babies. The story unfolds in an urban setting and shows how empathy in young children shapes their association with nature. The story also emphasizes taking responsibility and action to protect a loved one. There is a subtle effort made to create a sense of balance in the worldview of the young readers by including global cultural names for characters that are siblings and inhabit the same nest. Once the plot was ready, the next step was to add colors to the story. An illustrator plays an integral role in a children’s book. Good communication between the author and the illustrator is essential for the illustrator to understand and envision the plot and the characters in the author's imagination. I was very fortunate to have a dear friend working on this project with me. She was brilliant and a pleasure to brainstorm our perspectives on the visuals of the scenes with. We agreed upon using a fixed set of colors as opposed to most books in this genre.
Self-publishing a children’s book is not the ordeal it would have been a few years ago, but like anything else, there is a learning curve. The Magpie Babies is a collection of my memories of Gwangju, where I built my nest for a short time and made wonderful friends. The Korean version of the book, 아기 까치들 (agi kkachi-deul), would not have been possible without the support of Lee Sorim and Kim Minsu. I extend my gratitude to them. The book is dedicated to all nature-loving children. I hope young readers and adults reading to young ones can relate to the story and enjoy the magic of reading books.
The Author
Shilpa Rani is a veterinarian by profession and mother of a young boy who adores nature. She pursued her doctoral and postdoctoral studies at Gwangju Institute of Science and Technology (GIST). She considers Gwangju her second home. @shilpavet
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The story of The Magpie Babies has been told in both the Korean and English languages simultaneously. When I was learning Korean, I wanted to read less complex stories in Korean and make sure I understood the context right by confirming reading it in English. But unfortunately, there were not many books in this Korean-English format for me to choose from. Hence, while working on my children’s book, I wanted to tell the story in both languages. I hope that children learning either language will be able to relate to the story.
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Once the words and colors had been added to the story, it was time to put it into the hands of the readers. But the truth was, I did not know anything about publishing a book. My learning journey started from here. There is an ocean of information to research to make the decisions that best suit us. There are two ways of publishing a book, either by a traditional method through an agent and a publishing house or by self-publishing. There are several advantages and disadvantages to choosing either option. I decided to self-publish. There are several services that companies offer to assist self-publishing authors: editing, internal designing, cover page designing, etc. There are several methods for self-publishing a book as well. The path I chose to publish paperback copies of the book was through print on demand (POD). Several publishers provide this service, including Amazon KDP, Ingram, and Kyobo POD. Through this service, the book is printed and shipped only after it has been ordered online. These services have pre-defined specifications for the dimensions of the book, size, and quality of the illustrations, bleed or no bleed, and text on illustrations. One needs to be mindful of these specifications while preparing their manuscript before uploading it to any of these portals. The POD publishers also give the author a choice to either request an ISBN from the publisher or use a self-bought ISBN. Kyobo POD is the one I picked to publish my book in Korea. Broadly, most POD publishers provide similar services but have differences, too. Thorough research and understanding of terminologies used in publication helped to smooth my journey.
▲ The author (left) volunteering as a story narrator at the GIST Library’s Bookidz Program, which she facilitated (2018).
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50 GFN Radio
GFN Goes Bilingual Interview with PD Choi Hang
www.gwangjunewsgic.com
August 2021
CULTURE & ARTS
In continuing its collaboration with the Gwangju Foreign Language Network (GFN), in this issue the Gwangju News offers an interview with Choi Hang, GFN’s Program Director (PD) in charge of the Way Back with U program, the new bilingual sensation. — Ed.
G
wangju News (GN): Thank you for taking the time to participate in this interview for the Gwangju News, Mr. Choi. First, please introduce yourself by telling us about your background and about GFN. Also, how long have you been working for GFN? Choi Hang: First of all, thank you, Gwangju News, for offering me this opportunity. My name is Choi Hang [최항], and I have been working at GFN for six years. There are three foreign language broadcasting companies nationwide: Seoul TBS efm, Busan BeFM, and Gwangju GFN. My main reason for joining the Gwangju Foreign Language Network was because I wanted to create and deliver a program that provided useful information related to the daily lives of the citizens and international residents living in Gwangju and Jeonnam. GN: Please describe your main duties as a PD and the challenges that come with them. Choi Hang: My main duties are program planning and production. The shows I am currently in charge of are Way Back with U, Music on the Road, and documentary productions that are in progress. In addition, I am also planning and conducting various festivals and events in cooperation with related organizations in Gwangju and Jeollanam-do. I also oversee the paperwork and visa documents for our international friends who join the station. GN: What programs did you do before Way Back with U, and which one was your favorite? Choi Hang: I was in charge of Hello Korea, Viva DJ, Real Talk, and Weekly Review before this new bilingual show I am doing now. Each program had a different personality,
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and I took charge of each of them with affection. If I had to pick one out as a favorite though, it would be Hello Korea, which transmitted information necessary for real life such as facts about Korean culture, language, history, music, food, travel destinations, art, and traditions to locals and international residents of Gwangju and Jeollanam-do. I also coordinated the longest on this program. GN: How is this newest program, Way Back with U, different? What does it offer listeners? Choi Hang: Firstly, it is live, and secondly, it is bilingual, being produced in a way that both Koreans and international listeners can easily understand and learn about today’s issues in a fun way. It runs for two hours, has two hosts, and has a single segment format, rather than a segmented corner and multiple guest appearances like other existing GFN programs. I think the charming point is that it is broadcasted live and communicates with listeners in real time. GN: Please tell us about the Music on the Road show. Choi Hang: Music on the Road invites musicians from Gwangju and Jeollanam-do directly into the studio to talk about their music and share their stories. Local musicians create their own radio shows for an hour as a radio host. It is a program that provides local musicians with the opportunity to be radio hosts, to tell their stories, and to introduce their albums to listeners in a direct way. GN: Please tell us about the documentary Chosun Pop 3.0 Era (조선 팝 3.0시대), which was selected as a broadcasting promotion project by the Foundation for Broadcast Culture (FBC) in 2021. Choi Hang: Chosun Pop 3.0 Era is produced as two episodes under the theme of K-pop Chosun, which takes the method of using Korean traditional music (gugak) to another level. One such example is “Tiger Is Coming,” a song by alternative pop band Leenalchi that
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gained tremendous popularity by making traditional music commercial. Instead of morphing it into fusion or crossover music, which is common for “globalization,” the documentary shows how the group promotes “raw” and “crude” traditional Korean music. The aim was to revive the popularity of Lee Nal-chi, one of the most famous pansori (판소리) and jultagi (줄타기, tightropewalking) masters of the 1880s, by featuring the presentday band Leenalchi, who has dazzled the world by following that spirit.
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GN: Thank you very much for your time. The Gwangju News and the GIC support and love the variety of programs that GFN produces and encourage everyone to tune in daily. Interviewed by Melline Galani. Photographs by Choi Hang.
August 2021
GN: You were also part of the team who made the documentary "5.18 미얀마 다큐 주제 '미얀마를 위한 광주행진곡'" (March for Democracy: Save Myanmar, Pray for Myanmar). Please give us some details about that. Choi Hang: March for Democracy, which was planned by Kim Mi-young and directed by Noh Hyungjin and myself, is a special documentary produced
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“I think the charming point [about Way Back with U] is that it is broadcasted live and communicates with listeners in real time.”
to commemorate the 41st anniversary of the May 18 Democratization Movement. It is a two-part documentary in Korean and English that conveys the reality of the ongoing unrest in Myanmar and explores the impact of Gwangju’s Democratization Movement, focusing on their restoration of democracy and the way to unite in the future. The first part, “Save Myanmar,” talks about the democratization movement led by Myanmar’s Gen Z, which is currently at the center of the protests, and the history of Myanmar’s military rule. The second part, “Pray for Myanmar,” tells the story of Gwangju’s longing for spring in Myanmar and the solidarity of our city, which still holds the scars of the May 18 Democratization Movement. It would be great if listeners could hear a little bit about the democratization movement led by the youth of Myanmar and the history of the country’s military rule to feel the solidarity between us in the fight for democracy so that our message can be delivered to Myanmar.
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52 GFN Radio
Top of The Drop By Daniel J. Springer
If you are a lover of music, especially of new releases, keep ahead of the curve with Top of the Drop. Each month, Daniel Springer, “Danno,” picks his favorite newly released tunes and gives a heads-up on upcoming albums and EPs that you might want to keep on your radar. — Ed.
CULTURE & ARTS
Tyler, The Creator – “MASSA”
During the aughts, the mixtape was probably the most effective medium for artists to do any number of things, including pitch proof-of-concept to major labels, even for established artists. Enter Tyler, The Creator’s latest album, Call Me If You Get Lost, the artist’s sixth or seventh album depending on how you count. With DJ Drama in tow, Tyler takes us on what is undoubtedly his most experimental and emotionally open record to date. The album goes from light to shaded and back several times.
Lorde – “Solar Power”
In what is surely the biggest head-turning and racy cover for a single or album this year, the New Zealand-based, Grammy-winning artist is back five years after Melodrama still causing exactly that, but while every pop diva this side of the sun was trying to emulate Lorde’s angst, in the meantime, the artist herself has totally switched it up. “The new LP,” Lorde explained in a statement issued Monday, “is a celebration of the natural world, an attempt at immortalizing the deep, transcendent feelings I have when I’m outdoors.” The title track is exactly like the scintillating free cover art and nature itself: sunny and celebratory, innocent yet sensual. Not to be missed.
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August 2021
Big Red Machine (feat. Taylor Swift) – “Renegade”
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For those unfamiliar, you most likely are going to be soon, as Big Red Machine is the collab project between Bon Iver’s Justin Vernon and The National’s Aaron Dressner. To announce their upcoming full-length album, they unleashed this beautiful single featuring Taylor Swift (and the latter’s collaborative works of late, not to mention her albums, have been absolutely stellar). The group’s sophomore album How Long Do You Think It’s Gonna Last? drops August 27.
DeRobert & The Half-Truths – “Walk Forward”
This unassuming soul outfit has been around Nashville since 2014, but never have DeRobert Adams and company been as concise and effective as on their latest record, 100 Yard Dash. At just 16 minutes and change, the seven tunes in totality could almost be considered an EP, but the absolutely silky soul and grooves found therein make it unforgettable.
Faye Webster – “Kind Of ”
The artist’s fourth LP, I Know I’m Funny haha, dropped June 25, and personally it has been remarkable to read several fans of the record talk about how it is a go-to when in need of some serenity in these still insane Covid-tinged times. If you are looking for an easygoing, languid drive through the ether that is arranged to absolute perfection, this record is it. While it may sound easy and breezy, ask any musician and they will tell you most definitely that it is not.
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53 Eydis Evensen – “Wandering I (Thylacine Remix)”
The Iceland-based classical pianist joined us on our show in the lead-up to the release of her debut album Bylur (meaning “storms” in English) in May, and since release, her profile has seen a massive bump with a fantastic live appearance on “KEXP at Home” and several glowing features in major publications. This is the latest from the record, which is a pensive, building rumination of a remix by French producer and fellow classical artist Tylacine, which just dropped July 9.
Peggy Gou (feat. Ohhyuk) – “Nabi”
In probably the biggest release by a Korean duo in the past few months, superstar Germany-based Korean DJ and model Peggy Gou dropped this cut, “Nabi” (나비, butterfly), in collaboration with Hyukoh lead singer, Ohhyuk (오혁). The tune itself is an incredible bit of slow-burning, 98bpm electronic pop inspired by 80s synth classics and the piano pieces of renowned composer Erik Satie.
Ghost Funk Orchestra – “Brownout (Bayaka Remix)”
While the metastasizing spectral ensemble out of New York run by madman genius Seth Applebaum is both readying to tour for the first time in ages and begin to put together the next chapter after 2020’s brilliant An Ode to Escapism, they teamed up with Italian remixers Bayaka for this wild bass ride through, I do not know, the basement of a haunted house in 1970s Zaire? Any DJs reading this one, do check.
Holy Hive – “Ain’t That the Way”
This band now signed to Big Crown Records first garnered attention for their 2019 Harping EP. Formed in 2015, Holy Hive feature drummer Homer Steinweiss, singer/songwriter Paul Spring, and bassist Joe Harrison. Known for their signature fusion of throwback soul, pop, and folk, this is the lead single to their upcoming self-titled LP, due out September 24. After the output of their 2020 LP, Float Back to You, this is a record to keep a keen eye out for.
Kishi Bashi – “For Every Voice That Never Sang”
Back in February, Morning Edition’s “Song Project” on NPR in the U.S. invited Kaoru Ishibashi, aka Kishi Bashi, to compose an original song for them. The result was this song, which talks of the experience of being an outsider in one’s own country. In the afterglow of the broadcast, the song could only be found in certain less-traveled corners of the internet, but thankfully the song was given a proper commercial release in early July. Check his last album from 2019, Omoiyari, for more beautifully composed material from this artist.
Lana Del Rey – Blue Banisters (July 4) Half Waif – Mythopoetics (July 9) Chiiild – Hope for Sale (July 23) Samia – Scout (July 23) Molly Burch – Heart of Gold (July 23) Darkside – Spiral (July 23) Durand Jones & The Indications – Private Space (July 30) Billie Eilish – Happier Than Ever (July 30)
Jungle – Loving In Stereo (August 13) Davendra Banhart & Noah Georgeson – Refuge (August 13) Junior Mesa – Cirque du Freak (August 13) Lorde – Solar Power (August 20) Villagers – Fever Dreams (August 20) Big Red Machine – How Long Do You Think It’s Gonna Last (August 27) Chvrches – Screen Violence (August 27) Steve Gunn – Other You (August 27)
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Daniel J. Springer (aka “Danno”) is the creator, host, writer, editor, and producer of The Drop with Danno, broadcasting nightly on GFN 98.7 FM in Gwangju and 93.7 FM in Yeosu between 8 and 10 p.m. Prior to this, he was a contributor to several shows on TBS eFM in Seoul, along with being the creator and cohost of Spacious and White Label Radio on WNUR in Chicago. You can find “The Damyang Drop,” his monthly collaborative playlist with The Damyang House, on YouTube and Spotify. @gfnthedrop
August 2021
Watch Out for These
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July Releases
The Author
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www.gwangjunewsgic.com
August 2021
CULTURE & ARTS
54 Webtoon
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Yun Hyoju was born and raised in Gwangju, and is married to an Irish guy named Alan. For some time now, she has been working on her short comic, Alan and Me, which is about her daily life. She publishes a new comic every week on Instagram. It can be found at @alan_andme.
August 2021
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www.gwangjunewsgic.com
The Author
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CROSSWORD PUZZLE
Created by Jon Dunbar 1
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ACROSS 1 5 9 12 13 14 15 16 18 20 21 24 26 30 32
Genre of Na Hoon-a and Jang Yoonjeong “___ me up before you go-go” Solo project Jekyll’s alter ego Old-timey exclamation of surprise Cover page number Urbanski’s destroyed neighborhood park Firm fastenings If you’re breathalyzed with more than 0.03% BAC Gachon University ___ Medical Center Commercials “Hulk” director Lee Signatory’s mark over internet Goes with carbon or zone Arkestra’s leader (2 words)
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Look for the answers to this crossword puzzle to appear in September in Gwangju News Online (www.gwangjunewsgic.com).
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Self-governing Palestinian strip It intersects a column Indian flatbread Mixes with a spoon It’s needed for the royal ice bins Goes with park or song Social media Moon’s bodyguards Tearable knee ligament Little bit Type of jungle found in Bongseondong Yun Hyoju’s “___ and Me” Opposite of con “...and they lived happily ___ after” Artist Na-hee Cheerleader’s exclamation Cans “Hang ___ your hats!”
DOWN 1 2 3 4 5 6 7 8 9 10 11 17 19 21 22 23 25 27 28 29 31 35 38 40 45 47 48 49 50 51 53 54 55
“Love ___ neighbor” Veteran GFN host Woong Tae KOICA provides this Work on a garden Event held on Zoom “Four score and seven years ___” Hanok restorer Dongsu Vedder and Izzard Mafia boss Orange Life predecessor Opposite of no Jong-un’s grandfather It started on June 25 Neurosis common in teens Goes with Star or Valley “The World of ___ Wong” Dollops Like some mobile payments Typical apartment complex colors Some iPods Airport runway Gwangju News’ Isaiah Goes with ballot or top US communications intelligence agency Zachary or Strauss Harry Belafonte’s “Banana Boat Song” Life-saving technique “Kia ___” Maori greeting Artist Yeo-woon Hak-dong photos taken ___ days before collapse PC-linking system Industrious insect Greenpeace or Doctors Without Borders
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