Koreana Autumn 2006 (English) by The Korea Foundation

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BEAUTY OF KOREA

TTEOLJAM

Circa 1750. Height: 4.4 cm , Diameter: 6.7 cm, Le ngth: 11 cm . Amore Museum

T he development of accessories and cosmetics is a natural by-product of women's desire for personal beauty. Women of the Joseon Dynasty [1392-1910) were known to devote an inordinate amount of time and effort to the arrangement of their hair. They put their hair up and placed a large braided hairpiece on top of the head, along with decorating the hairdo with a number of pins, of which the most elaborate were called tteoijam. The queen and women of the upper class would wear tteoljam on ceremonial occasions. One was usually placed at the peak of the large braid, and sometimes one at either side, creating an air of refined elegance and beauty. The pictured tteoljam piece was worn by Princess Hwasun, the

daughter of King Yeongjo [r. 1724-1776). when she got married . The white jade base, in the shape of a flower, is decorated with coral, agate, ruby, and amazonite. Four butterfly ornaments and small coral beads and pearls are attached to the base with thin strands of silver. As the wearer moved, the butterflies and jewels shimmered brilliantly and seemed to flutter about, hence the name tteoljam, or "fluttering hairpin." The tteoljam is especially eye-catching when the wearer moves, causing the ornaments to flicker gracefully. The remarkable attention to detail and effort that went into the design of tteoljam, and the subtle movement of the ornaments, reflect the tremendous pride with which Korean craftsmen went about their work. 1.1

Korean a

Korean Art & Culture Vol. 20, No . 3 Autumn 2006

PUSAN 8

International Film Festival 8

World's Most Fanatical Film Festival I Kim Ji-seok

PIFF: In Constant Pursuit of Something New I Pusan International Film Festival Public Relations Team

Koreana Internet Website http ://www.ko reana .or.k r

Cinema Celebrities Share their Thoughts on the PIFF I Compiled by Lee Young-jin and Kim Do-hun

Busan: Host City of the Pusan International Film Festival I Choi Hak-lim

of the Korea Foundation. The opinions expressed by the authors do not

necessarily represent those of the editors of Koreana or the Korea Foundation.

Koreana. registered as a quarterly magazine with the Ministry of Culture and Tourism {Registration No. Ba-1033, dated Aug . 8, 1987), is also published in Chinese, French. Spanish. Arabic.

Russian. Japanese, and German.

FOCUS

Build on Cheonggyecheon Restoration to Create a Greater Seoul I Kim Seok-chul 30

INTERVIEW Shin Sun-hi

Scenographer Who Is Now President of the National Theater of Korea I Kim Moon-hwan

Cover: Now in its 11 th year. the Pusan International Film Festival [PIFF) has

become a must-attend annual event for movie fans and Asian filmmakers alike.

Indeed, the PJFF has not only expanded its movie fare but also its commercial function

ARTISAN Chung Choon-mo

as an indispensable venue for the promotion

Perseveres in Making the Traditional Horsehair Hat 40

ChoiTae-won

Photo: PIFF

MASTERPIECES lnwangjesaekdo

True-view Landscape Painting of Jeong Sean 44

of Korean and Asian film projects.

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Lacquer: Natural Essence of Lacquer Art 56

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ON THE GLOBAL STAGE Kim Joo-won

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success. Until then, few Asian producers and directors knew how to mobilize project investors or even make a professional presentation . Through the PPP, they were able to learn such skills, and not only secure funding for their projects but also reap valuable public relations benefits. International investors found t he PPP to be attractive as well. Interest in Asian fi lm had been on the rise since the 1980s, when the Asian film industry came into the limelight, but there was no convenient means to acquire information on new Asian projects and lesser-known moviemakers. Through

nitially, the Pusan International Film Festival

_the PPP, investors have been able to identify viable

[PIFFJ was modeled after the prominent film fes-

projects and develop relations with talented produc-

tivals of Europe. But it has since sought to differenti-

ers and directors. By presenting a variety of semi-

ate itself from other film festivals by focusing its at-

nars and round tables, the PPP also played an in-

tention on supporting the advancement of Korean

strumental role in upgrading the Asian film industry

and Asian film. As such, the challenge for the PIFF

to the next level. By 2005, when the eighth session

was to stand out from existing events of this kind,

was held, it had expanded to include 27 invited proj-

such as the Hong Kong International Film Festival,

ects, 1,100 guests of 320 businesses from 30 coun-

Fukuoka International Film Festival, and Udine Far

tries, and 600 exploratory discussions.

East Film Festival.

Of note, in 2006, the PIFF will launch a full-service marketplace for film: the Asian Film Market. In

Asian Film Market

conjunction with the PPP and the Busan Internation-

The Pusan International Film Festival, after un-

al Film Commission & Industry Showcase [BIFCOM,

dergoing a dramatic evolution involving several

a location and film industry exposition hosted by the

stages, has succeeded in carving out a distinctive

Busan Film Commission). the Asian Film Market will

niche of its own. It began as a noncompetitive film

serve as an all-in-one venue, including the traditional

festival that sought to present mainly Asian films and

function of a film marketplace. In light of the remark-

to help discover new Asian directors. At this stage, it

able success already achieved by the PPP and BIF-

was quite similar to the film festivals of Hong Kong

COM, the Asian Film Market seems destined to open

and Fukuoka. The only striking difference was that it

another new era for the Asian film industry.

focused more attention on uncovering new talent through a competitive section for up-and-coming Asian directors known as "New Currents. "

Cultivating New Talent

Besides serving as a showcase for Asian films

However, the PIFF began to blaze a new trail,

and bolstering the development of Asia's film indus-

compared to other film festivals, when it introduced

try, the PIFF pursues another objective: the cultiva-

a marketing initiative called the Pusan Promotion

tion of new Asian movie talent. Just as the Berlin In-

Plan [PPP]. In particular, the PPP was designed to

ternational Film Festival endeavors to foster interna-

help Asian directors overcome the fundamental ob-

tional movie talent through its workshop program ,

stacle of attracting sufficient investment funds to get

Talent Campus, the PIFF strives to develop Asian

their projects off the ground. At its first session in

movie talent through its Asian Film Academy [AFAJ.

1999, the PPP arranged 180 meetings between po-

Introduced in 2005 to mark the 10th anniversary of

tential investors and producers/directors, which re-

the PIFF, for its inaugural session, the Asian Film

sulted in negotiated agreements for 16 Asian film

Academy conducted a three-week training program

8 Koreana I Autumn 2006

led by Taiwan 's world-class director Hou Hsiao-

special advantage that differentiated the PIFF from

hsien, along with instructors such as Korean director

other film festivals. In fact, a journalist has pro-

Park Gi-yong, Thai director Nonzee Nimbutr, Hong

claimed the PIFF as the "most fanatical film festival

Kong director Nelson Yu Lik-wai, and Korean cine-

in the world ."

matographer Hwang Gi-seok, who shared their ca-

To build on this passionate audience support,

reer experiences with 28 filmmaking aspirants se-

the PIFF has made every effort to strengthen a sense

lected from all over Asia .

of community between the supplier of films [the film-

With the language, culture, and customs of Asia

making industry) and the consumers [the movie-go-

being more diverse than those of any other continent,

ing audiences). In line with this approach, the PIFF

it was no easy matter for Asia 's film students to freely

launched its now-celebrated programs "GV" and "DC

exchange ideas, but the AFA provided an invaluable

[Director's Choice)." Moreover, the number of tickets

opportunity for building personal networks and

allocated to the general public has been strictly

broadening their understanding of Asia . If the PPP

maintained in consideration of this primary focus on

and the Asian Film Market reflect the current state of

event-goers as well.

Asian film, the AFA is a window to the future of the

Most major film festivals have found that, as

movie industry in Asia . In this way, the PIFF has cre-

they expand and become more popular, the number

ated an identity quite distinctive from that of other

of representatives from the film industry and the me-

film festivals through its three central functions : a

_dia will increase sharply, making it necessary to allo-

showcase for exhibiting and publicizing Asian films, a

The fanatical

cate fewer tickets to the general public. Although this

venue for broadening and reinforcing the personal

enthusiasm of its

trend is also true at the PIFF, it has not reduced the

networks of the Asian film industry, and an academy

participants is a

number of tickets for general audiences, but instead

for cultivating new talent and facilitating exchange .

unique advantage

has arranged for additional screenings for industry

Over the past ten years, Asian films have enjoyed

that has enabled

and media people. After all, the loyalty of regular fes-

tremendous popularity on the global scene , which

the Pusan

tival-goers is a cornerstone of the PIFF's overall suc-

has been realized in parallel with the growth and suc-

International Film

cess . Also contributing to the festival's sustained

cess of the Pusan International Film Festival.

Festival (PIFF) to

growth has been the government's willingness to ex-

distinguish itself

tend support but not interfere, which would have

Pillars of Success

There are several factors behind the noteworthy

from other simi-

been unimaginable in Korea ten years ago, along with

lar events of this

the tangible and practical support of the festival's

successes of the PIFF. Above all, the key factor is the

kind. In fact, the

sponsors and the keen interest of the local media in

fanatical enthusiasm and support of the festival-go-

PIFF has been

Korea 's first truly international film festival.

ers. Audiences at the PIFF are truly unique from

proclaimed the

those of other film festivals. They tend to be younger

"world's most

center of gravity from a typical festival toward becom-

and more energetic, yet orderly. In the early days of

fanatical film fes-

ing the lifeblood of the Asian film industry. This re-

the festival,. when access to international films was

tival."

flects the determination of the organizers to have the

limited, the PIFF satisfied the thirst of moviegoers

Over the past decade, the PIFF has shifted its

event contribute significantly to the overall develop-

who sought to see new and novel films. For these au-

ment of the Korean and Asian film industry by bol-

diences, the PIFF was much like a desert oasis.

stering its commercial function along with its basic

The festival venue came to be like their adopted

cultural role.

hometown, where they would visit once a year, or

The festival thus intends to continue to fulfill the

even like a most holy site [for crazed fanatics). to

functions that it has so diligently satisfied thus far, in

which they embarked on an annual pilgrimage .

terms of serving as a regular venue for audiences to

Bound by a common appreciation and love of film,

revel in the entertainment and excitement of a film

they created an audience culture of their own. They

festival, moviemakers and investors to conduct busi-

exchanged information with each other about the fes-

ness, and film aspirants to cultivate their skills and

tival, and would stay up all night to secure choice tick-

pursue their dreams. In addition, the construction of

ets. They contributed to the "Guest Visit" [GV) with

the Pusan International Film Festival's own building,

thoughtful feedback, demonstrating that they regard-

the PIFF Center, scheduled for completion in 2010,

ed themselves as having vested rights in the festival.

will provide further impetus for the continued realiza-

The fanatical devotion of its participants became a

tion of these ambitions and visions of the PIFF.

10 Ko rea na I Autumn 2006

Autumn 2006 I Koreana

12 Koreana I Autumn 2006

Autumn 2006 I Koreana

hen the calendar turns to October, Korea 's

documentary film festivals, where they have captured

port city of Busan [Pusan) is abuzz with excite-

various awards. For example, Taxi Blues by Choiha

ment as movie fans and film industry figures gather

Dong-ha, recipient of the Youngsan Fund at PIFF

there. Over the past ten years, some 170,000 people

2003, received the grand prize at the Syracuse In-

have crowded the city's streets for the Pusan Interna-

ternational Film Festival. Documentary devotees can

tional Film Festival [PIFFl. Korean directors such as

now look forward to seeing how well projects sup-

Lee Chang-dong and Kim Ki-duk have been intro-

ported with AND funds can compete on the interna-

duced to the foreign media through the festival, which

tional stage.

has become an instrumental channel for promoting Korean films abroad . Last year's event featured 307

Directors of Tomorrow

films from 73 countries, together with the participa-

The "Pusan Promotion Plan" [PPP). aimed at

tion of 6,000 guests from 55 countries, 1,600 repre-

upgrading the quality of Asian film, is another of this

sentatives of the domestic and foreign media, and

year's ambitious projects. The PPP's invaluable con -

about 200,000 festival-goers. But the passion and en-

tributions to the overall success of PIFF are readily

thusiasm of the festival cannot be measured by num-

evident from the list of films that have earned critical

bers alone.

acclaim, after securing project funding with the program· s assistance. Notable success stories include

'Midnight Passion'

Kim Ki-duk 's Address Unknown, which was invited to

The PIFF has grown by leaps and bounds over

compete in the main program at the 2001 Venice Film

its 10-year history. Now in its 11th year, the festival is

Festival; Lee Chang-dong's Oasis, which was invited

continuing its incredible success with the addition of a

to the 2002 Venice Film Festival where it won the

"Midnight Passion" program and the second sessions

Special Director's Award and the Marcello Mas-

of the Asian Film Academy and the Asian Network of

troianni Award for Best Young Actor or Actress ; Hong

Documentary. With every passing year, it manages to

Sang-su ·s Woman Is the Future of Man, that secured

attract growing numbers of the world's movie

project funding at the fifth PPP and was invited to

celebrities and regular visitors, who find the festival

compete at the 2004 Cannes Film Festival; and Bong

becoming ever more varied and diverse. A preview of

Joon-ho's The Host, for which funding was arranged

the new programs and major projects for this year

at the seventh PPP, that participated in the noncom-

should further add to the festival's enjoyment. The new Midnight Passion program will take

petitive division of the 2006 Cannes Film Festival, where it was well received .

over Busan·s autumn evenings with all-night movie

Other beneficiaries of PPP funding arrange-

fever. The screening of selected horror movies,

ments include Fruit Chan of Hong Kong and Zhang Ke

thrillers, and science fiction films, should provide

Jia of China, who have fared well at Cannes and the

wide-eyed entertainment for those fanatics with an

Berlin Film Festival. Based on the growing number of

insatiable viewing appetite. After the opening day,

PPP-related films that have been successfully pre-

over three days [October 13-15). a total of 12 movies

sented at international film festivals, the program has

will be shown, four each night, after the regular pre-

served as a window on little-known directors and ac-

sentations. For any movie lovers still awake in the

tors who are poised to attain worldwide recognition.

early dawn hours there is an added bonus-by simply

The PIFF welcomes the participation of young

taking a ten-minute stroll to Korea 's most popular

directors, who are just coming into their own, in such

beach, Haeundae, they can enjoy a gorgeous sunrise. Meanwhile, the Asian Network of Documentary

sections as "New Currents," "A Window on Asian Cinema" and "Critic's Choice." New Currents, the PIFF's

[AND) provides a much-needed boost for the makers

only competitive section for feature films, focuses on

of documentary films in Asia, which remains a weak

the discovery of up-and-coming directors. As for A

point in the region. In particular, this program, which

Window on Asia, it introduces the new as well as con-

strives to establish an infrastructure for the funding

troversial works of talented Asian directors, featuring

of documentary projects, has been expanded this

a wide diversity of perspectives and styles. Critic 's

year to include nine funding sources, as compared to

Choice seeks to unveil new-generation cinema artists

four in the previous year. Several works that had re-

and facilitate serious discourse between different

ceived AND funding have been shown at international

generations of film industry professionals.

14 Koreana I Autumn 2006

Autumn 2006 I Koreana

Cinema Celebrities Share their Thoughts on the PIFF

Compiled by Lee Young-jin and Kim Do-hun, Staff Writers, Cine 21

Photog raphy: Cine 2 1

16 Koreana I Autumn 2006

In 1996, European guests to the first edition

New Platform for Asian Cinema Diete r Koss lick Festival Director, Berlin International Film Festival

of the Pusan film festival, counted barely two

Panorama [Director Wieland Speck). many of

handfuls. Among them, however, were a few of

them soon managed to present their films at

my Berlin International Film Festival col-

international competitions, such as Park Chan-

leagues, such as Dorothee Wenner, who came

wook' s JSA [Joint Security Areal, one of the

back to Berlin full of elation, describing crowd-

greatest Korean box-office hits, and Kim Ki-

ed cinemas, enthusiastic audiences, and a

duk, who in 2004 was awarded a Silver Bear as

thrilling and enchanting festival atmosphere.

best director of Samaria.

Just a few years later, I had the chance to

tween Korean and German cinematography

PIFF Square in Nampo-dong, the warm-heart-

was certainly the retrospective and the Golden

ed welcoming of the international guests and

Honprary Bear dedicated to Korean Master Im

inspiring discussions at the Commodore Hotel,

Kwon-taek in 2005. Throughout the years, the

along with the public celebrating newcomers

friendships between Korean film directors,

like they would super stars.

Kim Dong-ho and his extraordinary staff, the

and at the right moment, managed to establish

Korean Film Council, and the Berlin International Film Festival have grown deeper.

the Pusan International Film Festival as a new

The Korean presence in Berlin-with Kore-

platform for Asian cinema: the wise and ener-

an films on the program, prominent jury mem-

getic Kim Dong-ho ... With a competent team at

bers such as Lee Young-ae and Oh Jung-wan,

his side, he brought world cinema to Korea and

or high-ranking experts in the Berlinale Talent

at the same time international recognition to

Campus, like Park Chan-wook-has become

Korean cinematography.

stronger and stronger.

Since then, thousands of cinema people

A definite highlight of the friendship be-

experience an expanding festival, the lively

I met the man, who with the right intuition

"···-~ -

rum [Director Christoph Terhechtel and the

As director of the Berlin International Film

from around the world flock to Busan every au-

Festival, one of my greatest honors was being

tumn. The festival has moved from the center

awarded the Korean Cinema Award at Busan

of the city to its new headquarters at Haeundae

last year. I am convinced that there is much

Beach, and it keeps on growing. Not only do

more to come in the future and the 56-year-old

Asian films start their international career

Berlinale takes great pleasure in congratulat-

here, new projects are being born , financed,

ing Kim Dong-ho and the Pusan International

and made real. Many Korean directors and

Film Festival on its 11 th anniversary. All the

producers have found their way through Pusan

colleagues of the Berlinale join me in wishing

to Berlin. Starting out with their films at the Fo-

you many happy returns and a rich future.

,._ A

Autumn 2006 I Koreana

It's Time to Show Something New Ahn Sung-ki Actor/Deputy Director, Pusan International Film Festival

I Hope to See More True Independent Films Kim Dong-won Documentary Film Director/President, P.U.R.N

As I have been assisting the PIFF director

breath, you can get indigestion. The Pusan In-

from boasting too much about it. On the other

ternational Film Festival has grown very dra-

hand, I feel awkward saying somthing negative.

matically, but if we attach too much impor-

However, one thing is quite certain. I think

tance to the size and scale of the event, the

ifs time to show something new at the Pusan

content might get trampled on. Naturally, I'm

International Film Festival, which is being held

not the only one who is worried about this. The

for the 11th time this year. Ifs not enough to

programmers and many of the staff are work-

keep saying each year that the festival has

ing hard to come up with new ideas, and I will

more films submitted and presented than ever.

be making a special effort to ensure that this

For ten years, we 've been running along al-

year's festival doesn't lose track of its original

ways looking ahead, and now ifs time to take

goal.

In the early days of the Pusan International

treatment of independent films. At one time, in-

Film Festival, the 'Wide Angle" section gave a

dependent filmmakers were saying that even if

huge boost to the independent film scene . Until

you don·t attend other film festivals, you have to

then, although many independent films were

visit the Pusan International Film Festival, and

made, there was no real venue in Korea for

you must definitely show up at its 'Wide Angle"

viewing them . Deputy director Lee Yong-kwan

party. I heard that the "Wide Angle·· party was

and programmer Hong Hyo-sook should be

made possible by an attorney who generously

praised for their valuable contributions . An

donated two million won . It was a place for in-

added bonus was that the independent films

dependent filmmakers, who had not met for a

shown in 'Wide Angle·· could reach an interna-

while, to have a drink together and freely share

tional audience. And by forging direct relation-

their concerns. It is regrettable that this spirit

ships with such events as the "Young Forum··

has now been largely lost. As the festival has

section of the Berlin International Film Festi-

grown in scale : it has become hard to find

val , the Pusan festival played an effective

··true" independent films. Even at th e "Wide An-

bridge role.

gle" party, the independent filmmakers have

I'm not the only one who appreciated the Pusan International Film Festival's positive

18 Koreana I Autumn 2006

stock of where we are. If you don't catch your

Kim Dong-ho since last year, I should refrain

become the guests instead of th~ hosts. Where did this sense of alienation come from?

Passionate Staff and Serious Audiences Wis it Sasanat ieng Film Director [Thailand]

Congratulations on the 11th anniversary of

staff members who are really passionate about

PIFF. The Pusan International Film Festival

movies, and above all, they have very serious

was the earliest international film festival that I

audiences. It is the Asia festival where I prefer

visited in my directing career. Up until now, I

to show my work to the world. Congratulations

have been there twice and every trip was ab-

once again. I look forward to visiting your film

solutely remarkable for me. PIFF is filled with

festival soon.

As an actor, I can't claim to understand film

to lots of good films, I hope it will provide a

We Need More Active Discussion of the Film Industry Choi Min-s ik Film Actor

film festivals. I don't know much about the his-

hold some serious seminars together? The

tory of its growth either. All I know is that the

Jeonju International Film Festival had a similar

Pusan International Film Festival has now

plan, but there wasn 't enough time to organize

festivals very deeply. For instance, I'm not in a

place for an adequate discussion of the film in-

position to analyze the factors that have en-

dustry and its policies. For example, instead of

abled the Pusan International Film Festival to

just telling foreign filmmakers how the Korean

achieve more outstanding results than other

screen quota has been cut down, why don 't we

clearly taken its place as one of the major film

it properly. Hopefully, the Pusan International

festivals of Asia. This must be owing to the ef-

Film Festival can help deal with this. Screen

forts of the festival director Kim Dong-ho, and

quotas are not just a Korean problem. Direc-

his programmers and staff.

tors, producers, critics, scholars, and others in-

I have my own hopes for this year's event. Besides its basic role of introducing audiences

Opening the Asian Film Market Davide Cazza ro Film Journalist !Italy]

volved in film abroad are also well aware of it. I think there is room for productive discussion.

Taking a look at the history of the Pusan In-

is programmed by critics and scholars (rather

ternational Film Festival (PIFF). it is hard to be-

than by the leaders of the film industry] who

lieve it was founded only ten years ago, and the

wisely decided to organize a mainly non-com-

first took place in the midst of budget, censor-

petitive event, focus on Korean and Asian cine-

ship, and theater problems. In the contempo-

ma , discover the films of the past, and present

rary internationalscene, this is the only festival

foreign films that for many reasons (censor-

that year by year has put forth such a wide

ship, political restrictions of the past, and so

spectrum of Middle, Central, and Far East

forth] had never been shown in the country.

Asian films, giving us the chance to follow the

The festival has also played a key role in the

rise of new Asian filmmakers and the rebirth of

national and international success of South Ko-

some national cinemas. Very few events have

rean films, making South Korea one of the pro-

been able to achieve so much in such a short

tagonists of the international film scene rather

period of time. PIFF succeeded thanks to the

than playing the role of mere observer.

stability of the organization (the founding

The future? At the moment, there are no

members still occupy the same positions). the

clouds on the horizon, even if the ambitious

programs for the promotion and development

launch of the Asian Film Market seems to con-

of Asian cinema, the variety of the selection

firm that PIFF wants to grow even more in

(marked by an absence of Hollywood features).

scale and prestige . I hope the PIFF organizers

and the relationship with the city of Busan, the

will not forget that the festival has still a long

perfect location for this event.

road to travel, which should be trod slowly.

It is also important to note that the festival

Autumn 2006 I Koreana 19

Secret of Success Isa Differentiated Concept Hwang Woo-hyun Film Producer/President, Tube Pictures

For a good response, what's most impor-

Today, however, the Pusan International

tant is a differentiated concept. From the be-

Film Festival is not the only international film

ginning, the Pusan International Film Festival

festival in Korea . Even so, it continues to draw

drew a clear line between itself and the other

crowds. How can this be explained? It can only

international film festivals that had already

be understood as the triumph of a concept. It

been underway in various Asian countries. In-

was possible only because there were people

stead of borrowing the glory of a famous star

involved with the festival who had read this

just for the opening ceremony, the PIFF set its

correctly. This year, it has been announced that

sights on energizing Asian film by striving to in-

the Pusan International Film Festival will oper-

troduce filmmakers and their works. This

ate a regular film market. If ifs just being done

strategy still seems effective today. Every year,

to show that the festival has everything, that's

I feel that the Pusan International Film Festival

unfortunate, and it wouldn 't be reasonable to

is a true festival of film that brings the joy of

expect great success from the first year. Once

viewing to the film makers themselves as well.

again, the important thing is the concept. How

The remarkable phenomenon of audiences

will this be differentiated from other markets

flocking to the festival in its early years seems

operating around the same time? That's the

perfectly understandable when you consider

challenge for the Pusan International Film

that there were not many cultural events in Ko.-

Festival, and ifs also a factor that will continue

rea at the time that excited audiences that

to bring us excitement.

much.

Toward Rebirth asa Newand Exciting Party Lee Jae-yong Film Director

One of the achievements the Pusan In-

meet the big names at the major film festivals

ternational Film Festival has made over the

of Cannes and Berlin, but could take the oppor-

past ten years is the building of personal rela-

tunity to meet with them in Pusan .

tionships among Korea 's filmmakers. Although

Quality programming is naturally a goal

most of them worked in Seoul, filmmakers

that must be pursued by any international film

didn't know how to exchange ideas with each

festival. But another important function is to

other and work together to achieve their objec-

enable large numbers of viewers and filmmak-

tives, but with its festive party atmosphere, the

ers to exchange ideas and enjoy themselves. I

Pusan International Film Festival enabled

hope the P\.Jsan International Film Festival will

them to build friendship and trust. For many

provide more novel and diverse parties. I hope

years, Korean filmmakers had thought of in-

that the PIFF, after ten years of experience will

ternational film festivals as someone else 's

do away with the customary and predictable

party, to which few were invited. But the Pusan

events and make them more enjoyable like

festival provided such an opportunity for Kore-

parties. A Pusan party could also become a

an filmmakers and helped to make Korean

place to make Korean food and culture more

film part of the worldwide film scene. This hap-

widely known, and to draw inspiration from the

pened because, when Korea became a host for

close yet unfamiliar cultures of other Asian

international exchange, Korean filmmakers no

countries.

longer needed to travel to distant Europe to

20 Ko reana I Autumn 2006

Concentrate on Finding More Diverse Films Jeong Tae -sung Managing Director, Showbox

Eleven years ago, no one could have foreseen the success of the Pusan International

From the third festival on, the Pusan Pro-

taking very little time to accomplish its objective

motion Plan (PPP] helped to boost the quality

of becoming a hub of the Asian film world. Of

content of Asian film . It allowed Asian filmmak-

course, external factors have also contributed

ers to produce films by arranging meetings

to its success . Singapore, Tokyo, and Hong

with investors, and through this the Pusan In-

Kong already had film festivals in which the

ternational Film Festival has continually gener-

emphasis was on large-scale events. Moreover,

ated noteworthy films. Supporting and encour-

Asian films were continuing to attract the inter-

aging filmmakers was also an effective investment for the festival itself. In ten years, there

Given that there was no festival in which the

are bound to be ups and downs, not just for a

leading Asian films could all be seen in one

film festival but for any business. The solution is

place, the PIFF"s strategy of putting its maxi-

the same now as it was ten years ago. To move

mum effort into programming was just perfect.

forward, the focus must be on discovering new

Hungry for new cultural experiences, Korean

Asian filmmakers and more diverse films.

' ltsuko Hira i Film Journalist (Japan)

buffs from overseas.

Film Festival. But it has been highly successful,

est of moviegoers worldwide.

Cannes Film Festival of Asia

audiences flocked to Busan, and so did movie

When I came to the Pusan International

val without too much attitude. There is no doubt

Film Festival some years ago, I was highly im-

that the PIFF has played a very important role

pressed by the wonderful Haeundae Beach. My

in the recent international success of Korean

Japanese colleagues instantly exclaimed: "'This

films. And there is also no doubt that young Ko-

is the Asian Cannes Film Festival!" And as I ex-

rean film connoisseurs are the key to its suc-

perienced the festival more, I really could see

cess. Sadly, you do not see such audiences at

why PIFF was really an Asian version of the

film festivals such as the Tokyo Film Festival.

Cannes Film Festival. Lots of important people

I have not been to PIFF every year. But I am

from all over the cinema world were walking

sure that the festival will make progress each

on the beach and talking about movies all night

year because of the boundless enthusiasm of

long every day.

the domestic audiences and international

More importantly, there was so much ex-

guests. I personally have strong expectations

plosive enthusiasm and pride among the audi-

about the new Asian Film Market. Of rnurse, it

ences (who are just normal Korean people that

will be the next key to the growth of the PIFF,

are connoisseurs of good film]. Yes! I would say

as the festival never seems to lose its wonder-

again that PIFF is the Asian Cannes Film Festi-

ful Korean audiences.

Autumn 2006 I Koreana 21

22 Koreana I Autumn 2006

are centered, there is much for. visitors to see and enjoy in and around : ,,

Au tumn 2006 I Koreana 23

24 Koreana I Autumn 2006

Sea Art Festival of the Busan Biennale is presented in

For an overview of the past 70 to 80 years of

autumn . At Taejongdae, its majestic coastal cliffs,

modern art in Busan, you should stop by the Busan

which have been naturally carved by the relentless

Museum of Modern Art. As for performing arts, in-

wave action, make this area one of the most popular

cluding music, dance, and drama, local venues in-

scenic spots in Korea. The sun rising from the sea

clude the Busan Cultural Center, Busan Citizens·

can be enjoyed from Haeundae, while Dadaepo offers

Hall, Geumjeong Cultural Center, and Eulsukdo Cul-

a vantage point for observing the sun's descent into

tural Center. A wide variety of cultural events are held

the ocean. There are few locations like Busan where

at the Pusan Democracy Park, which commemorates

sunrise as well as sunset over the ocean can be

Busan·s struggle for democratic principles.

viewed all year-round . Another favorite attraction is Dalmaji Hill, over-

Jagalchi Market

looking Haeundae. Comparable to Germany's Lorelei

When describing Busan, it is essential to men-

Cliff on the banks of the Rhine River, the hill's forest

tion Jagalchi Market. This fish market is renowned

trail provides spectacular views of the ocean of awe-

for the '"Busan fishwives" and their resilient lifestyle.

inspiring splendor. Dalmaji (Moon-viewing) Hill was

The Jagalchi fishwives are legendary for their ability

so named for its memorable scene of silvery moon-

to support a family, and even send their children to

light glistening on the seawaters on a clear night. It

college, by operating a small-size stall in the market.

also serves as Busan·s '"hill of art, " where the city's

During the Pusan International Film Festival each

art galleries are clustered together. Along the coast-

year, the area around Jagalchi Market hosts an '"Oiso

line of Gwangalli, the 7.4-kilometer-long double-deck

Boiso Saiso" festival, which in the Busan dialect

Gwangan Bridge stands proudly above the ocean, like

would be translated as '" come, see, buy.'"

a monument to humankind's ability to overcome the natural elements.

As for eating in Busan, people invariably think of

hoe; fresh fish fillet that is sliced in a prescribed manner and eaten raw with condiments. Busan·s hoe

Cultural Diversity

is favored for its freshness, making its way from the

Busan is situated among rivers and mountains

docks to the table in a matter of hours. Hoe is avail-

as well as the ocean. The river is the 506.17-kilome-

able everywhere in Busan, but there is a saying that

ter-long Nakdonggang, the longest river in South Ko-

you cannot claim to have visited Busan unless you en-

rea, whose lower reaches flow through Busan before

joy fresh hoe at Jagalchi Market.

meeting the sea. Like the Seine in Paris or the

From Sanbokdoro, you can look out at Busan

Thames in London, the Nakdonggang is a landmark

Harbor, Yeongdo, and the Busan coastline. But of

river that has flowed with the currents of history. Bu-

greater significance are the houses huddled together

san· s most prominent mountain is Geumjeongsan.

on the slopes of the hillside, and the gentle curves of

Although only 801 meters in height, it includes broad

the neighborhood alleyways. At this community,

slopes that are crisscrossed with dozens of hiking

which emerged from the endless streams of

trails, where you can truly appreciate Korea's natural

refugees who sought safe haven in Busan during the

scenery. Along with being a source of recreation for

Korean War, you might be able to sense the hard-

Busan residents, the mountain is home to Beomeosa

ships and vicissitudes of life that the Busan people

Temple that boasts a 1,500-year history. Moreover,

had once endured. 1..1

Beomeosa is a treasure trove of National Treasures, with a distinctive outer gate of unusual proportions. Evidence that people have lived in the Busan area since the Palaeolithic Age can be seen in the prehistoric relics displayed at the Busan Museum. The Bokcheon Museum is a specialized museum dedicated to the ancient tribal states of Gaya (42-562). Of note, you can admire the glory of Geumgwangaya, the state that dominated the Gaya Federation in the early Iron Age. On a nearby hillside, the museum has reconstructed a Gaya-era tomb.

Autumn 2006 I Koreana 25

FOCUS

Build on Cheonggyecheon Restoration to Create a Greater Seoul The Cheonggyecheon Restoration Project, which began in the summer of 2003, resulted in the return of this long-storied stream to the daily life of Seoul residents in October 2005. It would thus be timely to build on this momentum to create a "Greater Seoul." Kim Seok-chul Architect/Professor, Myongji University Seo heun-kang Photograph er

ix hundred years ago, the site of today's Seoul was selected for the development of a new capital based

on pungsu [fengshui] principles and its topographical advantages, in which nature and humans could flow along harmoniously. From the outset, Seoul city has been influenced by the flow of its waterways. From maps of Seoul produced during the Joseon Dynasty era [1392-1910]. you can see the ways in which the residents relied on the various waterways for their everyday life. Stream for Residents

Waterways have long served as both the infrastructure and superstructure of notable civilizations. The Thames of London, Seine of Paris, and Grand Canal of Venice are prominent examples of well-known urban waterways. As for Seoul, Cheonggyecheon was not a river but a stream that flowed through the city center, which was surrounded by fortress walls during the Joseon Dynasty. Therefore, the restoration of Cheonggyecheon should be undertaken in conjunction with that of its tributary sources in order to allow rainfall and spring water to naturally flow into Cheonggyecheon . As such, the existing situation, in which water must be diverted from other sources to assure the flow of its water, is an artificial process. Consequently , the original objective of the Cheonggyecheon Restoration Project can be attained only 26 Koreana I Autumn 2006

when rainfall and underground water from within the former city fortress area are allowed to flow freely along their natural courses. The Cheonggyecheon restoration has dramatically transformed the surrounding areas. Before the restoration work, the Cheonggyecheon area was the center of small businesses in Seoul. Although the majority of these businesses were small-scale and had little capital at their disposal, they nevertheless played a vital role in the Seoul economy. However, concerns have emerged, in the aftermath of the Cheonggyecheon restoration, that the longtime small-industry structure of this area will collapse, only to be replaced by high-rise commercial buildings. In order to assure that the primary goals of the Cheonggyecheon restoration project can be realized, the government should purchase the lands in the Cheonggyecheon area so that public access and usage can be guaranteed, rather than having it controlled by private interests.

•

• • •

• •

\ :..:

Natural and Historical Former Seoul To build on the positive momentum of the Cheonggyecheon project and achieve one of the stated objectives of restoring Seoul to the historical state of its fortress days, the Cheonggyecheon area should be divided into two sections: an urban stream-the Cheonggyecheon that wound its way within the walled city, and the Cheonggyecheon outside the urban center-a 10-kilometer-long natural stream comprised of 14 tributaries that flowed toward the Hangang River. Therefore, if restoration of the Cheonggyecheon that flowed within the city fortress is related to efforts to restore Seoul to its historic state, the revival of the other Cheonggyecheon section should be geared toward a resurrection of the original water flow system and creation of an urban waterfront. For the Cheonggyecheon Restoration Project to help revitalize the entire city, conservation and restoration plans must be carried out simultaneously in

The restoration of Cheonggyecheon was undertaken as part of efforts to revive Seoul's historic character and natural environment, along with renovating the long-languishing Gangbuk area. However, in large part, the project has been focused on urban renewal and landscape enhancement.

order to create a Seoul, like that which existed within the fortress walls, into an urban center that can harmoniously integrate its modern-day functions with its historical character and natural environment. Efforts to resurrect the traditional Seoul that existed within the fortress walls were discussed as an agenda item during the 2000 Venice Biennale. In particular, proposed concepts included efforts to: 1I establish the area

28 Korea na I Autumn 2006

from Gyeongbokgung Palace to Sungnyemun Gate as Seoul"s landmark thoroughfare, 2] develop the Bukchon area, located between the Gyeongbokgung and Changdeokgung palaces, into a historical and cultural zone, 3] remove the Cheonggyecheon road and overpass so that the Chenggyecheon waterway can be revived, 4] establish the Yulgongno and Toegyero areas as a green urban industrial area, and 5] create a new cultural and corn-

mercial zone by linking the Dongdaemun comn:iercial district with the cultural facilities of the Jangchungdan area. The city of New York [Manhattan) has been recognized as a representative 20th century civilization as a result of its designation as a special urban zone. Similarly, London's emergence as a global financial center was fac ilitated by the application of special zoning regulations under its "CITY" initiative. In addition, Beijing was able to become a global city thanks to the efforts aimed at preserving and restoring its status as a historical city, which included the designation of historic urban areas as special zones. For Seoul, a special urban zone could be established to generally coincide with the area within the former fortress walls. Most of the city's major public facilities are situated within the Former Seoul area, which features 600year-old fortress walls, gates, and seven palaces that have retained their original design. A special zone of this kind would not only conform to the city's historic and natural characteristics, but also have the restored Cheonggyecheon flowing through its center, while also enabling Mt. Bukhansan and Mt. Namsan to be integrated into the urban core. Greater Seoul Area

Another task that should be simultaneously implemented with the Cheonggyecheon restoration is the formulation of a master plan for the area north of the Hangang River, which is generally referred to as Gangbuk. Various plans have been drawn up for the redevelopment of areas of the Gangbuk district. However, without fundamental urban structural reforms or the assurance of urban content, it will be difficult for such efforts to result in more than typical redevelopment projects that turn a lowdensity residential neighborhood into a high-density area. To date, development of the Gangbuk area has been focused on sporadic construction of individual sites that serves to replace low-profile residential areas with highrise apartment complexes, along with the building of residential and commercial projects clustered around subway stations. The urban potential of the Gangbuk area lies in Mt. Bukhansan, the Hangang River, and the Former Seoul fortress area. As such, the master plan for Gangbuk needs to fully capitalize on these three factors. For example, waterfront areas, where lower reaches of the tributary water-

ways, including Cheonggyecheon, meet the Hangang River, and Mt. Bukhansan need to be linked to the inner city through its connection to the Hangang River. The renovation of Gangbuk will be bolstered by linking the Hangang River with Mt. Bukhansan, and designing a Gangbuk boulevard that would straddle the Hangang River, so as to integrate the urban infrastructure with the city's cultural resources. And at the heart of this Gangbuk boulevard would be the Cheonggyecheon. The first priority for achieving a grand re-creation of Seoul involves the development of an overall spat ial framework that can be easily understood by the general public. In this regard, the compilation of information related to the history, geography, and culture of Seoul as well as the establishment of its own urban systems are essential tasks. Whereas the historical urban zone known as Former Seoul, encompassed within the fortress walls , would include Cheonggyecheon, as for the Greater Seoul area, with its population of 10 million residents, it would be centered on the Hangang River. Just as Cheonggyecheon did not become a superstructure of the city fortress, the Hangang River, which should be the most significant superstructure of Greater Seoul, remains an element of the urban landscape that has for the most part been overlooked . Once the natural, geographical, and cultural resources of the Former Seoul area have been returned to their original state as a result of the Cheonggyecheon restoration, efforts should then be focused on developing the Hangang River into a core urban space of the Greater Seoul area. The Cheonggyecheon project is intricately'linked to the Former Seoul special zone, the master plan for Gangbuk, and the restructuring of a Greater Seoul area, centered on the Hangang River . Although the Cheonggyecheon project is itself of much significance, subsequent follow-up measures, while being inherently more complex, will be even more far-reaching. The Cheonggyecheon restoration should be more than a three-year project to revitalize the stream alone; indeed, it should serve as the impetus to move forward with a 10-year project to revive historical Seoul as well as a 20-year undertaking to create a Greater Seoul. ~

Autumn 2006 I Koreana 29

ents who highly valued the arts,

art school; however, on her parentsÂˇ

style scenographer, but at the same

which enabled her to Learn traditional

advice she eventually decided to ma-

time to retain her Oriental senti -

dance and percussion music at

jor in English. When she entered the

ments . Shin affectionately recalls

home, and make her first stage ap-

University of Hawaii's drama depart-

how her professor patiently Listened

pearance at the tender age of three.

ment in 1968 to pursue a master's

to her rant and rave for two hours

Moreover, her family's frequent relo-

degree, she had decided on becom-

about the frustration she had experi-

cation around the country, due to her

ing a playwright. Although initially

enc~d due to the overwhelming tech-

father's various assignments as a

frustrated by the language barrier,

nological complexity of Western-style

military officer, enabled Shin to

while attending undergraduate

stage. Furthermore, she remembers

amass a wealth of experience. In the

courses, such as acting, puppet the-

how her professor welcomed her re-

third grade of middle school, while

ater, and dance, she soon found her-

turn with open arms after she had

attending a dance performance by

self investing all her energy into

abruptly decided to leave the field of

Jose Limon to the music of Bach 's

stage design after her talent was rec-

scenography and focus on painting as

Prelude, Shin suddenly found herself

ognized by a design professor.

she wandered about Europe.

overcome with a sensation that the

After graduating from university,

stage was a miniature replica of the

she enrolled in the Lester Polakov

world .

Studio of Stage Design in 1975, where

Following her debut in Edward

Korean Cultural Roots

Nevertheless, this did not imme-

she studied theater art and scene

Franklin AlbeeÂˇs The Zoo Story, Shin

diately lead her onto a path to be-

production for five years. Polakov,

engaged in 40 different projects, in-

come a scenographer. Enamored

her professor, encouraged Shin to

cluding such art forms as scenogra-

with painting, she wanted to attend

pursue her potential as a Western-

phy, mural painting, and fashion and

32 Koreana I Autumn 2006

1 The stag e of Yeonsan, the Problematic Figure was crafted by Shin to symbolize an old house , which is eventually abandoned, and the shock exper ienced by a bamboo fo rest. 2 Bari, which features a r einterpretation of Korean exorcist tales, as told th rough the experi ences of adopted girls in the modern era , is co nsidered a benchmark of Korea n scenog raphy. 3 The musical The Tempest is an adaptation of Shakespeare Âˇs Th e Tempest that utili zes traditional Ko rean m usic.

4 The circular stag e of Bicycle was desig ned to ex press how human fate could be thoug ht of as the neve r -e nding ro tation of a bicycle w heel. 5 Seo dongyowas created based on Ko rea n fo lktales.

textile art, while living in New York

ences of her Korean culture. She has

location of the sound equipment,

from 1975 to 1982. Following her re-

stated that her professional concepts

lighting angles, and the audience's

turn to Korea, she engaged solely in

are derived from her childhood expe-

various sight lines, Shin measures

creative dramas, with the notable ex-

riences. And since she once sought to

the stage herself and takes numer-

ception of Amorphe d 'Ottenberg

be a playwright, it should be no sur-

ous pictures of the stage facilities,

[1990]. In this regard, Shin was asked

prise that she will thoroughly analyze

even though she already has a set of

what she considered to be the most

the script of a proposed work.

the theater's architectural plans .

important influences during her wide-ranging career.

However, this does not mean

This fundamental understanding of

that she goes about her work like

the physical characteristics of the

While attending middle and high

some kind of tyrant. Rather, with a

stage is the basis for the formation of

school in the United States, Shin lived

keen awareness of what the actors,

the liberated and creative ideas of

apart from her family for 14 years .

producers, scriptwriters, musicians,

this arti st, who continuously finds in-

Nonetheless, she seems to have

and audiences expect from the stage,

spiration in the scripts of her various performances.

stubbornly clung to a quest to discov-

she remains faithful to a notion that a

er the Korean cultural roots of her

scenographer is like a ship maker

childhood days. In this regard, her

whose vessels must be able to navi-

recollection of that day back in the

Intriguing Stage Scenes

gate rough seas. She thus painstak-

Upon her return to Korea , the

third grade of middle school, when

ingly assesses the characteristics of

first stage that Shin designed was

she first thought of the stage as a

the realm in which she works. Always

for Bicycle [1983]. which was in-

miniature replica of the world, can be

wanting to know the point of entry

tended to be a space in which the

linked to her exploration of the influ-

and exit of actors from the stage, the

work's storyline, about a family ' s Autumn 2006 I Koreana

Shin Sun-hi's creative works have pushed the envelope of drama, musical theater, and dance performance. Although she has engaged in diverse fields of performance art, it is her intriguing stage designs that have attracted the attention of audiences.

struggle to overcome a tragedy that

This is because if the miniature repli-

rather vivid memories that come to

extended over three generations,

ca of the world cannot fulfill its role

mind as I read the script of a play.

could be symbolically and realisti-

as a space in which the actors and

However, I never write these ideas

cally portrayed. She created a cen-

audience interact, it loses the reason

down at that time because if I did,

tral circular stage that suggested

for its existence.

then I would begin to focus only on

the never-ending rotations of a bicy-

"'If the audience is aware of the

their technical development. I prefer

cle wheel. Aware that the playwright

existence of the stage after they have

to simply retain these fragmented

Oh Tae-seok had advised her that

opened up their minds and entered

images in my mind and to freely ab-

his work was meant to conjure up

the world of drama, then the stage

sorb anything that comes to mind . Af-

images of journeying along a path,

can be said to have failed to achieve

ter spending about two months ab-

Shin created a circular stage to ex-

its purpose. If the stage is exposed to

sorbing whatever I can, I take two

press the changes in the main char-

the audience, then the audience has

days to summarize my thoughts and

acter" s outlook as he traveled along

in effect exited the world of drama.

outline the path which I seek to pur-

a path . As such, the magical world

Since the stage will then impede per-

sue. Thereafter, I create another ver-

that she experienced as a child was

formance of the drama, it should lim-

sion of the scenes that includes ele-

a basic element behind the mythical

it itself to playing a role of inviting the

ments that might have been over-

and fairy tale-like performance, and

audience into the world of the spirits

looked during the process of creating

the thought-provoking scenes she

and evoking memories:Âˇ

the scenes that I wanted to bring to

created . In the case of Yeonsan, the Prob-

Shin's approach to spatial

life. The final production plan is then

arrangements is similar to that of the

created by comparing and analyzing

lematic Figure [1996), the stage that

playwright and producer Lee Youn-

the scenes from the second version

she crafted symbolized an old house,

taek, which calls for the drama and

with 'my original thoughts."'

which is eventually abandoned, and

stage to be simultaneously arranged .

the shock experienced by a bamboo

She summarizes the production

forest. This kind of atmosphere

process as follows :

Becoming an Educator

Shin is quick to identify Ladislav

proved to be an ideal setting for pre-

"'Even though a specific memory

Vychodil of the Czech Republic as an

senting Yeonsan, the Problematic

may not be experienced directly, it

individual who has greatly influenced

Figure, which to Shin was reminis-

can nevertheless be made to mesh

her work. Shin describes Vychodil as

cent of the spiritual world . To this

with incidents during a performance

an artist who has pursued unbound-

end, Shin has contended that the

or the story being played out on the

ed spaces with no horizons, gravity-

stage becomes a medium that can

stage. These may be images that

free spaces, empty and silent spaces,

invoke the spirit world . Nevertheless,

have subconsciously taken root in my

and natural settings. Shin met him at

this spirit world , which can be in-

mind. However, sometimes even the

an international conference of the-

voked for a fleeting instance of per-

colors and smells of a particular

ater artists while visiting European

haps a second or two during a perfor-

event come to life in my mind. These

theater production and educational

mance, must be truly exceptional.

visions are not specific images, but

institutes to learn about the theater

34 Koreana I Autumn 2006

art of such countries as the Czech

tional Korean dance akgamu, a type

Republic, Slovakia, Germany, Austria,

of performance that incorporates

England, France, Italy, and Greece,

song, drama, and dance. Although

over a two-year period from 1990. To

most of her pieces have been based

learn from Vychodil, she became his

on traditional Korean folktales, she

student. Shin 's activities as a sceno-

has on occasion adapted Western

grapher have not been limited to the

classics such as Shakespeare's The

production of stages alone, but have

Tempest. Among these works, Bari,

also included efforts to educate peo-

which features a reinterpretation of

She might also alter the stage in

ple about scenography.

Korean exorcist tales, as told

order to create a traditional sandae, a

through the experiences of adopted

temporary stage for the performance

Upon her return to Korea, she served as a professor at the Seoul In-

girls in the modern era, is consid-

of sandaenori, which evolved from a

stitute of the Arts for six years, during

ered a benchmark of Korean perfor-

ritual performed at a mountain altar

which time she developed the master

mance art. In particular, the scene of

alongside a stream. Shin also points

plans for the Korean Academy of

a brightly illuminated sacrec;J tree

out that the Joseph Papp Public The-

Performing Arts and Korean Acade-

during the wedding ceremony, which

ater in New York, where she worked

my of Performance Art. Further-

dissipates the conflict between

for five years, has turned out world-

more, during her tenure as secre-

brothers in The Tempest, will be

renowned producer Richard Schech-

tary-general of the Korean Theater

long remembered as a monumental

ner, and that A Chorus Line, a musi-

Artist Association she came to realize

creation .

cal produced by university students in a warehouse, went on to achieve

that the Korean performing arts industry had been falling behind in cul-

Awaiting Another Change

global acclaim. She says 'this was

The direction in which Shin will

possible because the City of New

the positions of executive director of

lead the National Theater of Korea

York entrusted Joseph Papp, a

the Seoul Performing Arts Company

remains uncertain for now. However,

renowned theater director and pro-

and president of the National Theater

many people believe that, in collabo-

ducer, with the operation of seven

of Korea is related to her ardent de-

ration with the National Drama Com-

theaters. Perhaps, this is a kind of

pany of Korea, National Changgeuk

personal dream of Shin Sun-hi .

tural terms. Thus, her acceptance of

sire to rectify this shortcoming. As the executive director of the

Company of Korea, National Dance

So long as she continues to

Seoul Performing Arts Company, in

Company of Korea, and National Or-

whisper "keep up the good work " to

addition to the management of gen-

chestra Company of Korea, she will

the sets and being the last person on

eral affairs, she was also actively in-

pursue diverse presentations of

the stage before the curtain rises, we

volved not only in scenography, but

akgamu, on large, medium, and

can rest assured that she will make

also the writing and production of

small open stages, in order to con-

valuable contributions to the further

scripts. Moreover, Shin has focused

tinue her ethereal communion with

development of performing arts in

on staging presentations of the tradi-

audiences.

Korea . L..1 Autumn 2006 I Koreana 35

ARTISAN

Chung Choon-mo Perseveres in Making the Traditional Horsehair Hat

eople of ce~ain countries are often associated ~ith _a particular kind of hat. For example, a homburg 1s said

to be the hat of Britons and a sombrero of Mexicans. Similarly, for the Korean people, their traditional hat would be the gat. Worn by adult males, this hat made of horsehair was also known as ipja, while a black version was called

heungnip. In particular, it was the formal headpiece worn by government officials, as a prominent symbol of their stature, during the Joseon Dynasty [1392-191 O].

Lifetime of Dedication As with most hats, the gat protected the wearer's face

Korea's traditional horsehair hat, an icon of the Joseon Dynasty era, has always been more significant for its symbolism than its functionality. And while it is no longer a part of the everyday life of Koreans, this does not deter the artisan Chung Choon-mo from 'persevering in his chosen craft. Choi Tae-won Freelance Writer Seo Heun- kang Photographer

from direct sunlight. But during the highly regimented Confucian society of Joseon Korea, it was more than just a hat; it served to distinguish the ruling elite from the commoner, along with being an indispensable clothing article that reflected proper etiquette. The height of the crown and the width of the brim varied somewhat over time, while the type of the hat's hemp lining differed according to the wearer's rank. But by the middle of the Joseon Dynasty, a standard style had been established, which came to represent the dignity of the yangban, the class of scholarly elites. Regrettably, in contrast to the traditional hats of other countries that are still widely worn today, the gat is rarely seen these days other than as a museum artifact or a prop in TV historical dramas. As such, its relevance to the everyday life of Koreans is essentially nonexistent. So it should be easy to imagine just how lamentable this situation would be for Chung Choon-mo, who has dedicated his lifetime to the making of Korea's traditional hat. "In the process of modernization, Korean dress was replaced with Western-style clothing and men stopped putting their hair up in a topknot, bringing about an end to the life of the gat," Chung noted. "When I started this craft, there was still a demand for gat. After graduating from middle school, I lived in a boarding house in Daegu. Gat

During the Joseon Dynasty, the gat was a symbol of the scholarly spirit and refined character of the aristocratic class.

makers Go Jae-gu and Jeon Deok-gi, who made Tongyeong-style gat, lived in the same house. Since I would do odd jobs for them, I was eventually able to learn the art of making horsehair hats."

Three-part Production Chung makes the type of hat known as Tongyeong gat, named after the Tongyeong region, which from long 36 Koreana I Autumn 2006

ago has been considered the absolute finest of all horsehair hats . When asked how it was that the gat from Tongyeong gained this distinction, Chung launched into a lengthy explanation . During the mid-Joseon period, Samdosuguntongjeyeong, the headquarters of three provincial naval forces, was established in the Tongyeong area. To boost the regional economy, Admiral Yi Sun-sin, the first commander of the headquarters of three provincial naval forces, established craft workshops on the island of Hansando. Thereafter, 12 of the workshops were relocated to downtown Tongyeong, including ipjabang, which produced horsehair hats; somokbang, wooden furniture and stationery items; and yangjabang, cast-iron items . These workshops, where craftsmen honed their skills, produced goods to supply the military, household items for local residents, and tribute gifts for the king . Since that time, word of the Tongyeong gat's exceptional quality spread throughout the country. When the naval command was closed down, the workshop system in the area collapsed, leading to a decline in gat making . Nevertheless, a handful of craftsmen kept alive the craft, which in 1964 was designated Important Intangible Cultural Property No. 4, along with the designation of three artisans as title holders : Go Jae-gu, who made the crown that was shaped liked an upside-down cup; Mo Man-hwan, the maker of the brim; and Jeon Deok-gi , who joined the crown and brim to complete the hat. Three individuals were recognized because the traditional production process called for a separate specialist to handle each of the three tasks . First, the hair from a horse's tail or mane is Âˇwoven to make th'e crown, or chongmoja. Then, the brim [yangtae] is made by carefully

weaving together ultra-thin strands of bamboo. And finally, the crown and brim are joined in a process called ipja. The making of a traditional gat involves a meticulous process that requires deft craftsmanship during each of its 51 steps: 24 steps to make the brim, 17 steps for the crown, and 10 steps to properly join the two parts. Though each and every step must be .carried out with the utmost care, making the brim is said to be the most painstaking and difficult process.

Enduring Symbol If making a horsehair hat traditionally requires the specialized skills of three craftsmen, how is it that Chung

The making of a traditional horsehai works alone? The reason for this lies in the gat's modernhat involves a meticulous process tha day fate. When the demand for gat began to wane in the requires deft craftsmanship during early 1970s, craftsmen who had been working in Daegu, every one of its 51 steps, including the which was then the center of the gat trade, returned to weaving together of horsehair and Tongyeong. Chung followed his mentors to Tongyeong and ultra-thin bamboo strands. began to learn the craft's finer points in earnest. However, the elderly craftsmen gradually passed on, while no young blood had an interest in learning a trade with such a dismal future. So for Chung, he had to learn all the 51 steps and three major processes of gat making. And in fact, he is the only reason that the Tongyeong-gat tradition remains alive today. "The Joseon yangban may have worn old clothes but they would never wear an old hat. It was a matter of pride. The tilt of their gat was as important as the fit of their clothing. A yangban gentleman would never allow himself to greet a visitor bareheaded, as a smart-looking gat symbolized a scholarly spirit and refined character," Chung remarked. Although he has spent the better part of his lifetime making fine horsehair hats, Chung says that when he admires the works of craftsmen of the past, he can only marvel about how it was possible for human hands to create an object of such exquisite artistry. The gat is made complete not only by the character of the wearer but also the attention to detail of the maker. Chung has a natural distaste for the plastic goods of mass-production factories. As for the lavish horsehair hats often seen in historical TV dramas, Chung noted: "The gat was never a symbol of lux1, 2 Chung Choon-mo weaves together ultra-thin strands of bamboo to form the yangtae, or brim of the hat. 3 Because of the complex and demanding nature of the entirely handcrafted production process, these days Chung creates only about ten gats each year. 4 In the 19th century genre painting, Gisan Customs, the two seated individuals in the middle are depicted wearing a gat.

ury or authority. It changed somewhat over time, but it was never very large, because that would have made it uncomfortable to wear." Due to its lack of practicality, the gat is no longer a part of everyday Korean life. Therefore, Chung produces only ten or so traditional horsehair hats in a given year. Though no longer useful, there is something wrong with simply relegating this once-proud symbol of the Joseon Dynasty to a museum showcase. 1.1

Autu mn 2006 I Korea na 39

MASTERPIECES

TRUE-VIEW LANDSCAPE PAINTING OF JEONG SEON This painting of a mist-shrouded valley of Mt. lnwangsan after a rain shower, in which the peaks and valleys of the mountain are vividly depicted, is a representative example of the true-view style of landscape painting. Choe Wan-soo Research Fellow, Gan song Art Museum

he Jang-dong area, situated between Mt. lnwangsan

In this regard, Yi Byeong-yeon, the virtuoso of

and Mt. Bugaksan in Seoul, is where the Yulgok

jingyeong poetry, and Jeong Sean, the master of jingyeong-

school of thought originated. Song lk-pil (1534-1599] and

style landscape paintings, had such a deep and profound

Sin Eung-si (1532-1585]. who lived at the southern base of

friendship that the two were said to be of a single soul in

Mt. Bugaksan, Seang Hon (1535-1598]. who lived on its its

two physical bodies. Yi Byeong-yeon passed away at the

western slopes, and Jeong Cheol (1536-1593]. who grew

age of 80 on May 29, 1751 , leaving behind his lifelong

up in the village of Ogin-dong, located at the foot of Mt. ln-

friend, the 75-year-old Jeong . Jeong Sean's lament over

wangsan, represent the first generation of Yulgok schol-

losing his beloved friend is clearly reflected in his master-

ars . The brothers Kim Sang-yang (1561-1637] and Kim

ful painting lnwangjesaekdo (Clearing After Rain on Mt. ln-

Sang-heon (1570-1652]. Jo Hui-il (1575-1638]. and Jo

wangsanl. This is evidenced by an inscription that Jeong

Bong-won (1608-1691]. who represented the second and

wrote, in which he stated that this painting had been pro-

third generations of Yulgok scholars, were born and bred

duced in late May 1751, around the time of Yi's death. So it

in this area as well.

is possible that Jeong had hoped to complete this painting before Yi had passed away.

EXPRESSION OF LAMENT

The painting reflects a vantage point from a ridge of

Durin·g Jeong Sean's lifetime (1676-1759; penname

Mt Bugaksan overlook.ing Mt. lnwangsa'n. With the

Gyeomjae]. the disciples of the Yulgok school of thought, in

painter's visual panorama being expanded to include Yi

accordance with the Joseon Dynasty's neo-Confucian ide-

Byeong-yeon·s house, located at the foot of Mt. Bugaksan,

ology, focused their efforts on promoting a jingyeong, or

this seems to express Jeong·s desire to keep alive his

true-view, culture which included the creation of uniquely

memories of the times that he and Yi spent in and around

Korean art forms, such as jingyeong poetry, jingyeong

this mountain .

landscape painting, and donggukjincheseo, a style of cal-

Although there must have been a number of houses

ligraphy. Kim Chang-heup (1653-1722] and his brothers

existing in the Jang-dong area at this time, apart from his

were at the forefront of this new culture, along with Yi

own home, at the bottom of Mt. lnwangsan, and that of his

Byeong-yeon (1671-1751; penname Sacheonl. Jeong Sean,

friend Yi Byeong-yeon, at the foot of Mt. Bugaksan, any

and Jo Yeong-seok (1686-1761]. who were the prominent

other houses in the area were obscured by a foggy mist,

figures of ensuing generations.

apparently suggesting an allusive tribute to their intimate

Korea na I Autumn 2006

lnwangjesaekdo IClearing After Rain on Mt. lnwangsan) 1751.

Ink on paper, 138.2 x 79.2 cm, Nationa l Treasure No. 216, Ho-Am Art Museum . The mountain 's rugged white -gra nite rock formations are vividly de picted.

Autumn 2006 I Koreana 41

;,,)

...

.~1

,t-

.'.

til

Geumgangjeondo IPanoramic View of Mt. Geumgangsan) 1734. Ink on paper, 130.7 x 94. 1 cm, National Treasure No. 217, Ho-Am Art Museum. In this masterpi ece of Jeong Sean , the snow-cove red pea ks of Mt. Geumgangsan are rea listically portrayed with a top-down brushwo rk method .

42 Koreana I Autumn 2006

'ft ii 1: :t, .fl. ll ~ ;.

""k. ~ & it

Joi :Iii " /;. -If ,ti1

,f"j

lll

Jeong Seon created this magnificent Landscape painting in such a way that the base of the mountain is depicted from a vantage point of someone Looking downward, while the peak is portrayed from a perspective of someone looking up from afar. This creates an impression that viewers are standing amidst an unfolding scene.

friendship. At the time when Jeong Sean painted this mas-

edly brushing over a painted surface, without waiting for a

terpiece , in part to symbolize the common bond that linked

previous coat to dry, helped to create the delicate imagery

him with his lifelong friend, the sophistication of Jeong·s

of the wetness of the trees and ridges of Mt. lnwangsan af-

jingyeong style of painting was readily evident. With a

ter a passing rain shower.

speed-stroke technique, Jeong applied all the technical

A postscript that had been appended to the painting is

expertise that he had accumulated during his artistic ca-

now maintained separately. It can only be hoped that it

reer into this work. For example, with India ink alone, he

might again be joined with the painting in order to create a

nevertheless depicted the white-granite rock formations of

complete unit. According to the art historian Go Yu-seop

Mt. lnwangsan with subtle artistry and remarkable real-

[1905-1944]. the postscript was incorporated in the year

ism .

1802, upon the death of Sim Hwan-ji [1730-1802; penname Manpol. The postscript reads : "" Mt. Samgaksan is wet with

JINGYEONG-STYLE LANDSCAPE PAINTING Jeong Seo·n learned, after much trial and error during

the rain sent by spring clouds; the green emanating from ten thousand pine trees surround the house. The owner of

his lifetime spent in Jang-dong, that swaechalbeop [a

the house must be painting and writing poems while sitting

painting technique with a top-down method of brushwork

amid this shrouded forest."

for portraying a smooth surface] should be employed to

Sim Hwan-ji was an art collector who so treasured

vividly depict white-granite rock formations . Jeong thus

Jeong Sean 's paintings that he acquired all the works

appears to have fully applied the skills and techniques that

which met with Jeong·s satisfaction. The painting album

he had honed during his artistic career to create a con-

Gyeonggyomyeongseungcheop, which is housed in the

summate work to share with his dear friend , who was

Gansong Art Museum, was once owned by Sim. Sim 's pro-

preparing for a final journey to another world . Jeong de-

found affection for Jeong·s paintings was the reason that

picted the mountains and trees in a rather straightforward

he produced this postscript, which his descendants have

style, while preferring to highlight the protruding granite

maintained in the family ancestral shrine. In all likelihood,

boulders. Moreover, he went to great lengths to portray in

it does not seem that Sim's descendants value this post-

considerable detail the pine trees and forest area sur-

script as a work of calligraphy, but rather as an enduring

rounding Yi Byeong-yeon·s house, which was commonly

symbol of his true love for this masterpiece of true-view

referred to as Chwirokheon . Jeong·s technique of repeat-

landscape painting by Jeong Sean. 1.11

Autumn 2006 I Koreana 43

ART REVIEW

French Woodcut Artist Paul Jacoulet's Interpretation of Asia An exhibition of the prints of Paul Jacoulet was presented at the National Museum of Korea from April 21 to June 4 this year, which revealed the colors of Asia as seen through the eyes of a Western artist. Cho Eun-jung Professor, Seoul University of Venture and Information Photography: National Museum of Korea

44 Korea na I Autumn 2006

n 1899, at the close of the 19th century,

in Japan shaped his perspective into that of the

Frederic Jacoulet left his native France for

Western world looking at Japan and of Japan

Japan, with his wife Jeanne and his three-year-

looking at its colonial empire in Asia. If this view

old son Paul [1896-1960]. to assume a profes-

of the other is defined as Orientalism, Paul Ja-

sorship at Tokyo University of Foreign Studies.

coulet was clearly an expatriate who saw the

As it turned out, the Jacoulet family would re-

Orient through the eyes of a Westerner and

main in Japan for longer than they had expect-

viewed Japan's neighboring countries through a

ed. Paul Jacoulet grew up in Japan, thereby in-

prism of Japan, which was considered a superi-

fusing his French identity with an in-depth fa-

or power in the East. Thus, the pervasive Orien-

miliarity of Japanese culture and history, as

talism of his time is readily evident in his works.

well as a fluent command of the Japanese lan-

During World War 11, he experienced hard-

guage. In 1920, Paul began working at the

ship as a foreigner in Japan, but after the war

French Embassy in Tokyo. Also around this

ended in 1945 he was able to stage a solo exhi-

time, he began to receive instruction in art that

bition through the good graces of U.S. General

led to the development of his artistic abilities. In

Douglas MacArthur's military administration in

1921, Frederic Jacoulet died. His widow Jeanne

Japan. In this way, his works made their way

remained in Japan, and later married a Japan-

into the hands of General MacArthur, as well as

ese doctor. Thereafter, Jeanne's husband be-

General Matthew Bunker Ridgway, and even

came a professor of medicine at Keijo Imperial

Britain's Queen Elizabeth II, such that his prints

University, the forerunner of today's Seoul Na-

came to be known not only among foreigners

tional University. She relocated to Seoul with

who visited the East but w ithin the Western

her husband, while Paul remained in Tokyo.

world as well. Until succumbing to diabetes in 1960, Paul Jacoulet was widely respected as a

A Westerner in East Asia

renowned woodcut artist.

By 1940, when his mother Jeanne died, Paul Jacoulet had visited Seoul five times, dur-

Systematized Production

ing which time he held a solo exhibition of his

Then, how was it that the National Museum

prints in Korea in 1936. At that time, Korea was

of Korea came into the possession of the works

a colony of Japan, and as a result of the time

of Paul Jacoulet? This was due to Jacoulefs re-

spent with his mother there, Paul came to de-

lationship with a Korean whom he had hired to

velop an attachment to Korea, as he did with

help manage his Âˇ production works'hop. Ja-

Japan. As such, his experiences in Korea pro-

coulet, who remained single all his life, became

vided considerable inspiration for his print

close to a Korean who lived in Japan, whose

works. He also visited Micronesia to collect but-

daughter he adopted as his own, and then left

terfly specimens, and spent time closely observ-

his estate to her, who later donated 160 of Ja-

ing the local people. Although Micronesia was

coulef sprints to the National Museum of Ko-

geographically associated with the East, its cli-

rea . As part of the activities to mark the 120th

mate and people differed markedly from those

anniversary of the establishment of diplomatic

of Japan, Korea, and China. As the son of a

relations with France, Korea organized an exhi-

scholar who had been invited to Japan to teach

bition of the prints of Jacoulet, which offered a

the language and civilization of the West, Paul

rare opportunity to view the oeuvre of an artist

Jacoulet resided in Japan and visited other ar-

who had previously been only vaguely known as

eas of Asia, including colonial Korea, with the

a foreign artist who visited Korea occasionally in

status of a Japanese national.

the modern era.

The fact he was a Frenchman who grew up

Paul Jacoulefs talent for art was first recAutumn 2006 I Ko reana 45

ognized when he was eleven. In 1931, at the age of 35, he learned the art of printmaking from the woodcut artist Shizuya Fujikake. And then in 1933, he set up an "" institute," where he printed his own works. This institute was actually a production workshop where he continuously published collections of his works, such as the ""Rainbow" series in 1934. The workshop production was highly systematized, under which he sketched images and colored them with watercolor, then had them converted into multicolored woodcuts for printing. This collaborative system, which included the specialized contributions of the finest craftsmen, resulted in the production of prints of superior technical quality .and exquisite colors. Moreover, under Jacoulet's system, the engraver and printer would etch their names on the margin of the woodblocks, which recorded the participation of individual contributors. After several sketches, refining the images, and applying watercolor, Jacoulet would hand his painting to an engraver [horishi] for the creation of the woodblock, which was used by the printer [surishi] to make prints on paper. Then, each

print was carefully inspected, and as a form of quality control, Jacoulet would only sign and stamp those prints that met with his approval. The prints that were produced under this system consistently attained a high level of technical excellence. But what this production system could not overcome was the innate sentiments of the individual engravers and printers. From the outset, Jacoulet had learned the tradi1 Tropical Butterfly, 1939. Paul Jacoulet , who spent the most of his life in Asia, also visited Micronesia to collect butterfly specimens . 2 Vent du Nord, 1953. Jacoulefs prints featured all the Oriental elements that the West demanded : exotic scenes and bright colors, elegant designs, and people in traditional dress.

tional Japanese ukiyo-e style of printmaking . And since his production system depended on the skills of artisans who had been trained in the ukiyo-e tradition as well, the lines and colors of his prints naturally reflected a clear Japanese sensibility. As such, apart from their unique subject matter of the East, as seen from the outside, and the unnatural appearance of Asian people based on a Westerner's perspective, there is little in the engraving or printing techniques of Jacoulet's works to distinguish them

46 Koreana I Autumn 2006

Paul Jacoulet's prints are distinctive for their unusual subject matter and striking colors. In particular, the pervasive Orientalism of his time is readily evident in his images of Korea and Asia.

Jewels . 1940. Jacoulet developed a special affection for Korea, where his mother had lived after remarrying. and thus created a number of works featuring Korean subjects. 2 Okesa Dance. 1952. Jacoulefs woodcut works have been strongly influenced by Japanese printmaking techniques.

3 The recent exhibition provided a rare opportunity to view the oeuvre of ~n artist who had previously only been vaguely known as a foreign artist who visited Korea periodically in the modern era

from Japanese ukiyo-e. Even though Jacoulet

sent letters to their parents. It was where beau-

oversaw each step of the production system, its

tiful women ventured out with the ir skirts aflut-

inherent nature served to skew his works.

ter in the breeze (Vent du Nord, Goree, 1953). or people would relax indoors, stretching them-

Blurred Korean Sentiments

selves [Tempete du Goeur, Goree, 1948]. But

Paul Jacoulet' s prints featured all the Ori-

these figures of Jacoulet reveal no real identity,

ental elements that the West demanded: exotic

because his images of Korea and its people had

scenes, bright colors, elegant designs, and peo-

been depicted through the eyes of Japan .

ple in traditional dress. In light of the fact that

For example, he produced a pair of prints

there are so few modern art works of Korean

entitled Bride and Groom. A copy of the Japan-

subjects, as compared to the portrayals of China

ese postcard, upon which the Bride print was

or Japan , Jacoulet's prints provide valuable in-

based, has been preserved. In the black-and-

sight into an understanding of Korea's modern

white photograph of the postcard, the woman

art. Moreover, because of his time spent in Ko-

posing as a bride sits in her wedding attire with

rea, Jacoulet may well have been more familiar

a ceremonial coronet on her head . But the

with the appearance of the Korean people than

woman in the postcard is a gisaeng, or female

other foreign artists. But the Koreans in his

entertainer. At that time, the Japanese pro-

prints look like high-nosed Caucasians with

duced various postcards and posters, featuring

deep-set eyes and double eyelids, or slender-

gisaeng as models, to promote tourism to Ko-

faced Japanese with narrow eyes, reflecting an

rea .

apparent lack of understanding of the physical characteristics of Korean people.

Since Jacoulet had used one of these postcards for the creation of his Bride print, it is ap-

In Jacoulet's understanding, Korea was the

parent that this feminized image of Korea is a

country of a kind-faced old man feeding a young

product of his distorted background. Despite the

swallow [Le Nid, Goree, 19411. or a place where

technical excellence of his print works, the por-

filial piety could be seen in the way that children

trayal of elderly people, women, and rural bachelors, who look more like Southeast Asians, shows the extent to which Jacoulet, as an artist, was influenced by the prevailing Orientalism of his time. Nevertheless, Korean viewers will invariably be moved by their wonderful artistic composition, detailed depiction, and lavish indulgence of Korean colors. 1.t

Autumn 2006 I Ko reana 49

DISCOVERING KOREA

Lacquer: Natural Essence of Lacquer Art Recently, lacquer has been a subject of renewed interest due to its growing recognition as a natural and environment-friendly form of paint and varnish. Moreover, Korea boasts a rich tradition of lacquerware based on the lacquer technology developed in ancient times. Chung Hae-cho Professor of Ottchil Art, Pai Chai University Director, Ottchil Deco Art Center Seo Heun-kang Photographer

n Korea, the lacquer tree [Rhus Verniciflua Stokes) has long been associ-

ated with mystery. There might be no way to ascertain when or how the lacquer tree came to Korea, but it has been used continuously since ancient times. Through the ages, Koreans have treasured the lacquer tree, while putting it to productive use, and developing a remarkable lacquerware tradition. In particular, the Korean people of long ago developed exceptional skills and techniques related to lacquer, which have contributed much to Korea 's art history and cultural richness.

A Prized Tree The lacquer tree will thrive when grown in fertile soil with ample sunshine and sufficient air circulation and drainage. It can be propagated from a seed, to produce a sapling that is transplanted; by planting a root segment or shoot in the ground; or cutting into the branches of a mature lacquer tree to encourage the sprouting of new shoots. Most often, a sapling is grown from a seed and then transplanted after a year or so . A well-tended lacquer tree, which grows rapidly for two to three years, will be mature enough to have its sap extracted after five to seven years. Korea's climate, topography, and soil are perfect for 50 Koreana I Au tumn 2006

the cultivation of lacquer trees, which can flourish anywhere in the country and produce especially high-quality lacquer. Lacquer trees sprout new leaves in spring that change color in autumn, and then fall to the ground by winter. The trees, which blossom in May and June, and produce berries . ' in October and November, can reach a height of more than 20 meters, supported by a trunk of one meter in circumference. The yellowishgreen flowers can be steeped in liquor to make a potent tonic, while the brown berries that appear in autumn can be used to make a variety of beverages. In addition, they have a layer of wax that can be used for making candles, cosmetics, and medicine. The new shoots that sprout in spring are eagerly gathered up and consumed as a delicacy. The leaves of a fully-grown lacquer tree can be used for making a natural dye, along with the bark being used to cook chicken or chopped up as fod der for livestock. The lacquer wood, which is light

1 Lacquer takes on a lustrous sheen as additional coats are applied. 2 Teacup set by Son Sun-joo, 700 x 120 x 73 mm 3 Human by Lee Ki-sang, 200 x 120 x 270 mm 4 A M idsummer Day's Festival by Jun Yong-bok. The unique Juster and brilliant colors of lacquer have given rise to a new art form known as lacquer painting.

and has an attractive natural grain, is suitable for making

When a lacquer tree reaches an age of eight to ten

furniture . And due to its durability and excellent water-re-

years and its trunk is about 10 centimeters in diameter, the

sistance, fishermen use the wood for floatation devices.

sap can be extracted by making incisions into the trunk and branches. The raw sap is a grayish-white emulsion

Wonder Sap

with a sweet but astringent taste. When exposed to air, the

Above all, the lacquer tree is prized for its mysterious

sap turns from white to brown and hardens as it dries out.

sap. This sap, or at in Korean, is gathered by making an

The sap is mainly comprised of urushiol, about 60-80 per-

incision into the bark of a tree, which reacts by releasing a

cent; along with liquid, 10-30 percent; resin , 3-8 percent;

toxic milky-white sap that, when exposed to air, will hard-

and nitrogen, 1-3 percent. The quality of the sap, in terms

en to form a protective coating. The extracted sap is used

of its applications, depends on the extent of its urushiol

for a wide variety of applications, such as a paint and var-

content.

nish for all types of items, and glue for wooden furniture,

The untreated sap, called hwangmichil, contains im-

as well as a medicinal ingredient for the treatment of he-

purities such as bark and dust. Moreover, its consistency

morrhage, menstrual ailments, hookworm , shock, infec-

needs to be adjusted so that it will harden properly, neither

tion, and cancer.

too quickly nor too slowly. Therefore, the sap must under-

52 Koreana I Autumn 2006

Autumn 2006 I Koreana 53

Lacquer is highly prized for the versatility of its applications. When lacquer is used for painting or handcrafted works, its unique Luster and elegant sheen can bring out the natural beauty of any object or wood surface.

Lacquer is a natural,

environmentally friendly, non-toxic finish, with exceptional adhesiveness, which can be used for covering any kind of surface. 2 Various accessories made with lacquer, which demonstrate its versatility of adding vivid color and sheen to items.

go a refining process before it can be used as a paint or

Versatile Medium

varnish. The types of jeongjechil, or refined sap, include

In Korea , otchil applications can be seen in painted

saengchil [plain), heukchil [black), and tumyeongchil

works, decorative wall finishes, and handicraft items. Be-

[transparent]. which can each be made into dozens of vari-

cause lacquer sap includes a natural disinfectant, lacquer-

ations for specific purposes.

coated surfaces will resist mildew and repel insects, such

Saengchil is made by removing the impurities from

as moths and termites, along with displaying exceptional

hwangmichil, and then adjusting the consistency by allow-

durability. A lacquer finish is also highly resistant to chemi-

ing any excess liquid to evaporate. Further refining the

cals, heat , flame, water, wood rot, salt, and electricity.

saengchil and combining it with colorants, catalytic agents,

Pleasant to the touch, lacquerÂˇs unique luster and elegant

and other additives, according to intended purpose, will de-

sheen can bring out the natural beauty of any object or

termine its opacity [blackness] or transparency, to create

surface. Accordingly, lacquer works are cherished for their

heukchil or tumyeongchil. High-quality tumyeongchil can

artistic beauty and refined simplicity.

be combined with various pigments to produce paints of a

Even silver, gold , and diamonds are of little value

wide spectrum of colors. These processed lacquer prod-

when extracted from the earth; they must be refined and

ucts are collectively known as otchil [ottchi/] . Of particular

carefully crafted to reveal their true magnificence . Simi-

note, otchil is an all-natural, environment-friendly, non-tox-

larly, the sap. extracted from the lacquer tree is no more

ic paint, and with its excellent adhesion, it makes a versatile

than a gooey substance until it has been tended by hu-

paint and varnish for any kind of material or surface. It has

man hands and transformed into an ideal paint. Koreans

the additional advantage of containing natural preservatives

of old developed extensive lacquer technology that re-

and is ideal for decorative uses since it can be combined

sulted in a lacquerware tradition in Korea of unparalleled

with pigments to produce an endless array of colors.

brilliance.

JU n Yong - b Ok

L;t

Recognizing Lacquer Handicrafts as Contemporary Art

"Japan" is not only the name of

mention of Jun Yong-bok's name is often preceded by su ch ti-

KoreaÂˇs neighboring country .

tles as "the great." Although he rose to fame in Japan before

The term "japanning" has come

being known in Korea, he takes much pride in being a "Korean

to be associated with lacquer,

lacquer artisan." Even the name of his lacquer art gallery,

while Japan has been called the

lwayama, combines the name of Iwate Prefecture with that of

land of lacquer. But even in

his hometown, Busan , whose second syllable san [mountain) is

Japan, and its renowned lacquer

yama in Japanese.

tradition , the Korean Jun Yong-

In November 2005, Jun Yong-bok's lacquer works were dis-

bok has come to be recognized

played at the exhibition center where the APEC [Asia-Pacific

as one of the finest artisans of

Economic Cooperation) summit meeting was held in Busan, to

lacquer in Japan, where he has been working on lacquer art for

introduce this aspect of Korea's traditional culture to the visiting

18 years.

heads of state from the Asia-Pacific region. To date, Jun has

Known for restoring Japan's Meguro Gajoen, a banquet hall of National Treasure status with a wealth of lacquer arti-

produced some 10,000 articles, while the ranks of his Japanese students currently number more than 2,400.

cles, and for opening the world's largest lacquer art gallery, lwayama Urushi Art Museum, in Japan 's Iwate Prefecture, the

Autumn 2006

I Ko reana

Ballerina Kim Joo-won received the best ballerina award at this year's Benois de la Danse competition , known as the Oscars of the ballet world. In so doing, Kim Joo-won has laid a platform from which she can vault onto the international ballet scene. Jang Gwang-ryul Dance Critic Photography: Korea National Ballet Company, Ahn Hong -beom

56 Ko reana I Autumn 2006

urtain calls, the bright spotlight, and resounding applausethese are among the rewards that are showered upon a star performer. But behind the glamour, the performer is engaged in a ruthless selfstruggle, with a pain that nobody else is aware of. This is true for the ballerina Kim Joo-won as well. It has been ten years since she first joined the Korea National Ballet, which during this period has been headed by four directors. Above all, from her countless performances, she has well learned the immutable reality of professional dance : the performances on stage are the direct result of the time and effort of researching a particular role and developing various interpretations, the sweat of endless practice sessions, and the passion to excel every time the curtain is raised. Pride of Korean Ballet

Twenty years since putting on her first toe shoes, and ten years since becoming a professional ballerina after studying dance in Russia from an early age, Kim Joo-won received worldwide acclaim this year. She was selected the best ballerina at the Benois de la Danse competition . Now in its 14th year, this award had been inaugurated in 1991 by the International Dance Association in Moscow to commemorate the life-

time achievements of the renowned performer Jean-Georges Noverre [1727-1810]. In contrast to concours for amateurs, this prestigious award honors dancers from leading dance troupes around the world that is presented at an annual awards ceremony held in Moscow, which is known as the Oscars of ballet. In 2006, Kim Joo-won was named a joint winner of the best ballerina award, along with Yekaterina Kondaurova of the Mariinsky Ballet Company. With this being the equivalent of winning the best leading actress award in the movie world, this was a truly world-class honor. It marked an impressive personal achievement for Kim, the prima ballerina of the Korea National Ballet, as well as global recognition for Korea 's ballet community and Korean performing arts overall. Kim has become Korea's s_econd ballerina to capture this Benois de la Danse award, following Kang Sue Jin of the Stuttgart Ballet in 1999. After winning the award, Kang has been eagerly sought after by foreign ballet companies to appear in gala performances and even for full-scale productions. With this acknowledgement of her exceptional talent, Kim' s professional career is certain to soar, while her increased appearances on the international stage will mean a

noticeable boost for the standing of Korean ballet as well. "it's still a little unreal. It was a great honor for me just to be on the same stage with stars such as Natalia Makarova, lrek Mukhamedov, and Kang Sue Jin , all of whom I admire so much," Kim said . Boundless Passion

When it became known that Kim had been nominated for the Benois award, everyone in Korea 's dance circles fervently hoped that she would win, but their optimism was tempered by reality as well. That is, Korean ballet's international influence was limited at best, while the Korea National Ballet's overseas performances were rather few in number, so there was little opportunity for Kim to make a name for herself on the global ballet scene. For a preliminary presentation of the nomination process, in front of a panel of judges, Kim performed the pas de deux from Le Corsaire, with her partner Kim Hyun-woong, who is considered to have the most outstanding physique of Korea's male ballet dancers. "J did not expect to win the award so I felt relaxed during my performance," Kim recalled. No doubt, Kim was just as entrancing in her performance in Moscow. Though she had not danced

Au tumn 2006

I Koreana 57

In winning the Benois de la Danse award this year, Kim Joo-won seems destined to follow in the footsteps of Kang Sue Jin and distinguish herself as another world-class ballerina from Korea.

58 Korea na I Autumn 2006

Kim Joo-won received the best ballerina award at this year's Benois de la Danse for her performance of a number from Le Corsaire. 2, 3 Don Quixote is known for its highly animated dance, which is said to be related to the flamenco. The lead performers of Don Quixote, Kitri [Kim Joo-won) and Basil [Kim Hyun-woongl. were highly praised for their passionate and artistic duet pieces.

abroad frequently, Yuri Grigorovich,

she must seriously contemplate her

presence and heartfelt emotions.

one of the judges and guest choreog-

personal life, in particular regard to

Praise of Kim's masterful dance

rapher of the Korea National Ballet's

marriage, as well as her professional

spread quickly, such that subsequent

presentations of The Nutcracker and

career. Tm at the age when I can re-

shows were sold out. It was natural

Spartacus, remembered well Kim's

ally fall in love. But for now I'll dance

for such a talented dancer as Kim to

brilliant performances in the two

as much as I want to and then get

be consolidating her reputation as a

works. The honor of being named

married," she explained.

star performer in Korea, today, and

best ballerina at the Benois de la

Kim is unreserved and freely

abroad, in the near future.

Danse is the sweet fruit of Kim's life-

spoke about a subject that can be

Kim Joo-won is now well posi-

long passion for ballet. She has

painful for most dancers: food. "I like

tioned to dance her way into the

worked tirelessly to perfect her craft,

everything. My favorite foods are

hearts ~f international audiences.

practicing for hours on end, but still

sushi and rice cake. These days I eat

She is being eagerly sought for over-

managing to pursue interests outside

a lot of beans, broccoli, and sweet

seas performances, which will en-

of ballet. Kim admits to being a hard-

potato prepared by my mother," she

able Kim to fulfill her destiny as a

core movie buff, who never misses

said.

world-class performer. For the 29-

the latest releases, and enjoys read-

To Kim, she says that nothing

year-old ballerina who lives with her

ing while relaxing in an aroma-scent-

much has really changed. But it does

mother, father and older sister, her

ed hot tub. As such, movies and

seem that she has elevated her star

time in the spotlight is now . For

books are a valuable source of ideas

quality. Her interpretation of Kitri in

Britain, it is Margot Fonteyn; Russia,

for her creative interpretation of a

the National Ballet's Don Quixote, her

Maya Plisetskaya; and France, Sylvie

new character.

first performance since receiving the

Guillem; who are the pride of their

Benois de la Danse award, was ex-

nations and people. For Korea, there

quisite indeed . With a newfound con-

is now Kim Joo-won, whose stardom

As for Kim, who was born in

fidence, she expressed Kitri's charac-

on the global stage is only a matter of

1977, she has reached an age when

ter with an extraordinary physical

time. i.t

A Global Star

Autumn 2006 I Koreana 59

ON THE ROAD

Gyeongju Luxor of Korea Designated a UNESCO World Heritage Site, Gyeongju was the capital of the ancient Silla Kingdom that existed for one thousand years. An autumn journey to Gyeongju, where Korea 's ancient history remains palpable, is guaranteed to be delightful as well as enriching. Kang Sok-kyong Novelist Yi Gyeom Photoographer

yeongju was the capital of Silla [57 B.C.-A.D . 935), a kingdom that ex-

isted for about one thousand years. There are few areas where you can set foot in Gyeongju that is not one kind of historic site or another, a natural repository of long-ago dreams and legends. The first thing to catch your eye there are the huge royal tombs that rise up like rounded hills in the midst of the city. With such an abundance of royal tombs, each assigned a number from 1 to 155, Gyeongju can rightfully be called the Luxor of Asia. Looking more like natural hills than man-made structures, the tumuli have [ong been integrated into nature, as a manifestation of the cycle of life. Indeed, the tranquility of this scene reveals the essence of Life. In fact, when the French novelist Bernard Werber visited Gyeongju, he said it was the tumuli that left an indelible impression on him.

Tombs of Royalty You can get a clear picture ot the splendor of the Silla royal tombs at Oaereungwon, the site of some 20 Large and small tumuli . Built over a 200-year period, from 350 to 550, the tombs are believed to be occupied by Silla monarchs and other royalty of the 17th to the 22nd generation of the Kim family clan. Two of the tombs were excavated in the 1970s, including Cheonmachong [Heavenly Horse Tomb), Autumn 2006 I Koreana

named after a saddle flap with an image of a flying horse

According to legend, long ago in Gyerim, which means

[cheonmal that was found within the tomb. A re-creation of

"forest of the rooster," a small gold chest was found hang-

the Cheonmachong interior is on display so that visitors

ing from a branch , under which a white rooster was crow-

can have an idea of what the tombs were like.

ing. When the chest was opened, a baby boy was found in-

The 22-meter-high Hwangnamdaechong is the tomb

side. The boy, who looked bright and handsome, was well

that houses a king and his queen. Some 25,000 articles

tended to. Because of his intelligence, he was named Alji ,

have been recovered from the tomb, including an elabo-

meaning "wise," and since he was found in a gold chest, he

rate gold crown. The bones and teeth of what appears to

was given the surname Kim, meaning "gold." The kings of

have been a teenage girl were found nearby the royal cof-

Silla, during various periods, were from the Bak, Seok, and

fin, evidence of a prevailing custom that called for burying

Kim clans. Because the tombs of the Kim kings were filled

the living with the dead . While the Silla tumuli provide visi-

with gold articles, the royal Kim clan is thought to have

tors a glimpse of the areaÂˇs archaeological richness, the

originated from nomad gr~ups who roamed about north-

gently rounded curves create a sense of serenity. If you can

ern Asia. Their method of building tombs, with a wooden

visit Daereungwon at night, sit at the base of a mound and

coffin laid on the ground, upon which stones would be piled

gaze up at the heavenly sky. The scene of a crescent moon

up and then covered with earth, is similar to the burial cus-

shedding its faint illumination onto the centuries-old

toms of northern Asian cultures. When you walk through

tombs might be enough to move the dispassionate hearts

Gyerim Forest, where the majestic trees can create an un-

of modern people.

worldly sensation, you might seem to hear a rooster crow-

Other historic sites are found scattered about to the

ing from afar.

south of Daereungwon. Along the path to Banwolseong Fortress, which housed a Silla palace, you can see the oldest astronomical observatory in Asia, the bottle-shaped

Splendor of Gyeongju's Ruins If Daereungwon and Gyerim Forest are associated

Cheomseongdae. You will also come to Gyerim Forest, the

with the royal Kim clan who ruled ancient Silla, Geocheon

legendary birthplace of Kim Alji [A.O. 65- ?l, the founder of

Village, lying beyond Gyerim Forest, is where you can see

the royal Kim clan whose kings are buried at Daereung-

the face of modern-day Gyeongju. Alongside the Nam-

won.

cheon Stream that flows past Banwolseong Fortress, mut-

62 Koreana I Au tu mn 2006

1 The tumuli of Silla royalty have been an integral feature of the Gyeongju landscape for some one thousand years. 2 A Silla-period Buddha figure carved onto a cliff surface of Mt. Namsan, where about 80 stone Buddhist images can still be seen. 3 Site of Hwangnyongsa, a once grand temple, with a nine-story wooden pagoda, that was destroyed during the Mongol invasion of 1238.

ed traditional houses are clustered among cozy earthen walls. Upon a closer look, you can see that these modest but dignified houses were the homes of Gyeongju's middle class. Officially designated an Important Folklore Material, "Rich Man ChoeÂˇs House" is the residence of a prominent mid-Joseon Dynasty [1392-191 OJ aristocrat family, who had remained wealthy for 300 years. The family had been widely admired for its noblesse oblige lifestyle of moderation and generosity, under which they would not accept any official position above the lowest rank [jinsal, acquire land during times of a poor harvest, and allow anyone to go hungry within an area of 40 kilometers. The attraction of an ancient city such as Gyeongju lies in the splendor of its ruins, like the site of Hwangnyongsa Temple, where only the foundation stones remain . In 563, plans called for building a new palace south of the existing complex, but after a yellow dragon [hwangnyong] was seen, the palace plans were abandoned. Then, 17 years later, the large-scale Hwangnyongsa Temple was built on the site. In 645, Queen Seondeok [r. 632-647] presented Hwangnyongsa with a nin~-story wooden pagoda, 80 meters in height, in hopes that devotion to Buddhism would protect Silla from invasion by nine countries, including China and Japan. But the temple and pagoda were destroyed during the Mongol invasion of 1238, of which it was said that smoke from the smoldering Autumn 2006 I Koreana

ruins of Hvvangnyongsa darkened the skies of Gyeongju for

counts, there was one~ a nine-story pag oda, built of

weeks.

trimmed stones that looked like bricks, of which only three

Following the discovery of the Hwangnyongsa site in

stories remain . On Buddha's birthday [the eighth day of the

1990, the locations of the original buildings and pagoda

fourth lunar month]. to pray for the good fortune of their

have been identified . Because the temple site was probably

families, Buddhists carry lanterns to the temple and walk

in a marshy area , to stabilize the ground, it was filled in

around the pagoda, creating a scene of timeless beauty. If

with five meters of alternating layers of gravel and earth .

you join the procession to Hwangnyongsa and pray to Bud-

There were also markings which indicate that the ground

dha as you walk among the foundation ruins, it might well

of the entire site had been laboriously compacted with

seem like you have been transported back to the age of Silla.

wood beams just 7 centimeters in diameter. The inordinate time and effort involved with compacting the expansive site by hand reflects the unwavering resolution of the Silla people in their Buddhist beliefs.

Seeking a Kingdom of Buddha The most impressive remains of the Silla Kingdom are without a doubt Bulguksa Temple and Seokguram

Nearby the Hwangnyongsa site is Bunhwangsa, a tem-

Grotto . The construction of Bulguksa and Seokguram,

ple built by Queen Seondeok. According to recorded ac-

which was originally known as Seokbulsa , was started in

64 Koreana I Autumn 2006

751 and completed 23 years later. Above all, these two

the world of Buddha. Within the temple grounds, the two

monuments exemplify the breadth and depth of the Bud-

stone pagodas, Dabotap and Seokgatap, stand high on

dhist philosophy and artisanal spirit of that time. Like all

each side of the main hall, as if showing the way to enlight-

masterful works, they have come to transcend their origi-

enment. About 80 wooden buildings of Bulguksa were de-

nal purpose. It has been recorded that the Silla minister of

stroyed during the Japanese invasion of 1593, but the

state Kim Daeseong [700-774] dreamed about a bear,

stone structures, including the two pagodas, have survived

which he had hunted and killed , who returned to confront

to this day, enduring symbols of the kingdom of Buddha.

him. To comfort the bear"s soul, Kim built a temple at the

The central Buddha statue of Seokguram Grotto has

site where he had killed the bear. He also sought to build

been described as the consummate expression of the en-

Bulguksa for the souls of his parents and Seokguram for

lightened Sakyamuni Buddha . It is not only th e greatest

his parents in a previous life.

Korean artwork, but also an artistic monument without

The people of Silla built Bulguksa in an effort to create

equal anywhere in the world . As if representing a brilliant

a kingdom of Buddha in the real world . While passing

light in a physical form, the reverent and compassionate

through BulguksaÂˇs two bridges, Cheongungyo and Bae-

image of this Buddha statue transcends the epitome of

gungyo, you leave behind all worldly concerns and enter

beauty, as one sculptor has acclaimed . Entranced by its

66 Ko reana I Autumn 2006

The people of Silla sought to establish a kingdom of Buddha in the real world. Their ardent beliefs and dreams are vividly reflected in the magnificent Buddhist artifacts that can be seen in Gyeongju.

1 The Dabotap and Seokgatap pagodas face each other alongside the main hall of Bulguksa Temple, as if showing the way to enlightenment. 2 Hwangnamppang, a kind of Korean pastry with a red-bean filling, is a popular regional specialty of Gyeongju.

serene rapture, a Western scholar has described it as "the Light of Asia."

traditions have been lost, but in Gyeongju, thanks to its historic and conservative background, various aspects of

The circular walls of the grotto are adorned with

traditional life have been preserved. If you roam around

carved images of Bodhisattvas and ten of the Buddha's dis-

Hwangnam-dong, a neighborhood of traditional houses

ciples. The figures represent a group of followers who have

behind Daereungwon, you can see that each house in-

gathered to hear the Buddha 's teachings. The figure of the

cludes a garden area adorned with natural stone and

Bodhisattva Avalokitesvara, standing atop a lotus and

earthenware. A shaman's house with a long bamboo pole

wearing a crown with 11 faces, is enchantingly graceful.

drooping over the gate might catch your eye . There are

The figure's clothing is so realistically depicted it looks like

also several teahouses, where a traditional tea ceremony

a delicate fabric that you could pick up, which invariably

can be enjoyed, along with antique shops around major

causes onlookers to wonder how such an exquisite image

historical sites.

could have been carved out of coarse-grained granite. It is

Compared to other citie;, Gyeongju is home to an un-

said the Silla people believed that God had descended in

usually large number of traditional medicine clinics where

the night, created the whole of Seokguram, and then de-

Oriental-medicine specialists provide treatment. The Con-

parted. Indeed, Seokguram is a wondrous creation that

maul Oriental Hospital, which is housed in an elegant tra-

seems to be beyond human capability. Additional Buddhist

ditional Korean home that fits right in with this historic city,

artifacts of note include about 100 Silla granite-carved

offers Chinese-medicine tours for visitors. Tour packages

Buddhist images found scattered about Mt. Namsan .

to Gyeongju are available that include one- or two-night accommodations and a physical check-up performed by

Where History Lives on

Oriental-medicine practitioners.

With the Silla Kingdom enduring for about one thou-

A well-known specialty of Gyeongju is hwangnam-

sand years, one of the longest reigns in world history, the

ppang, a kind of Korean pastry with a red-bean filling. To

ancient Silla capital Gyeongju is a literal treasure trove of

local residents, hwangnamppang is a comfort food, while

burial artifacts and historic remnants. But the modern

for visitors, it is such a popular gift that anyone returning

Gyeongju city is there to be enjoyed as well. During Ko-

home without a box or two will be asked if they really visit-

rea's rapid industrialization process, too many longtime

ed Gyeongju . t.t Autumn 2006 I Koreana 67

aeha is the Korean word for large shrimp. Daeha, which redden when cooked, are usually 15 to 20 cen-

timeters in length, although some jumbo-size may reach 25 centimeters. As for jungha, this refers to shrimp of about 10 centimeters in length. Because of its delectable taste, jungha is favored for making jjim [braised, simmered, or steamed dishes) and Jeon [pan-fried appetizers). despite its smaller size. Daeha includes three sections: the head and chest, main body, and tail. The body, which features a well-developed abdomen, is of course the besttasting section for most people . However, the head and chest section, which is ensconced in a hard shell, can be tasty as well when broiled or steamed properly. The taste of daeha is especially delightful in autumn. Daeha is a rich source of protein and also low in fat. Recently, there are increasing numbers of people who eat the shrimp tail due to growing awareness of its high content of chitosan , a popular additive to health-food supplements. The tail of daeha is often broiled before being consumed . Koreans have long enjoyed various shrimp dishes such as daehajjim, daehajeon, daehagui, saeusanjeok, and

saeutwigim. Of these, daehajjim and daehajeon are the most representative of the traditional Korean dishes that feature daeha as the main ingredient. Shrimp are caught in all the seas surrounding Korea, but the majority come from the Yellow Sea. Of interesting note, shrimp was not a staple of Korean cuisine until the development of modern shrimp cultivation. Accord ingly, there are few, if any, references to shrimp in traditional culinary books. For instance, one finds no such mention in the authoritative culinary texts Eumsikjimibang [16 70) and

Siuijeonseo [1765]. On the other hand, Jeungbosallimgyeongje contains a description of the processes for preparing a shrimp-based powder, which calls for steaming and then drying the prawns, and for making salted-fermented foods with shrimp. Preparation and cooking methods for jjim and jeon are included in the cookbooks compiled after 1900. As

Autumn 2006 I Koreana 69

Daehajjim and daehajeon are traditional Korean dishes made with king prawns. Daehajjim, which is also known as daehajatjeummuchim, is an exquisite dish that combines the richness of a pine-nut sauce with the succulence of king prawns.

such, the history of daehajjim and daehajeon would appear to date back some 100 years. The term daehajjim, a dish widely enjoyed by the royal household during the Joseon Dynasty [1392-191 OJ, refers to more than a simple steamed dish. Rather it represents an elaborate fusion of steamed king prawns, meat, vegetables, and pine-nut sauce daehajatjeummuchim. This delicacy was the favorite shrimp dish of the late court attendant Han Hui-sun [1889-1972]. who had been designated

DAEHAJJIM

Important Intangible Cultural Property No. 38. A version of daehajjim, in which king prawn is prepared, sliced, and replaced into a prawn shell, and then decorated with different-colored garnishes, has recently gained considerable popularity. Whereas jeon typically involves dipping shelled prawns into an egg batter and then pan-frying them, daehajeon calls for an additional step of butterflying the shrimp before the batter coating. t.t

DAEHAJJIM

DAEHAJEON

Steamed prawns with various garnishes

Pan-fried prawns

(Daehajatjeummuchim) Steamed prawn s wit h pine-nut sauce

Ingredients (four servings]: 5 king prawns,

Ingredients (four servings]: 4 king prawns, 1

Ingredient s: 6 king prawns or 12 medium-

70 grams beef, 70 grams boiled bamboo

tablespoon seasoning wine. 50 grams prawn

sized praw ns, pinch of salt and pepper, 112 cup

sprouts, 112 cucumber, pinch of salt and white

meat, 112 teaspoon ginger sauce, 1 teaspoon

flour. 2 eggs, 1 tablespoon oil

pepper, 1 tablespoon oil

salt, 50 grams tofu, pinch of w hite pepper, 2

Soy-vinegar sauce: 11/ 2 tablespoon soy sauce,

Pine-nu t sauce: 5-6 tablespoons pine-nut

tablespoons flour

1 tablespoon vinegar, 1 tablespoon water, 112

powder, 3 tablespoons steamed prawn broth

Ga rn is h: 3 shitake mushroom s lpyogol. 3

teaspoon pine-nu t powder

or beef stock, 1/2 teaspoon salt, 2 teaspoons

manna lichen mushrooms, 2 eggs, 50 grams

sesame oil, pinch of white pepper

dropwort lminari] or cucumber, 1 red pepper,

Preparation 1 Wash prawns, remove and discard intestines. Sprinkle prawns with salt and steam for 7-8 minutes. Save broth. Remove shell, head, and tail of the prawns. Cut the prawns diagonally. 2

4 ginkgo nuts Sauce for prawns: 1/ 2 tablespoon soy _sauce, 1 teaspoon sugar, 1 teaspoon finely chopped green onion, 1 teaspoon sesam e oil, pinch of sesame salt and pepper

Preparation 1 Clean prawns, remove head, and peel off shell. 2 Score the back with a sharp knife, spread into halves, remove and discard intestines. 3 Marinate the prawns in sa lt and white pepper. Coat the entire prawn with flour, except for the tail. 4 Dip eac h flour-coated

Boil beef and cut into 1-centimeter-wide by 3-

Preparation

pra wn in the egg mi xture and pan-fry. To

centimeter-long pieces. 3 Cut cucumber in

1 Clean prawns and rinse in water. Score the

enhance the flavor, place a crown daisy or

half, slice diagonally, and soak in salt wate r for

back with a sharp knife, spread apart butterfly

chrysanthemum leaf on the backside of each

several minutes. Pan-fry for one minute and

style, remove and discard intestines. 2 Rinse

prawn. 5 Serve with soy-vinegar sa)Jce.

cool. 4 Thinly slice the boiled bamboo sprouts

the prawn in lightly salted water. Finely chop

and pan-fry with sa lt and pepper. Allow to cool.

the prawn meat and co mbine with mashed

5 Finely chop pine nuts and combine with

tofu. Season with salt, ginger sauce, and pep-

prawn broth, salt, pepper, and sesame oil to

per. 3 Soak shitake mu shrooms in water. Slice

make the pine-nut sauce. 6 Place the prawn,

thinly. Season with salt and sesame oil and fry.

sliced beef, cucumber, and bamboo sprouts in

Rinse manna lichen mushrooms and slice thin-

a bowl. Season with salt and pepper. Toss with

ly. Fry gingko nuts and peel off inner skin. 4

the pine-nut sauce and serve.

Separate egg white from yolk and pan-fry each to form thin sheets. Scald dropwort stems in boiling water and cut into 3-centimeter lengths. Remove seeds from the red pepper and cut into 3-centimeter lengths. Pan-fry the red pepper with salt. 5 Dust prawn shells with flour and fill w ith seasone d prawn meat. 6 Garnish the prawns with th e different colored ingredients and gingko nuts. Steam for 5-10 minutes. Serve with hot mustard sauce.

Autumn 2006 I Koreana 71

LIVING

.... Tuning Culture'' Provides Outlet for Personal Expression It is not enough to simply own a basic cell phone, pair of sneakers, or automob ile. Nowadays, the "tuning culture," under which regular consum er items are uniquely personalized, is all the rage among Korea's younger generations. Park Hyun-sook Freela nce Wri ter Photography: Ahn Hong -beam, Lee Joo n-hyuk

hese days, Korean society has come to fully exemplify

day life . There are two types of tuning: performance tun-

the tag line "Dynamic Korea." To multinational corpo-

ing , which is related to the performance or function of a

rations that manufacture the latest digital-age products,

product; and cosmetic tuning, involving its appearance.

which are especially sensitive to rapidly changing con-

Both types of tuning are applicable to products such as

sumer trends, Korea is known as an ideal test market. In

cars, computers, and mobile phones , whereas items

particular, with Korea's young consumers being so recep-

such as sneakers and jeans are by nature generally limit-

tive to change, forever on the lookout for something new,

ed to cosmetic tuning .

and brimming with tech-savvy ideas, these product makers highly value their feedback, which is used to refine their marketing strategy.

Means of Self-expression Tuning was in itially undertaken by professional auto

The younger generations of Korea , who readily

racers, but with the introduction of the sports car-like

embrace change, have created a "tuning culture, " under

Scoupe model by Hyundai Motor in the early 1990s, this led

which the appearance and/or performance of consumer

to the formation of a base of enthusiasts in their twenties

products are customized to suit their individual tastes

and thirties. These tuning enthusiasts, who do not think of

and preferences. Since the mid 1990s, tuning has been

cars simply as a mode of transportation but rather a

popular with cars and computers, while the recent rise of

means of expressing their individual personality and

individualism and consumer affluence has led to its

lifestyle, are keen to learn about the latest trends from

application to virtually every conceivable item of every-

local clubs and Internet sites.

72 Koreana I Autumn 2006

Cosmetic tuning, in which personal touches are applied to a vehicle's exterior and/or interior, is more prevalent than performance tuning, which involves improvement of on-road capability based on upgrades to the existing engine and mechanical systems.

Autumn 2006 I Koreana 73

The influences of tuning culture are so pervasive due to the growing numbers of people who have come to shun conformity and standardization in their pursuit of individuality and self-expression.

1, 2 Today's teenagers are fervent tuners of footwear, which features the painting and application of accessories to create individualized sneakers and shoes. LCD screen installed onto refrigerator door. 3

Koreana I Autumn 2006

Just as there are those who will spend as much as a

cialty shops for cell phone customization, there are grow-

hundred thousand dollars to tune a basic car that might

ing numbers of people who do the work themselves, after

cost only several thousand dollars, there are also others

getting self-help instruction from websites, and even those

who are not satisfied with buying luxury import models

who assemble their own phones. A representative cell

that can be priced at hundreds of thousands of dollars, but

phone tuning community is OOPS [cafe.daum.net/onlyone-

would rather spend tens of thousands of dollars to person-

phonel. which boasts a membership of more than 200,000.

alize an automobile of their particular liking. The number

Avid tuners of computers are known as the "speed PC

of car tuners has increased sharply, in line with the surge

tribe." This includes those who upgrade hardware compo-

of Korea's auto ownership rate, such that tuning-related

nents to increase the computer's capacity or install add-

activities have spawned a major industry with an annual

ons to boost the CPU processing speed . Of course, there

scale estimated at some $1 billion . Cosmetic tuning, in

are many others who focus on modifying the appearance of

which personal touches are applied to a vehicle's exterior

their computers. To counter the standardized squareness

and/or interior, is more prevalent than performance tun-

of monitors and computer cases, they have their comput-

ing, which involves improvement of on-road capability

ers take on the appearance of sports cars, audio systems,

based on upgrades to the existing engine and mechanical

aircraft carriers, or turtle ships, with such a radical trans-

systems. These days, there are some 1,000 businesses,

formation that the computers can hardly be recognized by

within the capital district alone that offer a diversity of auto

most people at first glance. Moreover, these tuners are

tuning services.

also stirring winds of change among product manufactur-

Cell phone tuning, under which the appearance, ring

ers. New products are now being released that enable

tone, color, and functions of cell phones are individualized,

consumers to customize the design of electronics items,

has attracted such a fast-growing pool of enthusiasts that

previously sold as finished products, according to their

specialty stores have recently emerged that cater to these

personal preferences. Recently developed tuning services

customization activities. Early on, cell

include replacement of the exterior casing of

phone tuning was little more than

electronics products as well as

applying images to the exterior surface,

installation of LCD monitors on

but these days many people upgrade

air conditioning units or refrigera-

the functional performance of their

tors, to which flash memory devices

phones. A variety of techniques have

can be connected for the display of

emerged, such as applying contrasting

video images.

colors to the keypad and adding a variety of selected graphics to the LCD screen .

Teenage Zealots

One of the most popular tuning prac-

Tuning is of course immensely

tices involves the use of fiber-optic cir-

popular among teenagers. Whereas

cuitry to create special-effect lighting.

adults can afford to tune big-ticket

While most tuners will rely on spe-

items such as automobiles and comput-

Autumn 2006 I Koreana

f, ers, teenagers are still able to show off their

who wear expensive brand - name sneakers.""

individuality despite their limited financial

This indicates that teenagers consider

means. Pens, backpacks, sneakers, gym suits,

sneaker tuning as a means of creating an

and bus cards, not to mention such basics as

alter ego.

textbooks and notebooks, are among the countless items available for tuning by teenagers. At

Function and Dysfunction

the Daum (www.daum .net) Internet portal site,

Nowadays, tuning is being applied to practi-

there are some 20 communit ies that provide

cally any product and everyday item. Indeed, it is

information for customizing pens and mechanical

no longer out of the ordinary to see young men

pencils, with anywhere from hundreds to thou-

wearing neckt ies that have been altered or

sands of active members at each site. Common

adorned with cubic zirconium. And recently there

practices include switching the casing of pens and

was even a contest held for personally designed

mechanical pencils, along with bending pen clips

baby strollers. The ease of accessing a wealth

into the shape of wings.

of information through the Internet, develop-

Teenagers are fervent tuners of footwear,

ment of related technology and commercial

which features the painting and application of

businesses, and a broadminded social con-

accessories to sneakers and shoes. Footwear tun-

sciousness that is open to personal differences

ing became an instant craze when the female lead

and expression have all provided fertile ground

of a popular TV drama series was shown with

for a tuning culture to take firm root . From a

sneakers she had tuned herself. Teenagers will

socio-psycholog ical perspective, people place

seek out sneakers with a plain color or style and

great emphasis on individuality, while today"s age of

then create personal designs by applying paint and

material abundance naturally lends itself to self-

accessories such as beads, trinkets, and even bits of

expression of all conceivable manner. Yet we must take

candy. With footwear tuning offering such endless possibil-

heed of the shadow cast by the light. Becoming overly

ities, shoe stores now also sell a variety of customization

engrossed in tuning can easily lead to adverse side effects,

products. A female high school student in Seoul remarked:

such as a tendency to withdraw from the mainstream . As

"The students who wear tuned sneakers that stand out

such, moderation and balance -are called for to prevent an

with their individual styling are more popular than those

out-of-control situation. lit

76 Korea na I Autumn 2006

\v'hen Does H e Come?

CRITIQUE

hin Kyong-suk was born in 1963 in Jeongeup, Jeollabuk-do province. Her hometown was a typical

rural village in the Korean countryside, where there was

Voices that Remember Things which Have Disappeared

no electricity service until 1974. Shin moved to Seoul when she was 15 and attended an industrial high school. She worked on a stereo assembly line in the daytime and studied at night. Out of frustration, she once skipped school for several days and then had to write an explanation of her absence for her teacher. After reading Shin's half-page note, the teacher asked : 'What do you think of becoming a

novelist?" The mention of "novelist" opened a career path

Kim Dong-shik Professor of Korean Language and Literature, Inha University

for the young girl who was an avid reader of books and enjoyed writing. After graduating from university with a major in creative writing, Shin worked for a publishing company and as a writer at a broadcast station. She made her literary debut in 1985 and has come to be regarded as an influential figure of Korean literature since the 1990s. The philosopher and art critic Lucien Goldmann has said that the novel is a quest for authentic values in a degraded world, based on degraded means. If this notion is applied to the literary works of Shin Kyong-suk, in a world where death is everywhere, writing is a means of returning to the time before death. Shin's novels feature voices that remember- things which have disappeared and the insignificant beings surviving on the fringes. These include people close to the author, parents who have lost children through accident or disease, spouses left alone by the death of those around them , and individuals who have been scarred by the violence of society. In her works, Shin calls out to those beings buried in oblivion, restores their voice and physical presence, and resuscitates their sense of existence. The short story 'When Does He Come?" is representative of the distinctive character of Shin's literature. The heroine receives a phone call from the husband of her

78 Koreana I Autum n 2006

\Xfhen Does He Come?

dead sister at dawn. Out of the blue, he suggests a trip to

things that remain unspoken prepare for their demise

Namdaecheon stream . This is where the salmon are

within the "eternal present." The author views this desire

known to return; it is also where she had scattered her sis-

as an effort to draw closer to a mother.

ter's ashes. Her sister was a second-string stage actress,

"For me, writing is ultimately about drawing as close

who one day suddenly committed suicide with poison. On

as possible to the mind of a mother. It's about becoming an

the way to Namdaecheon, the heroine reads the note her

unrestrained type of mother who can embrace broken

sister left behind, and realizes that she had been suffering

beings, separated beings, those who are not beautiful,

from lung cancer. Her sister's death left terrible scars on

those who are treated unfairly, those whose lives are run-

those around her. But through the note, the heroine

ning out, and disheveled cross-eyed beings," she says. "I

understands the agonizing pain and loneliness that her

was captivated by writing fiction because the insignificant

sister had endured. The trip to Namdaecheon serves as a

things seemed to shine so much brighter" [from Sound of

means of returning her sister to the realm of the living, if

the Bell, Munhakdongnae Publishing, 20031.

1.1

only briefly, and a process in which the living can reconstruct the dead sister's demise. In this case, what is the significance of the salmon? Salmon make their way into ocean waters, live there for three or four years, and then return to the stream where they were born to spawn. The salmon life cycle symbolizes a return to their birthplace in order to create new life even as they face their own death. In other words, the salmon represents the coexistence of life and death, the womb and the grave. As such, the salmon in Shin 's story is an image of the writer herself. For Shin, writing is a process of going back in time prior to death and revitalizing the origin of life. In her writing, Shin breathes life into unexpected partings, unseen sadness, worlds beyond the realm of science, things than cannot be spoken, anonymous beings that nobody recognizes, the shadows of death lurking about

Works and Awards Shin Kvong-suk's .111thologics include A Wli11ter F<1ble ( 1990), \'(I/Jere the Ham1011ium Used to Stmzd ( 1993), ,Lrnui11g Ho111e Lo11g Ago ( 1996), U11til the Ril'er R1111s (1998), Strawberry Farm (2000) , So1111d of the Bell (2003), and novels Deep Sorrow ( 1994 ), A Desolate Ruom (1995), The Trai11 Leaues al Seue11 ( 1999), and Viul!!t (200 I). She has received a number of awards, including the Hankook llbo Literature Prize, Young

everywhere, and things that no longer exist, in a hope of holding on to those moments forever. In this respect, Shin's basic metaphor and motif as a writer is the womb. By bringing together those fragile beings and recomposing their existence within the story, the symbolic womb, the

Artist of the Year A ward, Contemporary Literature Prize, l\lanhae Prize for Literature, Don gin Literature Award, 21 st Century Literature Award, Yisang Literature Award, and Oh Young-soo Literature Award .

author seeks to bring the past to life . In the symbolic womb, the nameless beings that have disappeared and the

Autumn 2006 I Koreana 79

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