Kisaeng: Uncovering Those Who Carried Korean Culture

Kisaeng :

Uncovering Those Who Carried Korean Culture

기 생

K is a en g: Th e T r ue Ide n t i t y

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S k ills a nd Ta le nt s M i sun de r st ood

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I nf lu e nc e on Mod e rn S oc ie t y

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Kisaeng: The True Identity

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2 Kisaeng: the True Identity

S O C I A L S TAT U S

W

hat was their status? They were

ensure thorough oversight. The government followed

slaves still both received cheonmin rank. Their status

considered cheonmin, which

the same practice as with conscripted slaves. Only a

was technically the lowest, but the fact that they had

is the lowest class of the status

wealthy patron, typically a high government official,

constant interactions with high-ranked people let them

system during the Joseon Era

could release a kisaeng from their position if he paid a

embrace a lot of freedom. Many of them were also

hefty price to the government.

wealthy. Their possession of decent wealth allowed

(Now South Korea). They were essentially slaves owned by the government. Only way for them to go up

Many kisaeng displayed great skill in poetry,

them to exercise the power. They were able to purchase

the status system was to become a concubine to high-

numerous sijo composed by kisaeng have survived.

clothes and accessories of great quality and uniqueness

ranked men. Kisaengs’ daughters automatically received

Those often reflect themes of heartache and parting,

without depending on a male figure because most

their mother’s status where sons inherited the father’s.

similar to poems composed by scholars in exile. In

women did not work in that era.

Although their status was considered low, they

addition, kisaeng composed some of the most famous

had to go through extensive training. As a male, you

poems to persuade prominent scholars to spend the

needed a good amount of money even for the lower

night. Indeed, Koreans typically associate the sijo style

class of kisaengs.

with kisaeng women, while women of yangban status

Throughout the Goryeo and Joseon periods, kisaeng held the status of cheonmin, the lowest rank of society.

They shared that status with other entertainers, as well

focused on the gasa form. This was a major difference between them.

Kisaeng attached to a local government office

as butchers and slaves. Women inherited the kisaeng

went by the name gwan-gi, their status carefully

status, so the children of a kisaeng also had cheonmin

differentiated from that of the common slaves also

status, and the daughters automatically became kisaeng

attached to the office. The government officials entered

as well. Beginning in the Goryeo period, the governing

them separately on the census rolls. Although regarded

offices in each district kept a registry of kisaeng to

of significantly higher status than slaves, kisaeng and

Kisaeng’s main clients were high-ranked men. Some of them (mainly the lowest class of the kisaengs) resorted to prostitution, but not all.

Kisaeng: the True Identity 3

CLASSES OF KISAENGS FIRST CLASS First class kisaengs, or an yuh-ak, were the most educated and talented in traditional dancing and singing. Their performances marked the highlight of palace celebrations.

Their roles were very important in both social and international relations aspects.

They are also taught to view that prostitution is shameful.

SECOND CLASS Starting from second class, they are not even considered as true kisaengs. Women in second class involved themselves in subtle prostitution. They were also entertainers of certain banquets and celebrations, but not the major ones hosted by the royal palace.

They usually become concubines of wealthy men.

THIRD CLASS They openly took part in prostitution. They weren’t able to do refined and high level dances like the first class kisaengs. They simply sang a few traditional songs. The third class kisaengs lived completely different lives from the first class kisaengs. Third class ones were rather called chang-gi.

4 Kisaeng: the True Identity

FA S H I O N Kisaengs were also leaders in fashion. Because their main clients were rich and high-ranked men, many kisaengs were financially stable. Having good relationships with these clients also led to some freedom from governmental regulations. This led to their amazing fashion style. They were the only group of women who were allowed to wear lavish colors, fabric, and accessories. Back in the days, women were not allowed to wear such lavish colors. The idea of women being quiet and submissive was very important and emphasized. Although most high-class women looked down upon kisaengs due to their status, there was also a bit of envy as well. The fact that kisaengs were the only women allowed to enjoy the trends and taste in fashion and beauty made a lot of other women jealous. Kisaengs were also the only women to ride on horsebacks by themselves. Depending on what kind of kisaeng they were, the rights and activities they were allowed to do varied as well. Such freedom, once again, was very charming to both men and women during the time period.

Love, Lies (2016) This is a scene from a movie that depicts two female leads as kisaengs. Because the film takes place in late Joseon and there was also a touch of contemporary taste on their fashion. During this time, Korea was more open to western culture and kisaengs picked up the trend very fast.

Kisaeng: the True Identity 5

From their choice of colors and the way they tied the skirts above the waist, it is easy to tell that they are kisaengs.

These outfits are more of a daily fashion.

Resounding Geomungo Praiseworthy Lotus

by Shin Yun-bok

yi g n a h c e a m

Yi Maechang Yi Mae-chang (1573-1610), born Yi Hyanggeum, was a famed kisaeng of the Buan area during the Joseon Dynasty. She was noted for her talent in playing the geomungo (a zither-like instrument related to the Chinese Gunqin and composing sijo and other poetry. As Hwang Jin-i was known as one of the three wonders of Songdo, Mae-chang was known as one of the three wonders of Byeoksan. It is recorded that she interacted with famous literary figures of her time such as Yu Huigyeong and Heo Gyun. This shows that kisaengs were able to exchange intellectual conversations with people of high ranks. Back in the Joseon Era, women weren’t allowed to do many things, especially those in the lower class. Probably her most famous sijo is “Crane in the Cage” in which her very strong sense of identity can be seen as she compares herself to a crane that although is trapped and sick, came from paradise.

6 Kisaeng: the True Identity

Crescent-shaped eyebrows were key elements to their make up. Kisaengs of late Joseon had their hair organized

MAKE-UP Kisaengs used powder for their base make-up.

It was made from crushing seeds of a flower.

Then they applied the powder with a tool (today’s cushion) made of silk from silkworms. They also mixed red clay powder and the yellow stamen of lilies to match their skin tones. To bring a out a peachy look, safflower was also mixed a with the powder.

Kisaengs threaded their excess facial hair and did their eyebrows to make a crescent shape, which was thought to represent beauty. Burnt wood mixed with oil was used to make the eyebrows darker.

They didn’t have many color options for their lips and cheeks. The main color was red and the vibrancy depended upon their preference and the setting. They made yunji, which was made from ripping petals of safflower and soaking them with water, drying, and repeating the process.

After grinding it, they applied yunji to give a lively red or pink pop on their lips and cheeks.

and focused on shaping their eyebrows and giving a red pop on their lips.

Kisaeng: the True Identity 7

This is a modern take on kisaeng make-up. Because matching eye brows with hair color is one of the trends, brown brow color was incorporated.

02 Skills and Talents

10 Skills and Talents

Ka Ya Geum and Guh Moon Go were the main instruments kisaengs were trained to use.

Ka Ya Geum, which is made of thinner and more strings, makes a higher pitched sound whereas Guh Moon Go makes a deeper sound. Lower pitched instruments were often used to comfort loneliness.

MUSIC AND SIJO

K

isaengs were talented artists.

During the Joseon dynasty, instruction focused on

content of those trainings varied from

Their main skills included music

music and dance. In the three-tiered system of later

region to region. The state did not

and poetry. With music, they

Joseon, the government established more specialized

directly oversee the detailed affairs of the

were not only adept in singing

training schools for kisaeng of the first tier. The

kisaeng, rather the haengsu kisaeng, those

and dancing, but also playing

course of study lasted three years and covered poetry,

of the highest tier, kept order within each gyobang,

instruments. The main instruments include Ka Ya Guem

dance, music, and art. The government maintained

which might include some tens of kisaeng. When

and Guh Moon Go. These two instruments played

most advanced kisaeng training school in Pyongyang.

problems arose between a kisaeng and a client, or

soprano and base respectively.

That system continued well into the Japanese colonial

when a kisaeng had charges of criminal conduct made

period, during which time the schools training kisaeng

against, the haengsu kisaeng usually took the leading

became known as gwonbeon.

role in resolving the situation.

Women entered the kisaeng class through various paths. Some, the daughters of kisaeng, inherited their mother’s status. Parents unable to support daughters

As slaves of the government, the kisaeng led closely

sold them into gijeok. Most of these families held the

regulated lives overseen by the officer in charge of

designation of cheonmin, but sometimes poor families

kisaeng, known as the hojang. The hojang maintained

of higher status sold their children in that fashion. On

the kisaeng register, ensuring that none of the district’s

occasion, even women from the yangban aristocracy

kisaeng had fled. The hojang required kisaeng to answer

became kisaeng, usually because they had violated the

the requests of patrons, unless they had previously

strict sexual mores of the Joseon period.

notified them. The kisaeng of the district appeared

As skilled workers, the government took an early

for inspection twice a month, as expected, as well as

interest in ensuring correct education for kisaeng.

when a new official arrived in the area. In addition, they

During the Goryeo dynasty, the government established

reported for continuing education, usually focused

gyobang, or training institutes for palace kisaeng.

on music and dance, as obliged. The frequency and

Skills and Talents 11

Oh that I might capture the essence of this deep midwinter night and fold it softly into the waft of a spring-moon quilt, then fondly uncoil it the night my beloved returns.

- Hwang Jini Sijo, which refers to poetry, was one of the main talents kisaengs had. They used very trendy forms of expression with traditional Korean.

Whereas educated men wrote their sijo based on philosophical approaches, kisaengs’ sijo focused on the nature of human and their emotions.

12 Skills and Talents

DANCE Kisaengs’ beautiful, vibrant outfits were able to

the Great Drum dance (one of several forms of drum

make their dances more graceful. In Korean history,

dances) features a gaudy drum which may be taller than

each type of dance has a deep cultural meaning.

the performer. The drum tempts a monk until finally he

Kisaengs were taught to not only master the dances

succumbs to it and performs a rolling drum “orgy.”

but also to understand the cultural purpose behind

Due to the cultural suppression by Imperial Japan,

them. Colors, types of instruments, accessories, and

arguably considered cultural genocide during Korea’s

outfits all mattered to convey the right message at the

Annexation to Japan, most of the dance academies

right setting. Some of the main dances that kisaengs

died out and some dances were lost as well as some of

Salpuri (Exorcism)

performed were salpuri, geom-mu, and boochae

dance forms were distorted. However, few pioneering

Kisaengs wore white (depend-

choom. Although salpuri is to drive the evil spirit out, it

Korean dancers such as Choi Seung-hee created new

was sometimes altered to simply celebrate an event or a

forms of Korean dances based on the traditional dances

visit of foreign officials in the palace.

and kept many of the traditions alive in secret and

ing on the occasion, they wore bright outfits as well) and hold white fabric while doing this dance. Sal means bad energy or spirit, so this dance was to let go of that negative energy.

Other Korean dances remained and remain to this

abroad, and today Korean traditional dance is enjoying

day under the ambit of farmers and folk dance groups.

a vibrant resurgence. A common form of Korean Dance,

Props used in the dances include the long billowing silk

where the pets of the dancers are included, involves

scarf of pure white used in the Salpuri dance, drums,

the pet (most commonly guinea pigs as they are highly

hats, swords and others. The props may be peripheral

respected in areas of Korea)on two legs being piggy-

or central to the story of the dance. In the Ghost dance,

backed by their owners and leap-frogging over them.

the entertainer has a joyous reunion with a deceased

Citation Needed Numerous universities in Korea

spouse, only to endure the heartbreak of reseparation,

teach Korean traditional dance. shamanic rituals

and there may few or no props. On the other hand,

of Gyeonggi province.

Skills and Talents 13

Geom Mu (Sword Dance) Outfits and the colors varied on the type of dance. Geom Mu is essentially sword dancing.

Kisaengs wore military-inspired outfits to show energy and sharpness.

Boo Chae Choom (Fan Dance) Kisaengs, in addition to their beautiful outfits, used a lot of other materials to add character to the dance. Fans were widely used. Other materials include flowers, fabric, instruments, and more.

hwang jini This photo is of an actress who played the role of Hwang Jini in a Korean TV show. Out of many people who played her role, she is known to depict her beauty and talent well.

Hwang Jini was arguably the best known kisaeng due to a plethora of novels, operas, films, and television series. She was born in 1506, and her kisaeng name was Myeongwol, meaning “bright moon�. She was well known for her exceptional beauty, quick wit, extraordinary intellect and her assertive, independent nature. Because of these characteristics, she was definitely one of the most popular kisaengs of the Joseon Era. Her character appeared in many Korean historical shows as well. Besides her beauty, she was also known to be exceptional in dancing and singing. She was one of the top kisaengs of her era, so she often performed for the palace events and celebrations. Only a handful of her sijo and musical arrangements exist to this day. Her poems describe the beauty of nature, the tragedy of her lost loves and responses to famous classic Chinese poems and literature.

She died in 1560.

Misunderstood

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16 Misunderstood

NARROW M E D I A P O R T R AYA L

T

Photo by MJ Kim

hroughout Korean history, a

to this, the role of kisaengs greatly decreased but the

exist; however, it is important to remember their

woman’s self-worth and honor

Korean fixation with sexual abstinence remained.

culture and history. Kisaengs, as women, carried so

were measured by her chastity

Although the kisaengs contradicted traditional Korean

many aspects of the Korean culture. They were always

and adherence to men. Females

expectations concerning females and chastity, their

undermined and underrepresented just because of their

have consistently been

existence is indicative of the emotional and sexual

gender and status. Unprecedented demand for sexual

expected to be obedient, fertile,

oppression that has pervaded throughout Korean

services caused the South Korean prostitution industry

impalpable, and above all, sexually abstinent. The

history, one of the ramifications of which has been a

kisaengs, however, contradicted Korean expectations

thriving contemporary prostitution industry.

for women; for hundreds of years, they served as

The media is also responsible for their deteriorated

“Sell your voices, not your bodies.”

sexually promiscuous performing artists who offered

reputation. A lot of movies and TV series focused on

intelligent and charming company to wealthy and

the sexual attractiveness of kisaengs. There are only a

to expand, and despite the emphasis placed on sexual

influential men. Due to the influx of foreigners in the

few works that truly focus on their abilities and talents.

abstinence and chastity, millions of men frequented

twentieth century, kisaengs, whose colorful

During the Japanese occupation of Korea in the early

red-light districts while thousands of women found

personalities and beauty set them apart for centuries,

1900’s, the kisaengs were no longer supervised by

employment in sexually oriented establishments. Due

were reduced to the same status as common

the government. Instead, different groups of people

to this, the role of kisaengs greatly decreased but the

prostitutes. Unprecedented demand for sexual services

interfered with the business and began to implement

Korean fixation with sexual abstinence remained.

caused the South Korean prostitution industry to

prostitution. This is one of the reasons why kisaengs

Although the kisaengs contradicted traditional Korean

expand, and despite the emphasis placed on sexual

are viewed as sex icons of the Korean history. Because

expectations concerning females and chastity, their

abstinence and chastity, millions of men frequented

of both internal and external elements, the kisaengs

existence is indicative throughout Korean history,

red-light districts while thousands of women found

began to lose their foundation and branched into

one of the ramifications of which has been a thriving

employment in sexually oriented establishments. Due

different paths. In the present day, kisaengs no longer

contemporary prostitution industry.

Misunderstood 17

Giving a contemporary taste to traditional clothing isn’t always disrespecting the This is a movie poster.

Although the movie does not portray a kisaeng specifically, the art definitely uses the looks of kisaengs including vibrant garments and red lips.

culture; however, many artists are influenced by the sensual atmosphere of kisaengs and their outfits.

18 Misunderstood

Love in the Moonlight (2016).

This was a scene in a very popular Korean TV show.

Once again, kisaengs are often portrayed in single rooms with emphasized cleavage, waiting for a man.

Misunderstood 19

The Treacherous (2015).

This movie highlights a king that turned a govermental area into a pleasure house.

Although it’s based on a true historical event, women are once again sexualized and fantasized with lavish colors and settings instead of staying true to history or accurate storytelling. Still, this movie got a lot of sales.

Korean Geisha Siwoo Kim

Influence on Modern Society

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22 Inf luence on Modern Society

Many famous fashion shows in Korea started to incorporated modernized hanbok. By using hanbok structures as the major theme and adding modern touch, designers were able to accentuate the beauty of traditional clothing in a contemporary manner.

THE CURRENT B E AU T Y S TA N DA R D

F

air skin, a well-defined nose,

and the bodhisattva Aryavalokitesvara; the “virtuous

peachy cheeks, and cherry-red

women” and “temptresses” of legends; as well as

lips. For thousands of years, Korean women have favored this standard of female beauty with remarkable consistency.

This standard has certainly not been immune to the passage of time, and modern-day advancements such as plastic surgery mean that women can beautify

“ This especially captures the true Korean Beauty.”

themselves beyond the appearance given to them by

Photo by MJ Kim

many of the traditions and dances have been lost forever.

Some South Korean business circles escort visiting foreign businesspeople to a kisaeng house, virtually a modern

nature. Nonetheless, scholars and scientists today

modern-day beauties that dominate Hallyu, or the

interpretation or a shadow of the kisaeng house in the past.

reveal that there is an unchanging set of values that

Korean Wave. This journey will be captured

Today the kisaeng’s evolution and impact on Korean society

continue to define the Korean aesthetic. Thus, the

in “Korean Beauty” with the aim of going beyond the

has been receiving renewed attention as Koreans devote

art and stories that were passed down for hundreds

façade and demonstrating the strength and inner

increasing efforts to rediscovering and re-invigorating their

and even thousands of years in the culture display a

beauty of Korean women to not only the young

cultural and historical heritage. That interest focuses almost

common thread when it comes to the ideal concept

Korean generation, but also a global audience that is

entirely on the historical kisaeng of the Joseon period,

of female beauty.

getting to know Korea. This documentary will also

ignoring the traces of the kisaeng which endure today. Now,

Asia Society Korea Center has embarked on a journey

help people from around the world to delve deeper

times have changed and obviously the beauty standards have

to explore that thread of beauty throughout Korea’s

and encounter the unfamiliar treasures of Korean

as well, and many of the traditions and dances have been

history, from painter Shin Yun-bok’s famous Portrait

culture and history for the first time. Few traditional

lost forever. Some South Korean business circles escort

of a Beauty to studying the altar portrait of Buddha

kisaeng houses continue to operate in South Korea, and

visiting foreign businesspeople to a kisaeng house.

Inf luence on Modern Society 23

CONTEMPORARY ART Hyunjung Kim’s Swag or Die series instantly became popular amongst the people in Korea. She is an artist who put a very contemporary twist to Korean art.

She created interesting concepts by combining daily activities and the traditional Korean art. The colorful and lavish culture of kisaengs influenced this talented artist to truly bring out best pieces to the public. There are also other artists who explore this theme and make it there own. Hyunjung Kim is only one of the many artists who recieved great recognition who gave a fun, artistic modern alternation to traditional kisaengs and the clothing they wore.

Swag or Die: Get Set Ready!

Swag or Die: Naive Lady

by Hyunjung Kim

by Hyunjung Kim

24 Inf luence on Modern Society

TWIST ON HANBOK Many designers began to embrace traditional elements with the combination contemporary garment patterns and accessories. Usually, they go for the unbalanced look where they seem to keep traditional ways but also escaping from it. While maintaining the kisaeng make-up that consists of crescent-shaped eyebrows, the model hear wears trendy colors of Korean make-up.

There was a boom of wearing orange and peach colors during the spring and the summer season, so this photo portrays a great balance of traditional and modern beauty. While maintaining the kisaeng make-up that consists of crescent-shaped eyebrows, the model hear wears trendy colors of Korean make-up. There was a boom of wearing orange and peach colors during the spring and the summer season, so this photo portrays a great balance of traditional and modern beauty. Many designers began to embrace traditional elements with the combination contemporary garment patterns and accessories. Usually, they go for the unbalanced look where they seem to keep traditional ways but also escaping from it.

Inf luence on Modern Society 25

Many photographers and models have been recreating hanbok. Although it’s important to preserve the traditional aspect, modernizing it in an artistic, thoughtful way helps the current society to look back at the culture with a new perspective.

Photos by Big Issue Magazine

26 Inf luence on Modern Society

D A I LY H A N B O K What is daily hanbok? There is not much that changed except that daily hanbok has more contemporary patterns and shorter skirt length. Many celebrities started to promote everyday style hanbok and many women were influenced to wear them in a daily basis.

Although there are daily hanboks for men, women commonly wear daily hanboks. It is also popular for couples, friends, and families to gather and visit historical reservations all over the country while wearing casual or traditional hanbok. Influenced by such trend, tourists from other countries also enjoy this activity and truly embrace and experience the Korean culture. A daily hanbok uses the full skirt and the cropped jacket as an inspiration, but with lighter, more breathable materials and modern patterns! It is a beautiful way of incorporating colors and designs into your daily wardrobe, and you don’t need to wear it together. Most of these beautiful hanbok stores like to incorporate the use of bold colors. So the daily hanboks will also be in the shades that are “in fashion�.

It is also popular for couples, friends, and families to gather and visit historical reservations all over the country while wearing casual or traditional hanbok.

Influenced by such trend, tourists from other countries also participate in this activity and truly embrace and experience the Korean culture.

Photos by Marie Claire Magazine

Inf luence on Modern Society 27

The daily hanbok incorporates separating the skirt and the top. Women wear the skirt more commonly because they can match the skirt with any top they want.

28 Inf luence on Modern Society

Daily hanbok literally means hanbok you can wear on a daily basis. Utilizing the traditional texture and the ribbon, designers have made the skirt into pants. Pairing with a floral print blouse, there is a perfect combination of both traditional and modern taste.

Inf luence on Modern Society 29

Daily hanbok can also produce a very elegant, classy look.

Depending on the color scheme and the items one match their daily hanbok items with, the atmosphere can be drastically different.

Hanbok can be used for such diverse occasions.

Photos by MJ Kim