Koreana Summer 2007 (English) by The Korea Foundation

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BEAUTY OF KOREA

Mosi Ramie Fabric he sight of a Korean woman wearing clothing made of

As the weaving of mosi is an arduous task that calls for an

mosi, or ramie fabric, in the middle of summer, naturally

experienced and dexterous hand, it was treasured as a precious

exudes a sense of graceful elegance. A traditional Korean

fabric, as was also true with any garments made thereof. And

fabric, also called jeomapo and jeopo, mosi is characterized by an

while mosi was also produced in China and Japan, the exceptional

airy texture, which makes it cool to the touch . For this reason,

quality of Korean-made mosi has been long acknowledged by

mosi has long been regarded as the ideal fabric for summer

Korea's neighboring countries. According to historical documents,

attire. It is made by hand weaving strands of durable bast fiber

mosi was in use from the time of the Unified Silla period [668-935].

from stems of the ramie plant, a perennial member of the nettle

This tradition was further developed during the Goryeo [918-1392]

family. Of note, whenever a garment made of mosi is washed, it

and Joseon [1392-191 OJ periods, making mosi one of the most

becomes more lustrous and white , which gives the clothing a

valuable commodities of Korea's trade with other countries.

fresh look and feel after each washing . Typically, mosi was used to make the chima !skirt] and jeogori

Today, the village of Harisan in Chungcheongnam-do Province, which is recognized as the primary production center of mosi, is

!jacket] of the hanbok, Korea 's traditional outfit, as well as duru-

renowned for its semosi, ramie fabric woven from especially fine

magi, a traditional overcoat. These days, however, it is also used

strands, giving it an ethereal essence. The mosi produced in this

for making a variety of household products, including bedding,

area is referred to as Hansan mosi, and is widely praised for its

curtains, and other home furnishings.

incomparable quality. t.t

Korean a Korean Art & Culture

Vol. 21 . No.2 Summer 2007

Published quarterly by The Korea Foundation

1376-1 Seocho 2-dong, Seocho-gu. Seoul 137-863 , Korea PUBLISHER Yim Sung-joon

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Tidal Flats of Korea 8

Tidal Flats: Vital Incubator for Marine Life

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Tel, 82-2-468-0361/5

Lee Ha-suk

Korea's Inimitable Tidal Flats Koh Chul-hwan

20 Natural Bounty of the Tidal Flats Baik Yong-hae

26 Conservation vs. Development of Korea's Wetlands Kim Kyung-won

Koreana Internet Website http://www.ko reana.or.kr

Â© The Korea Foundation 2007 Al l rights reserved . No part of this publicat ion may be rep roduced in any form without the prior permission of the Korea Foundation. The opinions expressed by the authors do not necessa rily represent those of the editors of Koreana or the Korea Foundation Koreana, registered as a quarterly magazine with the Ministry of Culture and Tourism [Regist ration No Ba-1033, dated Aug. 8, 19871. is also published in Chinese , French, Spanish. Arabic, Russian , Japanese, and German

FOCUS

Emergence of Regional Cultural Centers

INTERVIEW LEE 14

I Lee Dong-yeun

A Post-Human Dr. Jekyll Goes to Venice Lim Geun-jun (aka Mikka_L) The expansive tidal flats along Korea·s western and southern coasts rep resent a truly valuable natural resource , which is also a vital ecosystem that supports an abundance of marine life. Suncheonman Bay is Korea·s first tidal flats

ARTISAN

Master Craftsman of Traditional Bamboo Screens

I Lee Min-young

area to be registered with RAMSAR, the international wetlands organization . Photography: Seo Heun-kang

MASTERPIECES

Buddhist Sculptures of Gamsansa Temple

I Kang Woo-bang

ART REVIEW

ARCO 2007 Turns the Spotlight on the Artists of Korea

DISCOVERING KOREA

r LI

E I

Ardent Admirer of the Korean Traditional Home

I Sung Ha-young

I LeesooJin

ON THE GLOBAL STAGE

Paik Kun-woo Breathes New Life into Classical Works Jake T. Ryu

ON THE ROAD

Changnyeong: Reminders of the Past Offer Hope for the Future Bae Han-Bong

CUISINE

Refreshing Treats for Summer

I Chun Hui-jung

LIVING

Summer Vacation : Quest for a Rewarding Experience

I Ryu Min

JOURNEYS I N KOREAN LITERATURE

LIM CHUL- 00 Subduing the Violence of Ideology with Pen and Paper I Kim Hyoung-joong My Father's Land I TranslatedbyKimMyung-Hee

8 Koreana I Summer 2007

Summer 2007 I Koreana 9

10 Korean a I Summe r 2007

Summer 2007 I Ko rea na

12 Koreana I Summer 2007

Tidal flats are broad expanses of sand and sediment ~ along coastal areas that are submerged during high {;, t ide and exposed at low tide. In Korean, tidal flats are known as gaetbeof, because they are broad

t tf

plains (beo/) of estuary sediment (goet). The English term comes from the fact that they are flat expanses ;. of land that are revealed, or immersed, depending on ~ . the tidal conditions. The tidal flats of Europe's North , Sea coast, which are particularly extensive and well-known, are referred to as the Wadden Sea, or Wattenmeer in German.

Scale of Korean Peninsula's Tidal Flats The tidal flats along Korea's western coast are of an immense scale. The tidal flats of South Korea, in total, account for an area of some 2,500 square kilometers, w hile those of North Korea have an area of about 3,000 square kilometers, such that the Korean Peninsula features a combined area of tidal flats of approximately 5,500 square kilometers. Germany's tidal fiats cover an area of about 6,000 square kilometers, while the Netherlands coastline includes approximately 3,000 square kilometers of tida l flats. The tidal flats along the Netherlands, Denmark, and Germany are known as the Wadden Sea, wh ich is the world's best-known tidal flats area. Korea's tidal flats, in terms of scale and ecological characteristics, are comparable to the Wadden Sea.

History of Korea's Tidal Flats Korea's tidal flats are estimated to have been created about 8,000 years ago. And while this might , seem like a long i ime ago, in terms of the history of the earth, it is only a brief instant. The creation of the earth is said to date back to some 4.5 billion years, and if this period were converted into a 24-hour day, 8,000 years would be less than a single second. Considering that such a substantial volume of sediment has accumulated along the vast tidal flats, during this relatively brief time frame, it is difficu lt to comprehend the massive extent of ground erosion that this process must have involved.

Summer 2007 I Koreana

14 Koreana I Summer 2007

idal flats form along coastal areas when the ocean depth is shallow, the difference in water level between the high and low tide (tidal range) is substantial, and rivers constantly deposit sediment there. The average depth of the Yellow Sea along Korea's west coast is about 45 meters, while the slope of the ocean floor gradually decreases toward the coastline, making for ideal conditions for the formation of tidal flats. The slope of the ocean floor is between 1/550 and 1/1,000 at areas exposed to the open waters, such as Ganghwa Island of the Incheon region, between 1/1,500 and 1/2,500 for partially enclosed bay areas, such as Garnrimman Bay of Chungcheongnam-do Province, and about 1/2,500 for enclosed bays, such as Hampyeong Bay of Jeollanam-do Province.

Formation of Tidal Flats Along Korea's western coast, the average tidal range gradually increases as you move northward from the Jeolla-do toward Incheon: from 3.1 meters at Mokpo, to 5.3 meters at Gunsan, and 7.3 meters at Incheon. Further northward from Incheon, toward North Korea, the tidal range begins to decrease, reaching about 5 meters at the lower reaches of Amnokgang (Yalu) River. Worldwide, tidal environments are classified into three categories by average range: large tidal range of over 4 meters, medium tidal range of between 2 to 4 meters, and small tidal range of under 2 meters. Korea's tidal flats are characterized by a large tidal range. Annual sediment volumes deposited by rivers amount to 10 million tons for the Hangang River, 6 million tons for the Geumgang River, and 5 million tons for the Amnokgang River. By comparison, the combined volume of this sediment is equivalent to a mere 2 percent of the sediment volume carried along by China's mighty Yell ow River. Still, this volume is enough to produce layers of sediment with a thickness of about 3 to 5 millimeters, each year, Summe r 2007 I Koreana 15

along the coast of the West Sea, which enables the formation of tidal flats. Most of the sediment that flows into the Yellow Sea is deposited by China's Yellow River and Yangtze River, annually amounting to one billion tons and 500 million tons, respectively. However, the bulk of the Yellow River's sediment accumulates in the Bohai Sea, such that only about 10 percent reaches the Yellow Sea. The sediment that rivers deposit along the coastline are churned by tidal currents and dispersed onto the ocean floor and carried out to open waters, resulting in varying sediment amounts based on tidal and topographical conditions. In addition, the relatively denser sand grains and generally lighter sediment particles result in a varied content of the sand-mud mixture. Accordingly, the coastline exposed to open ocean waters and channel areas, where the currents tend to be stronger, 16 Korea na I Su mmer 2007

are sandier, while mud accumulates, in areas where the wave action is weaker. As such, tidal flats have variations in sediment composition, with mud flats along the coast, mixed mud-sand flats in the shallow offshore waters, and sandy ocean floors in open waters. Sandy surfaces are common in areas that are open to tidal currents, while mud flats are found in areas beyond the ocean's relentless wave action. Regional Characteristics In Gyeonggi-do Province, the northern-most region of the large tidal flats along the West Sea coast, there are some 840 square kilometers of tidal flats, accounting for about 35 percent of the total area of tidal flats in South Korea. Gyeonggi-do's representative tidal flats are the areas along the southern end of Ganghwado Island and the northern side of Yeongjongdo Island. These areas are exposed to the open sea and are thus

comprised mainly of mixed mud-sand flats. Some 80 marine species are found in this region, with most of the benthic, or bottom-living, organisms being annelids, such as lugworms. The coastal areas of Chungcheongnam -do Province contain about 340 square kilometers of tidal flats, of which the most notable are at Garorimman Bay, covering an area of 100 square kilometers. Since the bay's mouth narrows to a width of only 2 kilometers, the shores are partially enclosed and the mud flats are well developed. About 70 species of bottom creatures are found in this area, including extensive populations of worms and snails, which can reach a density of 50 per square meter. The Jeollabuk-do coast includes the well-known Saemangeum tidal flats , which cover an area of some 400 square kilometers, making it the largest tidal flats area in South Korea. Fertile sediment from the estuaries of the

Manila clams can be found in any of Korea's tidal flats , but massive land recla mation projects ca rried out s in ce the 1990s have caused the annual harvest vo lumes to plummet. 2 Jeollana m-d o Province inclu des tidal flats covering a to tal area of some 1,000 square kilo meters, where so me 150 benthi c species can be found, in clud ing 50 types of mollusks .

Mangyeonggang River and the Dongjingang River is contained by an extensive sea wall embankment of 33 kilometers in length. With the sea wall construction, which was started in 1992, having been completed in 2006, current plans call for the reclaimed land to be used for agricultural purposes. About 250 species of benthic creatures are found here, including some 70 types of annelids. Shellfish account for about 90 percent of the biomass of the area. The biomass, or the weight of living organisms, is estimated at about 100 grams per square meter. There are large populations of surf clams and hen clams, which can reach a density of 100 clams per square meter. The conditions here produce tidal flats with a mixed sand-mud composition, which provides an ideal environment for a variety of shellfish to flourish, including several types of clams. Jeollanam-do Province is home to the most expansive tidal flats, with a total area of 1,000 square kilometers. Its rugged coastline faces a multitude of islands, creating a picturesque seaside scenery. The tidal flats are especially prevalent around Imjado Island and Hampyeongman Bay, where the offshore island and coastal inlets allow the formation of extensive mud flats. Some 150 benthic species have been identified in this area, including some 50 types of snails and clams, mostly the Manila clam, and Musculista senhausia. Marine Resources Microalgae, an essential food source for the benthic creatures of the tidal flats, can survive on any kind of surface of Korea's coastal areas, but they proliferate among the fine sediment of openwater mud flats. Most microalgae are diatoms and measure between 10 and 100 micrometers in length, and no more than 10 to 20 micrometers in width. Their cell walls are composed mainly of transparent silica, which facilitates the photosynthesis process. The cell walls are also porous to allow absorption of

water and nutrients. The microalgae populations of Korea's tidal flats are comparable to those of the tidal flats along the Wadden Sea in northern Europe. Tidal flats provide a boundless supply of marine resources, especially various shellfish, such as clams (bivalve mollusks), which represent a valuable source of revenue for the residents of coastal villages. Because people use a trowel or shovel to dig up shellfish from the muddy surface, this gathering activity is referred to as "bare-handed fishing." The most common shellfish harvested from Korea's tidal flats include Manila clams, surf clams, and razor clams, which are all used to make a refreshing and savory broth, usually served with noodles. The clams typically lay their eggs from late spring through the summer, while spats begin to mature in the fall and have a lifespan of four to five years. Razor clams thrive in thick, muddy sediment of the open-water tidal flats, with their preferred habitat being at the low-lying slope of V-shaped channels. Razor clams can grow for four to five years and reach a length of about 10 centimeters. Research of the Hwaseong tidal flats in Gyeonggi-do Province has found a density of razor clams that ranges from 100 to 150 per square meter, which produces an annual yield of 2.7-3.0 kilograms. Such a bountiful abundance and the relative ease of their gathering make these clams a valuable commodity for nearby residents. Manila clams are commonly found in sandy areas as well as mixed sandmud tidal flats. Spats remain at the lower reaches of sloping channels, along the shoreline on the ocean's sandy bottom, but will make their way onto land as they grow older to live in the muddy flats. To boost the harvest yield, spats are dug up from the lower channel areas and moved to the mud flats to increase the adult populations. This is a kind of aquaculture, but it differs from commercial processes in that no effort is Summer 2007 I Koreana 17

Ti dal flats are va luab le for th eir uni que expansive scenery, but they are also important as an ecosystem th at s uppo rts a variety of creatures. 2-5 Tida l flats are a va lu able na tura l resource where local resi den ts can harvest ma rine products for their live lihood or sup pleme ntal inco me. The most common s hellfis h harvested fro m Ko rea Âˇs tida l flats include Manila clams, surf clams, hard clams, and razo r clams. 6 Tida l flats are perfect rest stops fo r migra tory birds , offe rin g an abu nd ance of foo d and a safe place to relax befo re cont inuing on the ir lo ng-distance journey.

made to feed the clams. Manila clams can reach a density of 300 clams per square meter, with an annual yield of 1.2 kilograms per square meter. Similar to Manila clams, surf clams are plentiful in sand and sand-mud tidal flats areas. They can reach a density of about 200 clams per square meter, equal to a weight of about 0.6 kilograms. Although fewer in number than Manila clams, they grow more quickly, resulting in an annual yield of about 1.4 kilo grams per square meter. The market prices for razor clams, Manila clams, and surf clams (in this order of descending value) are probably the result of the surf clam's more rapid growth. The harvesting of these clams peaked in the 1980s at about 10,000 tons for surf clams, 20,000 tons for Manila clams, and 1,000 tons for razor clams, on an annual basis. However, the dramatic loss of tidal flats areas, due to the large-scale land reclamation projects launched during the mid-1990s and thereafter, has caused the annual harvest volumes to plummet. Conservation Strategy Since the dawn of the 21st century, the management approach to Korea's tidal flats has shifted from reclamation projects to preservation efforts. Previously, most people thought of tidal flats areas as being barren and unproductive, 18 Koreana I Summer 2007

and thus supported reclamation projects to create more farm land. But, since the mid-l 980s, various environmental papers have been published that stressed the ecological importance of tidal flats areas. Then, as people observed the serious environmental devastation that resulted from massive reclamation efforts, such as the Sihwa Lake and Saemangeum projects, public campaigns for the protection of tidal flats gained strong momentum. Meanwhile, the conservation strategy that had been adopted for the Wadden Sea served as a model for Korea's efforts to broaden public awareness of the vital need to protect its tidal flats. Since the mid-1990s, environmental specialists, citizen groups, and the media have persisted in the efforts to publicize the importance of protecting our tidal flats, which have helped to persuade the government to adopt the conservation of these areas as a part of its development policy. For example, the Ministry of Environment has designated the estuaries of the N akdonggang River in 1999 and the Hangang River in 2006 as wetlands conservation areas. Moreover, the Ministry of Marine Affairs & Fisheries has designated for protection the tidal flats of Muan (Jeollanam-do Province, 2001), Jindo (Jeollanam-do Province, 2002), Suncheonman and BoseongBeolgyo (Jeollanam-do Province, 2003) and Ongjin-Jangbongdo (Gyeonggi-do Province, 2003), and Gomso (Jeollabukdo Province, 2007), as wetlands conservation areas as well. In addition, in October 2006, the Ministry of Marine Affairs & Fisheries implemented the "Marine Ecosystem Conservation and Management Act," which includes provisions for the management and preservation of marine ecosystems, protection of marine organisms and biodiversity, and management of marine resources, which will contribute to more prudent land-use policy for Korea's tidal flats. Above all, the efforts to preserve the tidal flats will depend on heightened

public awareness of the value of their unique ecosystems, as the designation of protected areas has often encountered resistance from local residents. In fact, the tidal flats that have been designated for protection thus far are relatively small in area, along with being noncontiguous. In concept, to protect a tidal flats ecosystem, it is necessary to designate belt-like tracts, while the protection oflarge-scale areas should include a core zone where conservation is strictly enforced. For the government, it should apply the lessons from its designation of Green Belt zones, for the regulation of land use, to the tidal flats areas. To assure the systematic protection of Korea's tidal flats, local communities and residents must be made to appreciate the need and benefits of protecting these areas. Accordingly, the operation of visitor centers and facilities at Suncheonman Bay and the Muan tidal flats should be improved. It will also be necessary to make available educational programs and informational materials so that students and the general public can learn about the significance of tidal flats, along with the development and implementation of programs which assure the participation of local residents, NGOs, and environmental specialists in the policy and management decisions of these valuable areas. 1..1

Tenth Ramsar Conference of Parties to be held in Korea The Tenth Ramsar Conference of Parties ICOPI will be held in Korea in 2008. Known as the Environmental Olympics, the Ramsar COP will be held from October 28 to November 4, 2008, in Changnyeong, the site of Upo Swamp, a wetland that has been included in the Ramsar List of Wetlands of International Importance; some two thousand representatives from 144 nations and international environmental bodies and NGOs will be in attendance. The Ramsar Convention was adopted in Ramsar, Iran in 1971 with the goal of inhibiting the Loss and erosion of wetlands of international importance and preservi"ng wetlands that serve as habitats for w aterfowl. When countries join the Ramsar Convention, they are required to designate at Least one wetland for inclusion in the Ramsar List; Daeamsanyong Swamp in lnje was the first site designated by Korea, and Upo Swamp in Changnyeong was the second. During the COP, Gyeongsangnam-do Province plans to conduct tourist trips related to both the regional culture and the natural ecologies of important Korean wetlands, such as Upo Swamp and Demilitarized Zone !DMZ) wetlands and DaÂˇeamsanyong Swamp in lnje.

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IÂˇI

idal flats are essential for maintaining a properly balanced ecology and natural environment. In pa1ticular, the various organisms that thrive in the tidal flats break down and purify the organic waste matter produced by people. But for Koreans, the tidal flats also serve as an inexhaustible source of food. Indeed, there are not many countries like Korea having a food culture that savors such marine life as the common octopus, shellfish, sea cucumber, and Urechis unicinctus, a reddish worm-like creature, which measures 10-15 centimeters in length and 2-4 centimeters in width. The tidal flats are thus like a warehouse of foodstuff that provides a sustainable livelihood for coastal residents and delectable food items, which are low-cost as well as nutritious, for people in the cities and inland areas.

Living by Tidal Cycles For the residents of coastal villages, knowing the tidal cycles is all-important, since the expansive basins of the tidal flats are accessible only during low tide. As such, the tide is their clock. Generally, the ocean currents ebb and flow twice a day, under a monthly cycle that is altered by about an hour each day, due to the gravitational influences of the moon. So, the low tide might be in the evening on one day and in the early morning two weeks later. By adapting to the tidal cycle, the people here will make their way to the tidal flats at low tide in order to gather its bounty, which enables them to support the education of their children, marry them off, and perhaps acquire a simple retirement home. Various marine species are gathered in particular regions and based on the season. This is because supply and demand varies throughout the year, which affects market prices, while a regular seasonal pattern influences the availability of the marine creatures and the activity of the coastal residents. For example, during winter, when cold winds and snow blow in from the north, most land creatures tend to hi22 Korea na I Summ er 2007

bernate. But on the coast, there is a marine specimen that moves in from the deep ocean waters to the shallow tidal flats. This creature, which is prized by Koreans, as a wonder health food, and has thus seen its price skyrocket recently, has an unusual appearance and name as well. It is the Urechis unicinctus, whose Korean name, gaebul, is due to its resemblance to a dog's penis. This red, worm-like creature is a member of the phylum Echiura, also known as spoon worm, which is unique for its reproduction during the winter. After living in sub-tidal zone waters (the relatively shallow areas of the ocean alongside the tidal flats) throughout the summer, they mature in the winter and move into the shallow coastal waters, where they burrow into U-shaped tunnels in the sandy basin areas. This is related to their mating process, such that if you dig into a gaebul tunnel, you will sometimes find it inhabited by a male and female couple. Gaebul build a small mound of sand at the surface to cover the tunnel opening, which makes them easy to find. Though available only in the winter, the high prices that they command make gaebul gathering a worthwhile endeavor for the coastal villagers. Vital Source of Food In addition to the Urechis unicinctus, shellfish also provide a stable source of income for coastal people. Most shellfish are cooked rather than being eaten raw. But the hard clam (Meretrix lusoria) is one offew shellfish that is usually eaten raw. Moreover, it is praised as the king of shellfish thanks to its savory taste and appealing fragrance. The time for eating raw shellfish is in winter, when the cold temperatures aid in their freshness, chewy texture, sweet flavor, and pleasant aroma, to the sheer delight of epicures and chowhounds. The hard clam is also known as "live clam" in the Jeolla-do of southern Korea, because of the fact that it is often eaten raw. It is said that shellfish are a symbol

In th e sp rin g, th e tid al flats yield an abu ndance of mature shellfish. Peo ple use ÂˇÂˇtidal flats boats.-- whi ch are des igned to slide atop th e muddy surface, to transport their boun tiful harvest of cla m s.

;;~ - --::~~

...- ~

Summer 2007 I Koreana 23

Koreana

I Summer 2007

1-2 To Loca l resid ents, the tidal flats represent a vital so urce of Liveliho od and suste nance. The clams and oth er seafood, Li ke Urec hi s unicinctus, ga thered up from th e ti da l flats provide a sta ble source of income fo r coastal people .

of the joys and sorrows experienced by the common people of Korea. In the bygone days when Korean society was deeply rooted in agriculture, the arrival of spring was accompanied by widespread food shortages, as the grain that had been stored up for winter was likely to have been consumed. In fact, it was common for inland households to be so desperate for food that they would be forced to eat grain seed. But this was not the case for coastal areas, where mature shellfish could be found in abundance on the tidal flats during spring. Coastal residents would simply take a basket out to the exposed tidal basins and gather up the plentiful shellfish. In this way, coastal villages did not experience the springtime hunger that plagued much of the country. Accordingly, there is saying among coastal villagers that: "There are no beggars on the coast." The particular shellfish, that enabled coastal households to overcome hunger, was the hen clam, which is also known as the "deliverance clam" for its life-saving ability. Mother Nature's Generosity Another noteworthy treasure of the tidal flats is the sea cucumber. Its Korean name means "ginseng of the sea," because it is revered for its restorative properties, much like the ginseng root, which ancient Koreans used to treat a variety of ailments. Wild ginseng, which grows in secluded mountain valleys, is

so highly regarded for its curative efficacy that it is said to be capable of "reviving the dead." If this potent ginseng is found in the mountains, then it was thought only natural that a similar cureall could be found in the sea. And apparently this turned out to be the sea cucumber, which gave rise to another Korean saying: "Wild ginseng from the mountains, and sea cucumber from the sea." The sea cucumber, which is a popular health food and remedial supplement, lives on the sediment floor of tidal flats. The most expensive marine creature in Korea from the tidal flats is the common octopus ( Octopus variabilis ). There are several ways to prepare the common octopus: it can be boiled, stir-fried, sauteed, and parboiled, making it a versatile ingredient for a variety of dishes. But for Koreans, many prefer to eat the common octopus raw, with seasoning. Though people from other countries might have an aversion toward the common octopus, like the tidal flats from which it is derived, it has long been an integral aspect of the Korean life and diet. The tidal flats in Korea, which for long have provided people with muchneeded sustenance during the spring, are a real-life example of the generosity of Mother Nature. In light of this, it should be no surprise that the Korean people have come to treasure the unfathomable value of their tidal flats. 1..1

Boryeong Mud Festival

Wh en the summer season arri ves and hordes of vacationers head for the beach, a festival w ith an unusual theme is held at Daech eon Beach in Boryeong, Chungcheongnam-do Provinc e: the Boryeong Mud Festival. The 136-kilometer-long coastline along Boryeong, the site of the festival, is lined with tidal flats with a muddy surface of fine sediment. Of note, analysis of this mud has found that it emits high levels of far-infrared rays and contains natural min erals, such as germanium and bentonite, which have been proven to be effective for skin care. Because of these qualities of the local mud, the city of Boryeong has developed mud-based cosmetics and it sponsors an annual mud festival, which is intended to attract visitors and publicize the unique inud from the Boryeong area. During the festival, a wid e array of entertaining activities are offered that are based on the mud's muck and mire, including a large mud pool for mud bathing , mud sculptures, mud fac e/body packs, mud obstacle course, mud sliding, and a "jail" for anyone who refuses to be covered in mud. There are also events that visitors can participate in, such as military basic training, marathon race along the mud flats, and mud-sliding competition. This four-day festival, which is held in mid July, has steadily attracted growing numbers of foreign visitors since its launch in 1998.

Summer 2007 I Ko reana 25

26 Koreana I Summer 2007

he Korean public's understanding of the importance of wetland areas and the efforts to curtail their commercial development have undergone a dramatic change in recent years. Public outcry over reclamation projects was fueled by a serious water-pollution problem at Sihwa Lake, a manmade reservoir situated between Ansan, Siheung, and Hwaseong, of Gyeonggi-do Province, three satellite cities on the outskirts of Seoul. Thereafter, public opposition intensified when the government announced its intent to proceed with the controversial Saemangeum Reclamation Project, a massive development effort of the delta areas of the Mangyeong and Dongjin rivers. The Sihwa Lake and Saemangeum projects provide a useful context for understanding the root conflicts between Korea's environmental community and development circles, in terms of the future of our wetland areas, as well as the social consensus that has resulted from these clashes over the past 10 years. More recently, another showdown is looming over the proposed development of the Janghang wetlands.

Relentless Development Wetlands serve as a buffer zone between the maritime and terrestrial ecological systems. In their ecological function and formation process, wetlands play a key role that supports the coexistence of the ocean and the land. Wetlands are treasure troves of our ecological system, a wellspring of natural resources for the benefit of the environment and humankind. Korea's wetlands provide a strategic stopover area for birds that migrate between East Asia and Oceania. The wetlands also serve as a breeding ground for the region's marine ecology and vital incubator for nurturing a rich coastal biodiversity. The belt of wetlands along the shores of the Yellow Sea, from the Korean Peninsula to China's southeast coast and Bohai Bay, are home to one of the world's five most significant wetSummer 2007

I Koreana 27

Large-scale reclam ation proj ects , whi ch have resulted in serio us environme ntal deg radati on, have fueled growing pu blic inte rest and a broad -based cons ensus on the importan ce of preserving th e ecology of wetlands areas . An in tense co ntroversy co ntinu es to rage between develo pme nt an d co nserva tion advocates over the fate of Ko reaÂˇs wetla nd s and tid al flats. 2 Local residents co ming home with their harve sts fro m the tidal flats.

lands ecosystems, which warrants careful preservation and prudent management, for the sake of global interests. Unfortunately, the significance of this wetlands ecology came to be recognized only after development of this region was already underway, while its true value was realized only after reclamation projects had left the affected wetland areas dry and depleted. A development versus preservation dispute has yet to be resolved in regard to Sihwa Lake, and the surrounding reclaimed land, 10 years after serious pollution of the lake's freshwater had been detected. Due to its failure to rectify the lake's water-quality problem, the government was eventually forced to open the floodgates and allow seawater to flow into the lake. The government thus admitted that it could not come up with a workable solution to overcome the water-pollution problem at Sihwa Lake, resulting in an abandonment of its original objective of creating a freshwater source for farming and industrial purposes. Nevertheless, development is proceeding on the reclaimed land around Sihwa Lake. There are plans to utilize the region's former wetlands, now completely dried up, as farmland or for urban or commercial uses, such as stateof-the-art technology research facilities. Even after the floodgates were opened, the seawater inflow has been irregular, which led to the development of a tidalcurrent power facility-the largest of its 28 Korea na I Su mm er 2007

kind in the world-for the generation of electricity and to regulate the ocean currents. This monstrous landfill project, which has destroyed the wetlands ecology and divided the local community, is a testament to the dire consequences that can result from a lack of adequate planning, while continuing to be a sinkhole for government expenditures. The development of Hwaseong Lake, adjacent to Sihwa, was undertaken including the construction of the reservoir embankments in March 2002, even as the problems with Sihwa Lake became apparent. Today, five years later, similar to the Sihwa project, Hwaseong Lake has yet to fulfill its primary goal of supplying freshwater for nearby farmland, although development is proceeding to utilize the landfill area and reinforce the embankment structures. Importance of Wetlands The longstanding controversy over the Saemangeum Reclamation Project recently came to an abrupt and absurd end. The various economic and environment issues of this project, which were publicized by the environmental activists and religious leaders who staged 60-day-long marches of three-stepsone-bow, and a prolonged lawsuit that eventually reached the Supreme Court, underscores the fundamental clash between the advocates of development and conservation. Nonetheless, this ongoing struggle led to a tacit social consensus that recog-

nizes the importance of our wetlands ecology and the need to assure its protection. Thus, the public has come to demand that any development of wetland areas must be undertaken with due consideration of the environmental consequences. However, in April 2006, the government announced that it would proceed with the completion of the Saemangeum embankments. Why did the government insist on completing this project, in spite of widespread public concern for protection of the wetlands ecology? The only explanation seems to be that the Korean government's policy decisions continue to be influenced by the development-first approach of the 1960s and 1970s, which was needed to promote Korea's rapid economic development. The factors behind the Saemangeum project mirror the forces that fueled Korea's decades of booming growth and modernization, when economic activity was dominated by construction and public works projects. It was at this time, when development was deemed essential for economic progress, that these reclamation projects were first conceived and commenced. Moreover, these projects transformed government-owned wetland areas into reclaimed land that ended up in the hands of private developers, which sparked waves of real estate speculation in the adjacent regions. In this way, the invaluable natural ecology of the wetlands was sacrificed for the sake of real estate development and financial gain.

The Sihwa Lake, Hwaseong Lake, and Saemangeum reclamation projects all involved fierce struggles between developers and conservationists over such issues as water pollution and environmental concerns. AndÂˇ this conflict did have a positive outcome, in terms of the public's broadened awareness of the significance of wetlands ecology. However, as compared to the priority placed on development-centered economic policy initiatives, the protection of wetlands ecology clearly remains a secondary consideration in the whole scheme of things. Recently, in response to public clamor over the proposed reclamation of the Janghang wetlands, the Korean government announced that it would not be pursuing any more reclamation projects that affect wetland areas. Still, this announcement has not been received with unanimous approval. Various local communities around wetland areas, which had hoped to benefit from future development projects, objected to the fact that they were now being denied this opportunity. In light of the farreaching economic development and industrialization that Korea has undergone in recent decades, it is no big surprise that the developers have more often than not triumphed over the conservationists.

emerged in regard to the development versus conservation standoff over wetland areas, which has resulted from a broad-based public consensus on the need to do more to protect this valuable natural resource. After paying a steep price, in terms of the destruction wrought by the Sihwa Lake and Saemangeum projects, there finally seems to be a proper understanding of the importance of the wetlands and the need to change our previous mindset. In a country like Korea, located on a peninsula and surrounded by the sea, it is natural that we have come to depend on the ocean and wetlands. But many of the people who had relied on these wetlands for decades have since lost their means of livelihood, while

these areas, which all this time had been publicly owned, have been sold off to private interests. These are the tragic consequences of wetlands development, which vividly reflect the tumultuous process of Korea's economic development and modernization. Today, a new cooperative relationship is taking shape between the advocates of conservation and development that emphasizes more prudent handling of Korea's wetlands. For now, the development projects will continue. And while environmental groups may be at the forefront of wetlands conservation efforts, in the end, the protection of this irreplaceable natural resource will fall on the shoulders of the general public. 1.t

Development vs. Preservation Over the past 10 years in Korea, the conflict and controversy over the development of wetland areas have shed new light on the wetlands ecology, a growing amount of which has been destroyed for the sake of development. Even today, several wetland regions are being filled in for development; but on the other hand, there are also a number of efforts underway to preserve and restore wetland areas around the country. Even the government, which had previously served as the foremost proponent of development, is now proposing protection measures for the remaining wetlands. As such, a new common ground has Summe r 2007 I Korea na 29

FOCUS

Emergence of Regional Cultural Centers Several regional cultural centers have been opened in recent yea rs , which are now having a positive impact on decentralizing the heavily Seoul-oriented cultural . ment, along with better satisfying the cultural interests of provincial residents. Lee Dong-yeun Professo r, Sch ool of Korean Traditional Arts. Korea n National University of Arts

The Uijeongbu Arts Center strives to offer a variety of high -qua li ty perfo rman ces and ge nres to the resid ents of northern Gyeongg i-do. 2 Cinderella perfo rmed by the St. Peters bu rg State Ice Ballet in August 20 06 3 Waltz of Spring performed by Jo Sumi and Johann Stra uss Orchestra in Ap ril 2007

ver since the system of autonomous local governments was launched in 1995, provincial cities and regions have been in a race to establish cultural facilities and multipurpose performance venues. To date, more than 100 performance venues, referred to as "culture & arts centers" or ÂˇÂˇarts centers," have been developed since 1995 . Although the regional cultural center is a prominent symbol of a local government's efforts to outdo one another by building ever-grander performance facilities, this flurry of activity has had the welcome effect of making cultural programs more accessible to local residents, who have long been ignored by the capital-

centered administration of the cultural scene.

New Cultural Infrastructure Since 2000, new cultural venues that have been established include the Daejeon Culture & Arts Center, Cheongju Arts Center, Uijeongbu Arts Center, Ansan Culture & Arts Cente r, and Seongnam Arts Center, which now play an instrumental role in mitigating a previous lack of local cultural infrastructure and fostering a region-specific artistic environment. The Uijeongbu Arts Center has hosted the annual Uijeongbu Music Theater Festival, which features noteworthy indoor, outdoor, and street performances. In attract-

ing some 1 million visitors in the 15 months since its opening, the Seongnam Arts Center is rapidly emerging as a new cultural hub, just outside the capital area. Nevertheless, no matter how ultramodern the cultural facilities might be, local cultural endeavors cannot flourish without a steady offering of quality programs, avid participation of local residents, and development of human resources who specialize in all aspects of the performing arts. Therefore, if a multipurpose cultural center represents the necessary hardware for enhancement of the regional cultural environment, then cultural programs, specialized human resources, and supportive residents are elSummer 2007 I Koreana 31

ements of the required software. Then, what measures are needed to enable a regional cultural center to serve as a focal point of local culture and arts? First and foremost, it is essential to establish a cultural identity that is rooted in local characteristics. In this regard, there have been several instances in which local cultural centers have sought to replicate the performance guidelines and programs that have been adopted by metropolitan cities, such as Seoul. Therefore, there is an urgent need to instill a new management mindset that encourages innovative strategy and creative initiatives. It would also be helpful to learn from successful cases of cultural venues and performing arts management.

Co mpagnie Montalvo -H ervie u pe rformed at the Seong nam Arts Ce nte r in J un e 2006. 2 The Seong nam Arts Ce nter, si tu ated just outside the capital area , is rap idly emerging as a new cultural hub. 3 Ka ng Sue J in and the Stu ttgart Ballet perfo rmed The Taming of the Shrew as part of the cele bra ti on he ld to mark the first ann iversary of the opening of th e Seong nam Arts Cen ter. 4 The 1st Seo ngna m Dance Fest ival 2006 was based on a the me of the "Environ ment and Da nce .Âˇ

32 Koreana I Summer 2007

Strategic Planning Second, to ensure that regional cultural centers can be competitive, a strategic planning capability must be in place for the development of programs that are attuned to popular trends. Local cultural centers are often inclined to promote large-scale performances that have already attained international success. In fact, there have been a number of cases in which these cultural centers have simply pursued the staging of programs previously performed in Seoul. If this trend continu es, regional culture and arts centers will only function as supplemental facilities, essentially following the lead of performances staged by venues in Seoul and other international

cities. As such, it will be critical to recruit talented specialists who are capable of developing independent programs, which appeal to the sentiments of regional audiences . The development of distinctive programs will contribute to heightened enthusiasm among local communities toward regional cultural centers and help to boost the occupancy rates of the facilities. Third, regional cultural centers need to offer a variety of educational programs tailored to the interests of local residents so that they can acquire a pride of ownership. All too often, local residents must undergo complex procedures in order to gain access to regional cultural facilities . Since regional cultural facilities are publicly owned, local residents must have the

Summer 2007 I Koreana

"Tap Dogs," a world-renowned tap-dancing group, performed at th e Ansan Culture & Arts Ce nter in December 2005. 2 The Ansan Culture & Arts Center, wh ich opened its doors in 2005, has been at the fo refro nt of the innovat ive initia tives carried out by reg ional cultucal centers. 3 Th e Romania Oradea State Philharmonic Orchestra performed at the Daejeon Culture & Arts Center in May 2006. 4 The Da ejeon Culture & Arts Center, whi ch has be en in opera tio n since 2003, has not only staged a va ri ety of performances but also ha s ho sted numerous regiona l cultural fest ivals.

opportunity to take advantage of these resources, as an audience member and performer as well. For example, local elementary, middle, and high school students, as well as the members of amateur arts and culture groups, should be encouraged to stage various performances at regional cultural centers. Lastly, it will be crucial for local residents to be avid supporters and core customers of the regional culture centers. In this regard , the Seongnam Arts Center's ability to steadily improve its occupancy rate and attract large audiences can be attributed to its concerted efforts to publicize performance-related information and broaden its base of frequent event-goers through the promotion of a season-ticket program. Focal Point of Regional Culture In order for local cultural centers to be recognized as highly regarded meccas of regional culture, it will be necessary to have local residents visit these facilities on a more regular and frequent basis. For the cultural center that seeks to promote a season-ticket program, which is based on meticulous planning , and develops creative strategies to attract larger audi-

34 Koreana I Summer 2007

ences, it should find itself proceeding along a path toward successful operation, backed by steadfast community support. No matter how superb the quality of its facilities and programs might be, a cultural center that ignores the needs of the local community can never become a true success. To this end, there are concerns as to whether the recently opened largescale cultural centers have adequately reflected upon this common-sense approach . Although these cultural centers have supposedly been developed to satisfy the cultural interests of local residents, many programs of questionable quality have been staged. Moreover, it is known that regional cultural centers have, without much careful thought, presented performances that had been held in Seoul, or undertaken projects without sufficient attention to detail, in terms of publicity and marketing efforts. At the time when a regional cultural center commences its operation, it will typically stage high-quality performances that appeal to local audiences. However, over time, the content of performances tends to deteriorate, along with a decline in program planning. In particular, this kind of experience should serve as a clear

warning of the pitfalls associated with a too heavy emphasis on large-scale performances . Of course, there is a place for world-class productions, but they need to be selectively staged . Indeed, regional culture centers run the risk of being relegated to the status of secondary venues if they seek to simply duplicate the highprofile performances staged in other centers. If regional cultural centers intend to follow the flow of globalization and become local centers of culture, they must not only offer high-quality performances, but also serve as the focal point for educational programs on local culture and arts. Although the staging of performances provides a valuable opportunity for local residents to personally experience a variety of cultural activities, regional cultural centers can also help to noticeably reinforce the performance infrastructure of provincial areas through their efforts to offer a variety of cultural education programs. L..t Summer 2007 I Koreana 35

INTERVIEW

Lee Hyungkoo A Post-Human Dr. Jekyll Goes to Venice At the 2007 Venice Biennale, Lee Hyungkoo will become the first artist to present a solo exhibition at the Korea Pavilion, which has been a regular event participant since 1995. Lim Geun-jun (aka Mikka_L) Art/Design Critic Ahn Hong-beum Photographer

rtist Lee Hyungkoo (b . 1969) will represent Korea at the 52nd Venice Biennale, which will open this June. Of note, this will mark the first time that a single artist will occupy

the entire Korean Pavilion with a solo exhibition . Thanks to the efforts of the Late Paik Nam June (1932-2006). Korea became the 25th nation with a pavilion at this event in 1995. Lee Hyungkoo made a name for himself by creating an eerie space that resembles some kind of secret research Laboratory for anatomical experimentation, complete with intriguing optical devices and equipment. Recently, he unveiled his ''Homo Animatus" series that depicts the skeletal structures of cartoon characters, which has been described as cute and fascinating. Even people with no particular appreciation of modern art have been attracted to his works. In video footage, the artist is seen nonchalantly walking along the streets of New York, while wearing his "optical helmet," which makes his head Look four times larger than normal. Passersby giggle, while the expressions on their faces seem to say: "Hey, neat trick." Even the faces of unimpressionable urban dwellers will brighten for a moment at the sight of this young artist and his black humor. It is not often that cutting-edge modern art, which deals in depth with the issues of contemporary culture, can also make people Laugh . His elaborately assembled, strangely shaped skeletal works resemble the fossils excavated from the earth. In response to his art works, Internet users have made such comments as : "Are the cartoon characters extinct?" ; "The hyperrealistic detail is amazing" ; and "it's cute, but also kinda creepy. It's 36

Koreana

I Su m mer 2007

AO/, 2005 , pe ncil, ink, marker, and acrylic on paper, 109 x 79 cm

;...- ··'

Anas Animatus 0 , 2006, res in, alumi num, stainless steel w ires, sprin gs, and oil paint. 52 x 30 .5 x 33 cm Lepus Animatus, 2005 - 2006, resin , alum inum , stai nless steel wire , sp rings, and oil pa int, 111 x 60 x 70 cm

-J (}Q .. an interesting and strange feeling." In reality, the portrayal of virtual fossils, which can be embraced by today's popular cultural scene , requires long hours of hard work. The artist's attitude toward the theme is no simple matter, as he inquires: "In what cultural dimensions can the body be restructured into nowadays?" And yet this pseudo-scientist-like artist, with a unique charm , clearly elicits a response from the viewers of his works. The following is my interview of the artist Lee Hyungkoo.

Lim Geun-jun The Korean Pavilion is notorious for being a difficult space for exhibitions. What are your thoughts on this? Lee Hyungkoo Everyone knows this. It is in a poor location first of all. It is small, and more than anything the building is very inconvenient for exhibitions. [Laughter)

Lim Which national pavilions do you like the best? Lee

The German Pavilion and the British Pavilion.

Lim Although there has been criticism that "commissioners take pride in the fact that several artists can present exhibits in such a small pavilion, " the commissioners of the Korean Pavilion have seen fit to designate a number of artists. Thus, Korea's art community was quite surprised at Commissioner Ahn SoYeon 's decision to designate only one artist, which was a welcome change. When did you hear that you had been designated as the sole artist for the Korean Pavilion?

Lee -I heard unofficially in early October. Lim This must be a very special exhibition for both you and the commissioner.

Lee

It is. In 1997, when I was a student, I visited Venice as an assistant to a Korean Pavilion artist, and at that time, Commissioner Ahn SoYeon served as the curator for th e Venice Biennale Special Exhibition for Korean Contemporary Art, entitled 'Tiger's Tail, " which was held separately in 1995·, the year that the Korean Pavilion was established.

Lim Although the development of a second Korean Pavilion, 38 Koreana I Sum mer 2007

which Paik Nam June had pushed for, has not yet become a reality, if such a gallery space were to be established,

Lim How did you become involved with these kinds of projects as a student?

many in the art world believe that this would come about by

Lee I have always had a keen interest in transformation based

the hands of Curator Ahn SoYeon. [Laughter) There are

on the human body, such as mutation, physiognomy, and

also people who are cautiously suggesting that you might

phrenology. My research and experimentation naturally led

be able to returnÂˇ home in glory with a special prize for the Korean Pavilion.

Lee The artist just does his best to create his works and exhibit

me to this point.

Lim When was your first performance? Lee My first performance was during class in my fourth year as

them . Of course, it's nice to be awarded a prize as well.

an undergraduate. Thereafter, I continued to present vari-

[Laughter)

ous performances . The first time that I dressed up and

Lim I have heard that you plan to display both 'The Objectuals"

acted like a scientist was at an open studio of the Ssamzie

series, consisting of optical devices that can visually and

Residence in 2004. Since then, I have been performing at

physically transform the proportions of the human body,

major exhibitions.

and the "Homo Animatus" series, which portrays the skele-

Lim The impression that audiences get from your perfor-

tal structures of cartoon characters in a pseudo-archaeo-

mances as a scientist is not really science fiction, nor of a

logical manner.

Lee I plan to link the two series into one . Overall, I hope to ere-

medical thriller or noir. It's actually quite curious.

Lee I joke that the core of my work is "yamae" [a term used to

ate the atmosphere of a newly created laboratory. Of par-

describe underhanded methods; often in regard to the buy-

ticular note, I plan to stage a performance at the opening of

ing or selling of items, or getting information). [Laughter)

the exhibition while wearing my 'WR" optical helmet, so it

Lim "Yamae" comes from the Japanese word "yami," which

will be important for me to conserve my energy in order to

means darkness. How many pieces have you created for

last to the end of the exhibition .

the "Homo Animatus" series thus far? It takes quite a while

Lim Oh, so will the post-human Dr. Jekyll be traveling to Venice with his laboratory?

Lee I'm looking to open up a Venice branch . [Laughter)

to complete a piece, doesn't it? I've heard that you have a large number of assistants to help you.

Lee Not counting the initial research, and beginning with the

II /

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,· ) I , I

I ~

'- ·

..';"·

....::.:.-- .

• •

1-3 HK LAB-WR Performance , 2004, Project Space Zip in sta llation, Seoul 4 Altering Facial Features With Pink-Hi , 2003, di gital print, 120 x 150 cm

\ pieces I displayed at the "2004 Youthful Seeking" exhibition

Lee

be a total of fourteen pieces in nine sets. At first, it took

particular, the sockets that hold the eyeballs are joined

anywhere from seven or eight months to a year to com-

together, causing the eyes to overlap . The most problemat-

plete a single piece; so I had a tough time. I get a lot of help

ic feature after the eyeballs is the vertebrae. In the process

from assistants because the work requires a lot of atten-

of transforming the cartoon characters, there are distor-

tion . These days, I work with as many as ten and five at the

tions, such as making the head one-third to one-fourth the

least. Three assistants will be accompanying me to Venice.

size of the entire body, or four-footed creatures standing

If it weren't for the support of the Arario Gallery, it would be

upright like humans, so the scope of change is vast.

incredibly difficult to work under these conditions.

Then, the joints for the hands and feet can be tricky. Espe-

Exactly what kind of material is used to make the skele-

cially, when making a front foot into a hand, the joints have

tons? It looks just like bones and is quite realistic, while

to be shorter, so ultimately the extent of the adjustment is

artists are known to be greatly impressed when they see

greater. It is interesting that mammals have five toes on

the detailed reproduction of even the tiniest holes on the

their front feet and four toes on their back feet. But rodents

surface of the skulls.

generally have five toes on both their front and back feet. At

The material is a hard polyurethane plastic . I have been

any rate, as for works of caricature, one toe or finger gets

looking into using new materials these days. At first, I

left off each limb, making for hands with four fingers and

added some bone meal as a magical touch. [Laughter] The

feet with three toes. And strangely enough, Jerry of "Tom &

results didn't change, just the way I felt. There is ultimately

Jerry" only has two toes.

a compromise between human bones and animal bones in an attempt to create a virtual result that may not actually

Lim Wow, I find that so fascinating . Are you currently preparing to debut a new character after Jerry in the "Homo Anima-

exist but looks like it could . And the details make use of minute bubbles to create fine holes, so it requires a lot of

tus" series?

Lee

work. As they say: "God is about the details."

plan to display the intermediate stages of manufacture at the Venice Biennale, and when they are completely assem-

Of course. No matter how well a cartoon character may be

bled, I want to display them alongside Homo sapiens.

planned, no one really calculates the placement of each and

Lim Wouldn 't it be fantastic if you could display your series in a

every bone, so ultimately there are a lot of cases in which I have to improvise. Not only do the characters change in size

Lim

Not yet. Instead, I am refining the original "Homo Animatus, " using the skills I have accumulated since that time. I

Lim As you make these adjustments, I imagine that there are times when you have to resort to trickery. Lee

The eyeballs. They are the most exaggerated feature, so most of the time the eyeballs and the skeleton overlap. In

at the National Museum of Contemporary Art, there would

Lim

Victorian-style museum of natural history?

Lee

If I get the chance, I'd like to display them in Yale Universi-

according to season , but sometimes they change from one

ty's Peabody Museum of Natural History. In truth, aren 't

scene to the next. Animators are people, too.

museums of natural history spaces all dominated by per-

In particular, what features do you believe are the most

formance art? t.t

absurd? Summe r 2007 I Koreana

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Cho Dae-yong Master Craftsman of Traditional Bamboo Screens Cho Dae-yang makes bamboo screens based on the traditional methods of his great-grandfather. Made with almost countless fine strips of bamboo, which are hand woven, the screens reflect the lifelong journey of a craftsman who has been guided by artistic dedication and perseverance. Lee Min-young Freelance Writer I Joo Byoung-Soo Photographer

bout 140 years ago, during the reign of King Cheoljong

sunlight to brighten up the interior. Cho points out that the bam-

[r. 1831-1863). the 25th monarch of the Joseon Dynasty, a

boo screen was an essential element of everyday life, for the king

resident of Tongyeong, Gyeongsangnam-do Province, who

and commoner alike.

had passed the national examination for military officers, was

··Bamboo blinds were not just used indoors. They served as a

awaiting his appointment to a government post, when he sent the

screen for when the king·s ministers addressed the queen, as

king a handcrafted bamboo screen. The king admired the exquis-

well as for shade for the king when he traveled about, or for a

ite craftsmanship and expressed his delight with the gift. When

bride while being transported by a palanquin on her wedding day.

word of this incident reached Tongyeong, this was cause for cele-

For men of leisure, screens were used as a sunshade or partition

bration at his household. And thereafter, his family"s descendents

as they relaxed in a pavilion, .. Cho says.

have carried on the art of making bamboo screens.

As a basic necessity, development of the bamboo screen

This story is about the great-grandfather of Cho Dae-yang

advanced noticeably during the Joseon Dynasty [1392-1910).

[b. 1950). a master craftsman of bamboo-screen making, who has

along with several other handcrafted items, when Samdosugun-

been designated Important Intangible Cultural Property No. 114.

to n gj eyeo n g, a naval command for three Provinces-

Cho, who draws much inspiration from the craftsmanship of his

Chungcheong-do, Jeolla-do, and Gyeongsang-do-was main-

family"s previous generations, gathers up bamboo stalks, trims

tained in Tongyeong [1603-1895). Since Tongyeong functioned as

the bamboo into fine strips, and hand weaves each item, in a simi-

a procurement center for the distribution of military supplies,

lar manner as his great-grandfather, grandfather, and father.

there was robust demand for the production of such items as conical bamboo hats [gat). lacquered works with inlaid mother-

Practical and Versatile Traditional screens, or blinds, called ba/, are woven from fine strips of bamboo [daeoril. or certain kinds of reeds. When affixed

of-pearl, and bamboo screens. Bamboo screens were also produced in China and Japan, but those made in Korea are clearly distinctive, according to Cho.

to a doorway or window, they provide protection from sunlight but

"Compared to the bamboo screens of China and Japan, a

allow for ventilation, which is especially useful during the sum-

Korean screen has a cool and subtle nature. My screens are

mer. in the bygone days, when Korean women were in large part

made with very fine strips of bamboo, and I create patterns on the

confined indoors, they treasured these screens, which enabled

surface during the weaving process itself,"' notes Cho. The Japan-

them to catch a glimpse of the outdoors and allowed the entry of

ese versions are made with bamboo strips as thick as chopsticks Summer 2007

I Koreana 43

44 Korea na I Summ er 2007

Making a Traditional Bamboo Screen A bamboo stalk is cut into quarters, pee led, and the in side scraped out. It is the n Left outdoo rs fo r a month to dry. Ba mboo processed this way will ma inta in a co nstant co lor. 2 Cho uses a gomusoe, an implement that he inve nted , to trim th e bamboo into fin e strips. The ba mb oo is passed thro ugh holes of diffe rent sizes, creat in g stri ps with a thickness of 0.1-0. 7 millim eter. 3 When the stri ps are ready, the fra me is pre pared fo r weavin g. 4 The sh uttle is usually made of a piece of clay or Lead wrap ped in hanji !tradit ional mulberry paper]. 5 Need ing up to 2,000 bam boo strips, a fini shed scree n of thi s type usua lly takes three mont hs to co mplete [1 85 x 135 cm].

and have a rigid form, whereas the Chinese ones are made with

hard to find the smaller kind because of the wide use of herbi-

fine thread-like strips, but rather than being woven , the patterns

cides. A lot of work is needed on the larger bamboo to make it

are painted on afterward.

suitable for weaving, but it has its strong points, like good color," Cho says.

Patience and Perseverance

A bamboo stalk is cut into quarters, peeled, and the inside

With his father and grandfather being master craftsmen, Cho

scraped out. The bamboo is then left outdoors for a month, to

grew up surrounded by bamboo and bamboo products. But in

absorb moisture from the morning dew and dry out in the sun-

1971, when he was 20 years old, he suddenly came to view bam-

shine, which produces a wonderful yellow color. As a result of

boo in a different light. A few days before he was scheduled to

this preparation process, the bamboo is ideally suited for making

depart for his military service, he felt uneasy about this new

screens and its color will not fade or darken. After the bamboo is

experience. So he grabbed a handful of bamboo strips, and then

dried, it is trimmed into fine strips for the weaving process.

in no time he had woven them into a screen. Thinking that he

"To make the strips, I use a tool called gomusoe, a stainless

might be able to sell the item, he made his way to the market and

steel plate punched with holes of different sizes," Cho explains.

found an eager buyer who praised its workmanship. Upon the

'When . a 1-centimeter-thick piece of bamboo is passed through

completion of his military duty, he returned home and began his

this plate it is cut into thin strips. The process is repeated three or

career in bamboo-screen making.

four times to create strips of 0.5 centimeters to 0.7 centimeters

In addition to an extremely intricate production process,

thick."

much attention must be paid to properly prepare the bamboo . A

After making the fine strips, a kind of shuttle [godeure).

one-year supply of bamboo is gathered in December and Janu-

bound with thread, and a bamboo frame [sijakdae) are prepared.

ary, in order to assure that it is free of bug infestation. ÂˇÂˇ1n the

The bamboo strips are affixed to the frame and woven together

past, a smaller bamboo species was used to make smoking pipes

with silk thread. A large-size screen can require as many as

or bows. But these days, we use a larger, thicker variety [Phyl-

2,000 bamboo strips and three months of handcraftsmanship, not

lostachys bambusoides) that can reach a height of 20 meters. It"s

counting the time needed to prepare the materials. From beginSummer 2007

Ko reana

ning to end, this process calls for the utmost in patience and perseverance.

Thanks to his extraordinary craftsmanship, Cho has earned a number of prestigious awards, including the Culture Minister's Award for his bamboo screen with a tortoiseshell design (1990).

Artistic Passion

and the President's Award for his works with tortoiseshell and

Though he has never thought of himself as a master crafts-

"happiness" character patterns (1995). Finally, in 2001 he was

man, Cho finds a renewed passion for his craft upon the com-

designated a master craftsman of bamboo-screen making and

pletion of each of his works. The gomusoe is his own invention,

important intangible cultural property.

which he devised after experimenting with methods to produce

"In the olden days, anyone could make a bamboo screen.

ever-finer bamboo strips. Moreover, he delights in the chal-

They were necessary household items. But the structure of hous-

lenge of creating more elaborate weaving patterns. Previously,

ing has changed and endless apartment complexes are being

he had woven designs based on ink-painting images. At first,

built. It's sad that bamboo screens are rarely used these days,"

the designs were simple tortoiseshell patterns or single charac-

lamented Cho. Having spent his life walking along a narrow path,

ters, such as su (~). for life, or bok (~iil. for good fortune. He then progressed to phrases, such as sowonseongchwi (may your wishes come true) and subokgangnyeong (may you

and despite this lament, Cho can take heart in the fact that his youngest son Cho Yeong, 29, is poised to carry on the family tradition of bamboo-craft making.

have a long, healthy, and happy life). With the addition of more

Like so many aspects of Korea's traditional culture, the bam-

characters, the complexity of the weaving process increased,

boo screen has struggled to survive in modern times . But he

which further extended the production time. However, for Cho,

hopes that a finely crafted bamboo screen might cause people to

this added difficulty only served to enhance his self-satisfaction

pause and appreciate the graceful refinement of Koreans of long

whenever he completed a screen with an intricate pattern.

ago times. t.t

Tortoise-shell design woven into a bamboo screen. Though making designs this way means two or three times th e work, the satisfaction is also that much greater.

Korea na

I Summ e r 2007

uddhism arrived in Korea in the late fourth century, but it was not until the mid-sixth century that Koreans began to create their own Buddha sculptures. This indicates that the establishment of Buddhism as a state religion involved a gradual process. Early on, Buddha statues were mainly works of bronze or terra cotta, but these were soon replaced by granite sculptures. Compared to India or China, mountains of sandstone or limestone are rarely found in Korea. In fact, it would be no exaggeration to say that granite was the only material readily available for making sculptural works in Korea, which also explains the lack of cave temples here. Granite is an especially hard stone, with a coarse texture, making it unsuitable for carving delicate details, which makes it an unpopular choice of material among sculptors. However, local conditions dictated that Korean artisans acquire the techniques for using granite to sculpt Buddhist works. The grain of granite surfaces can project a variety of colors and tones, creating an effect similar to the pointillism technique of French impressionists. In their Buddhist sculpture, Silla artisans sought to highlight the natural brilliance of granite, to which no color was added .

Buddhist Sculpture Among the early Buddha statues from the Unified Silla period (668-935). very few are inscribed with the date of their production . However, the two stone Buddhist sculptures unearthed south of a palace site in the Silla capital of Gyeongju are rare exceptions, with inscriptions engraved on the back of their aureole. The inscriptions contain information that is consistent with the records of ancient documents. The stone statues of the Maitreya Bodhisattva and the Amitabha Buddha are from the Gamsansa Temple site of Gyeongju. The Maitreya Bodhisattva inscription includes 22 lines of 381 Chinese characters, which provides valuable information about the making of the sculpture as well as the social and cultural atmosphere at the time. The inscription states that the statue was commissioned in 719, the 18th year of the reign of King Seongdeok (r. 702737), by Kim Ji-seong (652- ?), who served as sirang, the chief officer of the Chancellery Office !Jipsaseong). which would be the equivalent of today"s vice prime minister. Kim oversaw the production of two Buddha sculptures, as a memorial to honor his parents, of which the Maitreya Bodhisattva was dedicated to his mother. Along with a reverence of nature, Kim Ji-seong admired the transcendent spirit of Chinese Taoist philoso48 Koreana I Summer 2007

Maitreya Bod hi sattva , Heig ht: 270 cm, Nati ona l Treasure No. 81 , National Muse um of Ko rea

Summe r 2007 I Koreana 49

The two sculptures share certain similarities yet each is distinctive: the Maitreya Bodhisattva features a feminine nature with a heightened sensuality, whereas the dignified Amitabha Buddha projects a masculine presence.

•

..... -·~ --.•.

50 Korea na I S umm er 200 7

phers Laozi and Zhuangzi, who had freed themselves from worldly desires. He also recognized the philosophical insight of Buddhist thought and pursued the truth without attachment, as seen in his simple lifestyle after retiring from public office at the age of 67. He later returned to government office but maintained his magnanimous spirit, which included the donation of his material possessions to support the construction of Gamsansa Temple in Gyeongju. For Kim, building the temple was an act of charity that he hoped would encourage the royal family and common people to embrace Buddhism and seek enlightenment.

Subtle Magnificence The Maitreya Bodhisattva statue, which features a large lotus-shaped aureole carved in high relief, stands atop a pedestal that has been carved from a separate granite slab. The bodhisattvaÂˇs jeweled crown is tall and ornate, with a tiny Buddha engraved on the topknot above the crown. It is adorned with large, elaborate earrings as well as jewelry on the neck and arms. A beaded necklace of several strands covers the body, all the way down to the knees. There is a decorative band across the chest, while the robe is draped around the arms and the sides of the body, with the bottom hem being carved in relief on the aureole. The skirt clings snuggly to the lower body, forming a clear outline of the legs. The skirt's drapery falls in horizontal layers, forming zigzag patterns between the legs. The creases in the robe and skirt are noteworthy ornamental elements. The face and body are ample and rounded, with the figure being depicted in a sensual stance. On the aureole, the halos of the head and body are both comprised of three rings, highlighted with auspicious patterns to signify an emanation of energy from the bodhisattvaÂˇs spirit and body. The sculpture, which is elaborate and sensual with a number of exotic decorative elements, was likely influenced by the Indian style of the Gupta period [5th-7th century). Since it is one of only a handful of early Unified Silla stone Buddha sculptures with a known production date, this statue serves as a valuable reference resource for the study of Buddhist sculpture in Korea.

Dignified Simplicity The Amitabha Buddha statue includes an inscription of 21 lines and 391 Chinese characters, with content similar to that of the Maitreya Bodhisattva sculpture. However, there is an additional line which states that Kim Ji-seong had commissioned the production of this statue while on his deathbed, in 720. Thus, the two inscriptions suggest a scenario in which Kim had commissioned the Maitreya Bodhisattva in 719, to honor his mother, and then sought to have the Amitabha Buddha created, in memory of his father. But Kim died during the production of the second work, which was subsequently dedicated to him and his father upon its completion. The Amitabha Buddha statue conveys a solemn, meditative essence, with its right hand raised and the thumb and index finger touching, in the Abhayamudra gesture [preaching gesture). in reference to the position of Buddha's hand during his first sermon. The entire body is wrapped in a formal garment that covers both shoulders, while the drapery reveals the outline of a full-bodied figure, a style influenced by images from India's Gupta period. In contrast to the ornately decorated bodhisattva, the Buddha figure is rather austere, although its aureole is more elaborately sculpted. The halos of the head and body halo are embellished with circles, while the spaces between the circles feature carvings of floral patterns, surrounded by auspicious patterns in cloud-like shapes. The Buddhist statues of the Gamsansa Temple site are monumental sculptural works from the time of 720, which are invaluable as embodiments of the philosophical and cultural characteristics of this era. It is unfortunate that the inscriptions do not identify the sculptors, but the works demonstrate that granite-sculpting techniques had been highly developed by the eighth century. Moreover, this technical foundation was instrumental in the creation of Seokguram, the consummate masterpiece of the mid-eighth century. Seokguram is a man-made grotto that houses the Sakyamuni Buddha, which is surrounded by 39 exquisite carvings, including images of bodhisattvas, Buddha 's disciples, and the four guardian deities. Seokguram is regarded as the most magnificent work of art from the golden era of the Silla Kingdom . In 1995, it was regis-

Summe r 2007 I Korea na 51

ART REVIEW

ARC02007 ht rns the s ) r

â&#x20AC;˘

(

ARCO 2007, an international art fair that was held in Madrid, Spain on February 15-19, is said to rank among the world's top-five artistic events of its kind. Sung Ha-young Staff Reporter, Wolganmisool [text and photography)

)

Run Run Run by Kwon Ki-Soo, installat ion, 2007 2 3

Error by Gwon Osang, 138 x 118 x 185 cm , 2005-2006 For the Worshipers by Noh Sang Kyoon, in sta llation, 2007

Varietal Urbanus Female by Choe U-Ram, mixed media, 197 x 216 x 142 cm , 2005-2006 2 A booth of Spain's Lui s Ade lantado Gallery at the 2007 ARCO general program. 3 Mutant by Ji Yong-Ho, tire. wood , re in forced Styrofoam, 125 x 110 x 110 cm, 2006

pain is the birthplace of El Greco, Francisco Goya, Pablo

will be Brazil, which reaffirms the fair's specific desire to pro-

Picasso, and Joan Mir6, as well as the home of the Museo

mote the contemporary art of Central and Latin America .

del Prado, one of the world's grandest art museums.

ARCO's dedication to promoting new talent was evident in the

Feria Internacional de Arte Contemporaeno, or ARCO, which is

"Project" and "Blac k Box" exhibitions at this year's event. For

held annually in Madrid, Spain, is rated as one of the world's top-

"Project," the fair's organizing committee enlisted the services of

five most influential art fairs, along with the Art Basel [Switzer-

nine curators from the United States and Europe to identify and

land), Frieze Art Fair [U .K.), FIAC [France), and the Armory Show

promote up-and-coming media artists, represented by some 40

[New York, U.S.).

galleries around the world. Meanwhile, "Black Box" displayed the

Now in its 26th year, the ARCO's annual attendance of some 200,000 visitors underscores the enthusiasm and vibrancy behind

latest developments in video art and interactive art works from Europe.

Spain's cultural endeavors, which includes the personal participation of King Juan Carlos, who presides as the host of the fair's opening ceremony.

High Acclaim for Korean Artists The Korean galleries participating in ARCO 2007 had high

This year, Korea was selected as ARCO's guest nation, the

expectations for the works of their young artists, which in large

first such honor for an Asian country, which presented the

part were realized or exceeded . Four galleries from Korea-Gana

domestic art circles with a wonderful opportunity to introduce

Art Gallery, Kukje Gallery, Duru Art Space and Arario Gallery-

Korea 's art and culture to European audiences, and to notably

participated in the main program , along with another 14 as part

boost Korea-Spain cultural exchanges. The opening reception for

of the guest-country exhibitions. This effort resulted in the high-

VIPs, held on February 14, was attended by King Juan Carlos as

est-ever gross sales amount for Korean galleries at a single art

well as Korea's President Roh Moo-hyun and First Lady, who

fair: a total of 320 art works by 90 artists, represented by 15 gal-

were in Spain on a state visit, generating considerable attention

leries, was sold for some 2.4 billion won [about $2.6 million].

from the domestic and foreign media.

Starting from the fair opening on February 14, art collectors and gallery directors from around the world showed keen interest in

ARCO's Innovative Strategy

the works of the Korean artists.

ARCO 2007 included the participation of 271 galleries from 29

Sun Gallery sold a set of sculptures, of melancholy figures, by

countries. Previously, the fair has served as a doorway for con-

Chun Sung-Myung for 50,000 euros [60 million won) ; Gallery

temporary artists from Spanish-speaking nations to access the

Simon sold Noh Sang-KyoonÂˇs For the Worshippers for 65,000

key players of the U.S. and European art markets. But, since the

euros [80 million won); and Gana Art Gallery sold six photos of

appointment of Lourdes Fernandez as the fair's director, there

photographer Bae Bien U's pine tree series for 60,000 euros [75

has been a dramatic shift in focus. Fernandez's priority is to dis-

million won) each.

cover and promote emerging artists, along with raising the bar

All of the works exhibited by paper artist Ham Sup [Galerie

for the works featured at the event. Although participation by A-

Bhakl, hyperrealist Ahn Sung-Ha [Gana Art Gallery), Ji Yong-Ho

class international galleries was only lukewarm, ARCO main-

[Gana Art Gallery), and Song Hyun Sook [Hakgojael, as well as

tained high artistic standards and concentrated its efforts on fos-

others, were completely sold out by the fair's end. Works that

tering a new generation of contemporary artists. Observers from

received much attention included Choe U-Ram 's metallic sculp-

Korea and abroad seem to be in agreement that: "ARCO has yet

ture with mobile antennae [Gallery IHN); Ji Yong-Ho's animal

to establish itself as a premier art fair, of a caliber like that of the

heads, made from recycled tires [Gana Art Gallery); photo instal-

Basel and Koln fairs, but it has tremendous potential to become

lations by Gwon Osang [Arario Gallery); and Kwon Ki-SooÂˇs pop-

highly influential."

art style paintings [Park Ryu Sook Gallery).

This year, the fair's organizers focused on attracting a large

In light of the fact that Spanish galleries had offered paintings

number of galleries from Asia, while maintaining its emphasis on

for sale for an average price of 10,000 euros [12 million won), it is

galleries from Spain and Spanish-speaking countries . ARCO 's

impressive that most of the Korean works were sold for far high-

selection of Korea as the 2007 guest nation is indicative of its

er prices. More important than the sales revenue realized from

keen interest in Asia's contemporary art. Next year's guest nation

these works is the fact that the commercial potential of Korea s Summer 2007 I Ko reana

Madrid developed from an abandoned slaughterhouse, a collaborative media art project "Minbak," was jointly presented by Korea's Art Center Nabi and lntermediae. For this, some 50 Korean media artists and college art students from Spain explored new frontiers in the genre through workshops and exhibitions, while living together there. Other noteworthy exhibitions by Korean artists included Ahn Kyu-chul's "Forty-nine Rooms" at La Casa Encendida; photographer Joo young artists has been proven by the avid interest of buyers at this year· s fair. After ARCO, the Korean artists have received a flurry of inquiries and

Myung-duck 's invitational show at the Circulo de bellas Artes, which depicted the aesthetics of Korea·s traditional spatial concepts; "Trace Root : Unfolding Korean Stories" that

invitations to exhibit their works from galleries and art museums

highlighted Asia's cultural traditions based on the works of artists

around the world. Indeed, this is the more meaningful outcome

featured at the 2006 Gwangju Biennale; and the design exhibition

from an event such as ARCO.

"Reset," held at Arqueria, at the invitation of Spain 's Ministry of Housing.

"Korea Now" Program

Although Korea encountered a bumpy road during the initial

At ARCO 2007, Korea presented a wide range of programs

preparations for the ARCO 2007, including some disagreements

under the theme "Corea Ahor'' !Korea Now). including perfor-

with the ARCO organizing committee over the selection of gal-

mances, film screenings, and seven guest-country exhibitions,

leries and artists, the Korean organizers did manage to carry out

which were held in Madrid and other cultural venues in Spain.

the program, which in the end was extremely successfully. The

Since European audiences tend to know little about Korea, other

true value of ARCO 2007 was that it provided an opportunity to

than its advanced IT industry and the North-South division, the

ree xamine the current state of Korean art and to peer into its

programs at ARCO sought to introduce Korea·s arts and culture

future.

l...11

and provide insight into its history, traditions, and modern day society. Of note, the most highly acclaimed exhibition was the Paik Nam June retrospective, held at the Telefonica Foundation in Madrid. Titled "Nam June Paik's Vision of Korea-Fantastic and Hyperreal," the exhibition brought together 86 works from leading art museums, business enterprises, and private collections of Korea, to offer a comprehensive display of Pai k's distinctive video art. The Museo Nacional Centro de Arte Reina Soffa staged a complementary show to Paik's "First Generation: Art and the Moving Image, 1963-1986," which provided a historical context. At several exhibitions from Korea, the unconventional venues attracted as much attention as the art works on display. At Canal de Isabel, an exhibition space created from a converted waterstorage tower, ten young Korean artists, including Lee Yong Baek, Kim Kira and Jung Eun Young, staged a show "A Matter of Urbanity, Among Other Things," in which they explored urban themes that incorporated the architectural framework of the tower structure. At lntermediae, a cultural venue that the city of 56 Koreana I Summer 2007

The gu est-co untry exhibition was a special eve nt designed to highlight the present and the futu re of Korean art. Communication/Transportation by video artist Paik Nam June. insta llati on, 657 x 160 x 250 cm Forty-nine Rooms by Ahn Kyu-chul. was described by Spa ni sh art criti cs as "an ex pre ssion of th e immens e pressure wit hi n Korean society...

1-3 An exhib ition of Korean design, "Reset," was staged at Arqu eri a, a display facility managed by Spain 's Mini stry of Housing. 4-5 "Minbak" was a colla borat ive med ia art project, which in cluded the pa rticipation of so me 50 Korean medi a artists and Spanish college st udents , for the pu rpose of explo ring new frontiers in the ge nre throug h worksho ps and ex hibitions.

Philippe Tirault Ardent Admirer of the Korean Traditional Home Among the foreigners residing in Korea, Philippe Tira ult may well be the foremost admirer of the Korean traditional house, or hanok, especially those found in Bukchon, an area where the historic and traditional charms of Seoul have been carefully preserved. Lee Soo Jin Freelance Writer

I Ahn Hong-beom Photographer

ukchon was the name of a former administrative district in

in Seongbuk-dong , Tirault never gave it a second thought .

Seoul that no Longer exists today. Bukchon is now the his-

""There are many reasons it took so long for me to be able to

torical name for a general area that encompasses Gahoe-

live in a hanok. First of all, foreigners face many obstacles when

dong, Jae-dong, Gye-dong, and Samcheong-dong. Previously,

it comes to owning real estate in Korea. Moreover, I never

Bukchon referred to the villages located north of Cheong-

thought that I could find a hanok in the city of Seoul. Although

gyecheon Stream and the Jongno area . During the Joseon

Seoul is an old city, whose history can be traced back some 600

Dynasty era (1392-191 O), administrative officials resided in the

years, the government seems to focus more on urban develop-

Bukchon area, whose close proxim ity to the palace made it an

ment than on the preservation of the old. Fortunately, the Seoul

ideal location. Across from Bukchon , at the foot of Namsan, was

Metropolitan City Government initiated the Bukchon Conservation

a series of villages that was collectively referred to .as Namchon,

Program in 2000, and as a result many hanok have managed to

which tended to house members of the yangban class, who did

survive in Bukchon, an area somewhat sheltered from the storm

not maintain an official post or rank.

of development. ÂˇÂˇ

Dream Home

Tradition Meets Modern

Clusters of hanok can still be found in the Bukchon and Nam-

The first hanok that Tirault found had already been renovated,

chon areas of Seoul. Although the hanok of the Namchon area

so it was available for immediate occupancy. After moving in, his

have since fallen into disrepair and are no longer occupied, those

passion for hanok was further intensified, which led him to

of Bukchon continue to brim with the vibrancy of a thriving neigh-

search for another unit, in which he could participate in the

borhood . With some 920 or so hanok continuing to exist among

restoration process. This quest eventually led to his second

the narrow maze-like alleys of the area , Bukchon serves as a

hanok, where he now resides. However, due to the dilapidated

unique bridge between the past and the present. Philippe Tirault,

state of the original structure, a six..:month renovation period, of

a native of France, lives in one of the hanok here.

careful and painstaking effort, was needed to create this 96-

Philippe Tirault, a Senior Client Partner for Korn Ferry

square-meter dream hanok.

International, a U.S.- based executive-placement firm, has

"I was very lucky to meet a good architect. I was able to

dreamed of living in a hanok ever since he first arrived in Korea

interact and exchange ideas with the architect during the renova-

22 years ago . His dream finally came true in 2003, when he

tion work that took six months. During that time, I dropped by

moved into his first hanok in Bukchon . Although relocating to

every morning and night to watch the meticulous restoration of

Bukchon meant moving out of a 595-square-meter house

this beautiful house. That was something I will never forget. " Sum mer 2007 I Koreana

While the original pine rafters were retained and restored,

catches your eye, when staring out from this house, is the harmo-

newly manufactured latticework was installed on the windows.

nious blend of the roof lines of the area's hanok with the low-lying

Built-in furniture, such as closets and drawers, was designed and

mountain in front. But adjacent to this tranquil scene you can

installed. The bathroom, which in the traditional hanok would be

catch sight of the features of modern Seoul and its seemingly

located outside, was built indoors to make the house more mod-

endless high-rise skyline. This striking contrast is almost as if the

ern and convenient.

entire time line of Seoul has been captured in a picture frame.

'The house I'm living in now is not a 1DD percent authentic hanok. Not that this would be possible. I say that not because I'm a Westerner, but rather because this is the 21st century. In my

Warmhearted Neighborhood "Take a look at the curved pine tree spread across the ceiling

opinion, only a hanok that incorporates certain aspects of moder-

of my bedroom . This ability to bring nature inside is nothing short

nity can become a beloved living space. I wanted to ensure that

of an art form. Gazing outside on a rainy day while sitting on my

my hanok was a space in which the pertinent aspects of modern

maru [open-space with a wooden floor]. the sound of the rain-

housing could coexist alongside the traditional beauty of the

drops falling from the eaves onto the small courtyard is so

structure. Of course, to do so requires the wherewithal to carry

romantic."

out the regular maintenance and repair of the building . Fortu-

As such, the charm that Philippe Tirault attributes to the

nately, the Seoul Metropolitan City has implemented the Bukchon

hanok is rooted in its remarkable attention to small details. The

Conservation Program, through which it provides 30 million won

beauty that he derives from Korea and its people is very similar.

every five years for maintenance and repairs."

He describes Koreans as .. emotional people ." Tira ult believes

Tirault"s comfortable and cozy hanok is like a handcrafted

that the strong identity embedded in KoreaÂˇs culture and history

item that has been made by a masterful artisan with refined tech-

is very similar to the cultural identity of the French, which he

niques. Its one bedroom, living room, bathroom, and small

regards as being completely separate from that of Germany,

kitchen have been carefully arranged in an optimal layout. Tirault

England, and Italy.

says that what he appreciates most is his ability to gaze out upon

He also describes Koreans as being enthusiastic, curious,

the landscaped scenery of Bukchon and downtown Seoul,

and generous to a fault. Unlike a sense of bewilderment that he

through the picture window of his living room. The first thing that

felt during a seven-day business trip to Japan, during which time

60 Koreana I Summe r 2007

2 3

4 5 6

Th e elega nt livin g room of Phili ppe Tirault's hanok . Th e trad itional vib rancy of thi s ki nd of hous ing has been re-created th ro ugh the attac hme nt of seokkarae, a rafte r which is located ac ross fro m the woode n s up ports fo r th e maru, to th e dori or bo [purli n wood ] and antiqu e fu rn ish ings. Eve n the fence adj ace nt to the home of Tirault' s neigh bor has bee n carefully decorated, alo ng with bamboo planting s in a small garden area . A fence deco rated with tradi tional Korea n patte rn s and des igns. KoreaÂˇs trad itio nal aesth etics are refl ected in the harmony created betwee n the graceful curves and strai gh t lines. Fo lk handic rafts made of sto ne ado rn a co rn er of the courtyard , where in direct lig hti ng he lps to create a plac id at mos phere. Th e ha nok featu res a variety of pe rso nally se lected anti que objects and furn itu re. An exa mple of Ph ilippe Tirault' s latest hob by, the co llecti on of the wooden figures kn own as kkokdu, a tra di tional scu lpture attac hed to funeral biers [sangyeol.

he found the Japanese reluctant to interact with him, Tirault has

love of art has been enhanced through a combination of his love

nothing but praise for the warmhearted Koreans he has met on

for Korean culture and his artistic eye.

the streets and in the neighborhoods of Bukchon, people with whom he has easily cultivated friendships.

"Korean arts are of an outstanding quality. I have works by Kim Chang-Yuel [b . 1929). Lee Man-lk [b . 1938). and Park Seo-Bo

Tirault believes that the hanok is not simply a living space, but

[b. 1931). I am currently writing a book about Korean ceramics,

something which has provided him with an opportunity to inti-

and I am also managing a gallery named 'Minhw aÂˇ in Paris ."

mately experience Korea 's cultural essence . When asked the dif-

Tirault's perception of the essence of Korean culture is notably

ference between traditional French-style houses and hanok, he

insightful. He assesses Korean aesthetics as being rooted more

immediately answered "size. " To this end, it is obvious that fac-

in emotion than technique, as manifested in an ability to vividly

tors other than the difference in scale cannot be readily com-

express vitality and elegance with a few simple strokes.

pared , since they are shaped by cultural influences. Tirault's fam-

"Many of the foreigners who have lived in Seoul for a long

ily home in France is a 300-year-old neoclassic-style mansion.

t ime do not know much about Bukchon . Its narrow alleys and

His parents live in this house, on a 9,900-square-meter estate

the great difficulty in parking here give the area an old and out-

with a French-style garden, in the town of Anger, which is situat-

dated feel. However, it is in reality an extraordinarily globalized

ed in the Loire Valley, some 250 kilometers from Paris. Tirault

village. Many of my neighbors can converse freely with people in

spent his childhood in this old house, an experience that he

English. And some of them eve n converse with me in fluent

somehow links to his decision to live in a traditional Korean

French."

house.

The sky above the maru area looks as if it has been somehow separated by the roof line of the neighboring hanok. The small

Collector of Korean Art Tirault's hanok is furnished with antique Korean furniture,

courtyard contains a wooden bench . A resident of Bukchon who enjoys riding the local bus, Tirault likes to relax on this wooden

13th century ceramics, 19th century ink paintings, and modern

bench, during th e summer, as he surveys the stars in the sky.

paintings by contemporary artists. Upon hearing that his father

Tirault says that he would leave Korea if he ever became bored

had a talent for painting and that his uncle was a professional

with living here. However, he quickly adds with a knowing smile

artist, it seems clear his inherent appreciation of art is a product

th at in the 22 years he has been here, the kaleidoscope that is

of his family background. And one might imagine how his natural

Korea has spared him of even a moment of boredom. l.t Summe r 2007 I Koreana 61

ON THE GLOBAL STAGE

Paik Kun-woo Breathes New Life into Classical Works Paik Kun-woo has distinguished himself as a world-class pianist. Renowned for his dedication to the performance of complete works, he will conclude a concert series in December, which features all 32 of Beethoven's piano sonatas. Jake T. Ryu Editor in Chief, Auditorium

f anyone asks me who I think is Korea's most

New York's Carnegie Hall, per·forming Sergei

accomplished pianist, I would immediately

Vasilievich Rachmaninoff's Piano Concerto No. 3.

respond "Paik Kun-woo." And there are many oth-

ers who would concur with me. Paik Kun-woo lb. 1946) is even more well-known and beloved than his

Early Success Paik gained distinction by garnering the top hon-

wife, one of Korea·s favorite actresses. In recent years,

ors at the Leventritt International Music Competition

he has been recording the complete piano sonatas of

and Walter Naumburg International Music Competi-

Beethoven for Decca, a leading international label

tion. as well as the Busoni International Music Compe-

based near London, related to which two albums of

tition in 1969.

complete works have been released.

Three years later, at the age of 26, he made his

Paik was born in Seoul and began learning the

mark on the classical music scene by perform ing the

piano at the age of eight. He grew up in a musical

complete works of the French composer Maurice

household, his father playing the violin and his mother

Ravel (1875-1937) at Alice Tully Hall in New York . A

the organ. His father insisted that to master an art

music critic was so impressed with this that he

such as music, it was necessary to know all about the

exclaimed: "Not even the famous Ravel specialists,

East and the West. As a result of this belief. Paik went

Robert Casadesus 11899-1972 , French pianist and

to study in the United States, in order to reinforce his

composer) or Walter Gieseking [1895-1956, German

understanding of Eastern culture with knowledge

pianist), have taken on such a challenge. But the

about the culture of the West. In 1961, Paik left Korea

young pianist Paik Kun-woo took the risk and had

for the United States, where he attended New York Ar·t

great success . From beginning to end, his perfor-

High School, and then Juilliard . By 1965, he debuted at

mance was skillful and exquisite." In 1995, he per-

ers of the Past Offer Hope e Future Changnyeong is home to several noteworthy natural attractions: Upo Swamp, Hwawangsan Mountain, and Bugok Hot Springs. In addition,

throughout this area there are various national-treasure cultural relics, lasting reminders of its historical richness . Bae Han-Bong Poet I Ahn Hong-beom Photograph er Seoul

â&#x20AC;˘ Changnyeong

68 Koreana I Summer 2007

he arrival of spring is heralded by a blanketing

Swamps are land areas that constantly maintain

of mountain valleys and rivers with flowers,

stagnant water. Thus, aquatic plants are needed to

while the new tree foliage darkens the shade

purity organic waste, so that the water does not

beneath. The mountains rise up and the rivers grow

become fetid. The water, which is of a shallow depth

broader, flowing with renewed vigor. This is

and milky in appearance, will ripple in even a slight

Changnyeong-gun of Gyeongsangnam-do Province,

breeze. The bottom of Upo Swamp is covered with

situated in the center of the Gyeongsang provinces,

organic matter, including plants that thrive there in

along a bend of the Nakdonggang River. Here you can

winter, so visitors might feel they are walking on a

find Upo Swamp, known as the "womb of Korea's

spongy surface.

ecosystem路路; Hwawangsan Mountain, the site of

Upo Swamp is tilled with a plethora of plant lite,

Korea路s only mountain fireworks festival and a popu-

including duckweed (Spirodela polyrhiza). water

lar filming location; and Bugok Hot Springs, a favorite

chestnut ( Trapa japonica Flerowl. and frog bit

hot springs area . Known as a cultural and tourist des-

(Hydrocharis dubial. Gazing upon these myriad plants,

tination tor its national-treasure designated cultural

glistening in the sunlight, is like looking at thousands

resources, Changnyeong is where nature and human-

upon thousands of bolts of green silk on the water's

ity coexist in harmony.

surface. The swamp is vast, extending to the horizon.

Upo Swamp's Ecosystem

this is Korea路s largest natural swamp.

Over two million square meters I It is easy to see that Korea is dominated by mountainous terrain, which

The observatory provides an ideal vantage point to

leaves only limited areas tor flat lands. This topogra-

look out over the swamp. Scattered about, there are

phy thus makes swamps a rarity, which arouses much

gray herons, snow herons, spot-billed ducks,

curiosity and imagination. As such, the unique ecology

moorhens, and more. Flocks of migratory birds

of Upo Swamp is carefully protected as a result of its

leisurely seek out food, while others take to the skies

inclusion on the List of Wetlands of International

in vigorous flight. Surrounded by mountains in all

Importance, since March 1998, in accordance with the

directions, the sense of tranquility is overwhelming.

Ramsar Convention. The Ramsar Convention, known

From the observatory, we walk along an embank-

as a kind of "Environmental Olympics, " will be con-

ment. Reeds and ditch reeds (Miscanthus sacchari-

vened in Korea in 2008.

florus) form lush thickets. Bulrushes (Scirpus maritimus). wild rice (Zizania latifolial. and club rushes (Scirpus lacutris) occupy the low-lying areas of the swamp. Migratory birds and aquatic insects use the wetland plants to hide from their natural predators. Willows, such as Salix koreensis and Salix gracilistyla, flourish in the hollows of the swamp, creating a primeval atmosphere. The growths of plants and trees in the swamp serve as a resting place and stronghold of survival tor various microorganisms. Upo Swamp is comprised of tour smaller

Summer 2007 I Korea na 69

swamps-Upo, Mokpo, Sajipo, and Jjokjibeol-that

Seokbinggo (Treasure No. 31 OJ, an icehouse from the

join together to form the large area known as Upo

Joseon Dynasty (1392-1910). built partially under-

Swamp. Within this vast expanse, the cycle of ecolo-

ground with granite slabs. At a time well before the

gy, which has existed for some 140 million years,

existence of household appliances and refrigerants

continues to revolve. Microorganisms, aquatic

such as Freon, these long ago people could store and

plants, the Chinese mystery snail (Cipangopaludina

have ice whenever needed! One can only marvel at

chinensis malleata). fish, and birds-a flora and

this scientific ingenuity.

fauna network of over 350 species thrives here. As

Nearby is Manokjeong Park, where the Cheok-

such, Upo Swamp is known as a ÂˇÂˇreal-life museum

gyeongbi (stone monument) of King Jinheung of Silla

of natural sciences" and a " treasure house of

(National Treasure No. 33) is located. Erected in 561 to

primeval nature."

commemorate Silla's annexation of Bihwa Gaya, this

When the shade beneath the trees reaches its

is the oldest stone monument still standing on the

peak and then begins to wane, the fo xnut (Euryale

Korean Peninsula . Also in this area is Cheokhwabi of

ferox) clothed in thorny blooms, and the pickerelweed

Changnyeong, one of several stone monuments that

(Monochoria korsakow). not wanting to be left out,

Prince Regent Daewongun erected around the country

raise their flower stalks, dispersing a fragrance and

in 1871, as a warning against the imperialism of West-

splashing every corner of the swamp with a bright

ern powers. As for Changnyeong Gaeksa, a kind of

purple. At Upo Swamp, people can behold the natural

country inn, only its black wooden frame remains

wonders of this one-of-a-kind environment.

today, due to the numerous times it has been dismantled and relocated. Nevertheless, it still well preserves

Ancient Artifacts We depart Upo Swamp and enter the town of Changnyeong . Past the county office is Changnyeong 70 Koreana I Sum m er 2007

the construction techniques of three to four centuries ago, when wooden structures were built without metal nails.

The three-story stone pagoda in Suljeong-ri is known for its somber and forthright character. The top of this pagoda is missing, but it is said to be comparable to the Seokgatap of Bulgukasa Temple in Gyeongju, and was likely built around the same time as Seokgatap . It is referred to as the Eastern Pagoda to distinguish it from the other stone pagoda at Suljeong-ri. The Gyodong Burial Mound Cluster [Historic Site No. 80) looks like a group of small hills. This cluster of grass-covered burial mounds is presumed to be royal tombs from the Bihwa Gaya period. The Changnyeong Museum, which is located adjacent to the burial mound cluster, displays 1,012 artifacts of Bihwa Gaya, as well as restorations of burial mounds.

Hwawangsan Mountain Hikers trek about Hwawangsan Mountain all yearround. In spring, the mountain slopes are ablaze with purple azalea blossoms, while in summer the waterfalls and cool streams of the valleys revitalize the soul. Expansive tracts of golden pampas grass look like plush carpeting on the bowl-shaped summit. Autumn offers the radiance of fall foliage that soon gives way to drifts of brilliant white snow. The mountain is also the stage for Korea·s only mountain fireworks festival, while overgrowths of pampas grass are burned every other winter. Along the Okcheon Valley road in Gyeseongmyeon, about 15 kilometers outside the town of Changnyeong, we come to Hwawangsan Mountain and the Silla temple of Gwallyongsa. Of note, the temple· s Yaksajeon, Main Hall, and stone seated image of the Buddha enshrined in Yongseondae have all been designated cultural treasures. Upon entering the main hall, we bow three times, and then continue on to the summit of Hwawangsan Mountain. A ridge near the summit serves as the onsite setting of the TV historical drama ··Heo Jun ," which portrays the life of Heo Jun [1546-1615). the legendary physician of the Joseon period. The Hwawangsan Mountain slopes have been the backdrop for "Heo Jun·· as well as several other popular TV dramas , including "Jumong, .. "Daejanggeum, .. and "Sangdo." Indeed , the picturesque scenery of this mountain is truly magnificent when viewed in person or even on video tape. Not long thereafter, we reach Hwawangsan Mountain Fortress, protected by imposing stone fortifications. Here, General Gwak Jae-u made a name for himself in defending the country against the Japanese invasion of 1592. At the summit are three Summer 2007 I Koreana 71

mountain ponds, called yongji. After quenching our thirst at a mineral spring, we begin our descent, which offers a bird 's eye view of Yeongsan village that is famed for initiating Korea 's March First Independence Movement of 1919, from Gyeongsangnamdo. To commemorate this historic event, the 3.1 Folk Cultural Festival is held annually on March 1-4. The March First Independence Movement was a nonviolent protest demonstration undertaken by the common people of Korea, who sought to reclaim their sovereignty from the Japanese imperialists.

Revival of Folk Culture Any one visiting Yeongsan should at least be aware of Yeongsan Soemeoridaegi, designated Important Intangible Cultural Property No. 25. For this, pine

ngnyeong trcd t1on t..ir 1as been well ese'"Ve:d Thl" loca 1denâ&#x20AC;˘s p t c1oate m th t ong an Sot:'meo 1d. eg, folk g me every wh1l th t t po ts er ec.ted by â&#x20AC;˘'leir long-ago ancc>stor st ll rt yway Hug buna mo1..n!l5, w 1ch d te b ck e n mv lucible c.1..lt1.1ra. hen age for 1..nderstanding nts of Chanqny ong.

Koreana I Su mm er 2007

branches are formed into the shape of cows, which

Finally, we make our way to the popular hot

are carried on the shoulders of members of two

springs of Bugok. The high sulfuric and mineral con-

teams. With a general, lieutenant general, and major

tent of the hot springs water is said to be effective for

general riding atop a "cow, .. the teams charge into

treating all manner of physical problems, including

each other in an attempt to topple the opposing team's

skin ailments, gastrointestinal disorders, neuralgia,

generals. The Yeongsan Tug of War, Important Intangible

high blood pressure, and women's maladies. Just seeing the steam rising above the hot springs waters

Cultural Property No. 26, is another folk game that

is an unforgettable sight . Bugok is an all-season

has been handed down over the generations in

tourism resort with modern accommodations as well

Yeongsan. Huge "male" and "female" rope forms ,

as recreation, leisure, and sports facilities. Designated

some 150 meters in length, are manned by teams

a special tourism economic zone, visitors are greeted

from competing regions. This recreational contest,

by decorative, tree-lined streets. Immersing yourself

which evolved from the cooperation and solidarity that

in the hot springs water will bring instant relief, even

was essential for the survival of farming communities,

in the heat of summer, leaving you refreshed and

should give us pause to contemplate our modern soci-

energized . l..t

ety, that seems to value individualism above all else.

Summer 2007 I Koreana 73

CUISINE

Refreshing Treats for Sun101er Upon hearing the term "fruit gelatin," people might think of Western-style dishes of jell-a or gelatin . However, Korea has a traditional dish known as gwapyeon that is similar to its Western-style counterparts. The aengdu fruit is used to make aengdupyeon and

aengduhwachae, two refreshing treats enjoyed in the summer. Chun Hui-jung Professor, Korean Food Institute, Sookmyung Women's University

I Bae Jae-hyung Photographer

Because of its delightful appearance,

engdu [scientific name: Prunus Tomentosa Thumberg, English name: Chinese

aengdupyeon would always be served at

bush fruit, Nan king Cherry) is a relatively small tree, about 2-3 meters in height,

parties and social events. And in fact, it

that belongs to the Rosaceae family. It produces white or pink flowers from late

was a favorite dessert of the royal household as well. According to tradition, aengduhwachae is a beverage closely associated the festivities surrounding Dano, the fifth day of the fifth lunar month.

March to early April and bears a red fruit in June. The fruit is round in shape, with a sweet-sour taste due to its content of saccharine as well as citric and malic acids. It also contains pectin, an agent used to thicken foods, making it a suitable ingredient for gelatin dishes. Since the fruit"s organic acids are said to help the body overcome fatigue, aengdu has long been a favorite of Koreans during the summer. With an unusually large seed, much care is needed to separate the fruit, which is especially true for the making of aengduhwachae . Versatile Ingredient

Koreans are known to have consumed aengdu since the Three Kingdoms period [1st century B.C.- AD.7th century). The aengdu tree, which can thrive in almost any environment as long as there is ample sunlight, is a common sight in the yards of homes in agricultural regions. Aengdu is most often used for making aengdupyeon and aengduhwachae; however, it is also an ingredient for jelly, jam, and wine. There are references to aengdupyeon in historical documents, such as Eumsikji mibang, compiled in 1670; Gyuhapchongseo, an encyclopedic resource of womenÂˇs lifestyles, published in 1815; and Siuijeonseo, a cookbook published in 1800. Moreover, it is commonly mentioned in many of the cookbooks published thereafter. Gwapyeon is used to refer to a particular type of traditional Korean dessert. To prepare it, sugar is added to the sour-tasting extract of the fruit and brought to a boil; then starch is added to thicken the mixture, and the reduced mixture is poured into a container and allowed to cool. When it has cooled and congealed, it is cut into bite-size pieces. The fruits typically used to make gwapyeon include strawberry, plum, yuja [citron). omija [Schizandra fruit). and grape. Similar methods are used to make Western-style preserves, such as jam and jelly, as well as the French dessert known as confiture. A notable difference is that the shelf life of Korean gwapyeon is much shorter than that for Western-style preserves. Western fruit jellies are thickened by adding animal gelatin to the fruit extract, whereas vegetable starch is used to thicken Korean gwapyeon. Although starch can be obtained from a variety of vegetables, mung bean starch is said to be ideal for thickening gwapyeon , because it assures a smooth texture. Today, many households have come to enjoy Western-style fruit gelatin dishes, but the traditional gwapyeon still maintains a special place in the boundless richness of Korean cuisine. Summer 2007 I Korea na 75

Visual Appeal While gwapyeon 's sweet and sour flavors create an exquisite taste, it also features eye-appealing color and texture . Because of its delightful appearance, aengdupyeon would always be served at parties and social events. And in fact, it was a favorite dessert of the royal household as well. The best gwapyeon is made with whatever fruits that happen to be in season at the time. The name of a particular type of gwapyeon is based on its fruit ingredient. For example, red aengdupyeon is made from aengdu, while the main ingredient of yellow yujapyeon is citron [yujal. Green gwapyeon can be made with a green fruit, such as kiwi. Because aengdu has a high content of organic acid and pectin, it has always been a popular ingredient for making gwapyeon. However, as is the case when making jam and jelly, caution needs to be taken to ensure that the fruit extract is not overheated, as this can cause the extract to lose its translucency and smooth consistency. The method used to make the refreshing drink, known as aengduhwachae, varies somewhat from region to region. According to tradition, aengduhwachae is a beverage closely associated the festivities surrounding Dano, the fifth day of the fifth lunar month. It is made by soaking the seeds of the aengdu fruit in honey, and then adding sugar water or honey water. The sugar water can also be replaced with the strained liquid from ground aengdu . For a richer flavored beverage, ground aengdu pulp can be combined with sugar water. Instead of aengdu, cherries are a popular substitute for making gwapyeon and hwachae.

t;t

Aengdupyeon

Ingredients

2 1/2 cups aengdu 3 cups water [for fruit extract) 1 cup sugar

Aengdu Hwachae

1/2 cup mung bean starch 1/2 cup water [to dilute mung bean starch) 1/8 teaspoon salt 2 tablespoons honey Preparation

Remove stems from the aengdu and boil the fruit in a pot. When softened, filter extract through a sieve, and remove seeds. 2 Prepare about 2 1/2 cups of aengdu extract. Heat in a thick-

bottomed pot and add sugar. When mixture reaches a boil, lower heat and allow to simmer. 3 Combine 1/2 cup of mung bean starch with 1/2 cup of water,

and stir until smooth. Gradually add starch mixture to aeng-

Ingredients

2 cups aengdu

du extract, stirring continuously. Lower heat and skim off

1 teaspoon of pine nuts

surface bubbles.

3 cups water

4 When the mixture starts to gel, lower heat until excess liquid

1 cup sugar

is reduced. When the mixture is gelatinous and translucent, pour into a rectangular container. For easier cutting and cre-

Preparation

ating attractive shapes, mixture should be of a thickness of

1 Wash the aengdu and carefully remove seeds without

about 2 centimeters. 5 When cool, cut into bite-size pieces and serve.

damaging the fruit.

2 Boil 2 cups of sugar water and set aside to cool. 3 Puree half of the aengdu in a blender, while adding a little

water. The fruit extract may be filtered with a sieve if the ground fruit is too coarse.

4 Place the aengdu and aengdu extract into a punch bowl, and combine with the sugar water. Garnish with pine nuts. 5 Alternatively, the aengdu fruit can be combined with sugar

and added to sugar water or water with omija extract.

Summer 2007 I Koreana

~ -'

When August comes round most people take off on summer vacations. In the peak holiday season between early and mi d-August the beac hes are among the most popu lar desti nations. Rat her than dealing with traffic congest ion and crowds, growin g number of people ta ke adva ntage of the cu ltu ral and entertaining oppo rtuni ties in th e city [Keochan g In ternat ional Festiva l of Th eate r]. The Cheon ghak-dong Ca m p gives children th e oppo rtuni ty to learn trad itional cu lture and man ners.

n August, when the wearisome monsoon rains subside and the sultry heat of summer takes hold, families start making vacation plans. The peak vacation time is the first two weeks of August, when the thermometer will read 30Â°C or higher. With so many people taking vacation at this time, vehicle travel can be horrendous. But this is a mere unavoidable inconvenience, since people derive such pleasure from going off somewhere. Moreover, even though popular destinations, like mountain streams and beaches, are inevitably crammed well beyond capacity, this does little to deter the hordes of vacationers.

Popular Vacation Destinations Yoo Chang-rae, a resident of Seoul, visited Gyeongpodae Beach on the east coast last summer with his family. "At first, I was surprised at how many people that were there, " Yoo recalled. "There was no end to the beach parasols set up in the sand. But our vacation was even more memorable because of the crowds. A holiday is more enjoyable when there are a lot people around, all

Since Korea was for long an agriculture-based society, work and

having a good time."

leisure were often interwoven with each other. So when the sum-

Yoo and his family pitched a tent by the beach and cooked their own meals. And on occasion, to the sheer delight of his two young

mer heat made work in the fields unbearable, people would make their way to a nearby stream to cool off or wash their hair.

sons, they ordered pizza or chicken, which would be delivered

Of note, the traditional cu stom of takjok could be thought of as

right to their camp site. Korea 's mobile phone culture has been a

a forerunner of the current summer exodus to the beach and

godsend for area restaurants, which enjoy booming .sales thanks

mountain sites. Takjok, literally meaning to "wash your feet, " was

to the always-hungry summer visitors.

the leisurely pastime of roaming about in search of a gently flow-

The number of beach-goers in Korea is quite remarkable. Dur-

ing mountain stream, in which to dangle your feet or splash

ing the 2005 summer season, some 28.4 million people visited the

around. Oongguksesigi [Seasonal Customs of Korea). written in

beaches of the east coast, while another 24 million visitors basked

1849, makes reference to takjok, in noting that many people would

on beaches along the west coast. Endless groups of vacationers

venture off to the valleys of Mt. Namsan and Mt. Bukhansan, in

descended upon Busan, where its seven beaches attracted a total

Seoul, to "wash their feet" in mountain streams there, reflecting

of 35 million visitors. The most popular was Haeundae Beach with

the longtime popularity of this simple pleasure.

12.7 million visitors, followed by Gwangan at 9.3 million. Although people will vacation with friends and co-workers, a majority of the beach crowd is made up of family groups. Since

Pursuit of New Experiences The contemporary vacation culture of Korea is undergoing

most employees get only a week or so off for summer vacation,

dramatic change these days, as ever more people strive to make

they seek to make the most of this precious time. Family vacations

their vacation time more meaningful. Rather than simply spending

naturally take precedence, as an ideal opportunity for parents to

time and money to have a good time, families engage in activities

spend quality time with their children, reinforce family bonds, and

that can benefit their body and spirit. For example, temple-stay

enjoy memorable experiences.

programs, which offer an escape from the mundane routine, are

Interestingly, today's summer vacation phenomenon, charac-

riding a ri sing wave of popularity. A stay of a few days at a seclud-

terized by a mass movement of people to similar destinations within

ed mountain temple can be perfect for physical and mental rela x-

a compressed timeframe, is a relatively new development in Korea.

ation, along with providing a rare opportunity to experience temple Summer 2007 I Koreana

White-water rafti ng provid es an exhilara ti ng thrill for the adve nturesome. Amidst warm sun shin e and fresh air, a ri de on a pedal-powere d .. rail bike .. makes fo r a delightful outing for fa mily vacati one rs.

culture and the ascetic lifestyle of Buddhist monks, as well as

Luxuriating at a hotel is another popular option these days.

quiet time to engage in meditation and self-introspection . In fact, a

Many first-class hotels offer summer vacation packages with

diverse array of culture-related tour products is now available for

room discounts of up to 40 percent, which are mainly targeted at

families, which offer a variety of new experiences for educational

family groups. On-site programs for guests include food-prepara-

and cultural enhancement. A good example of this wou ld be a stay at Seongyojang in

tion demonstrations and wine tasting, as well as eco-education walking tours. Jang Hae-won, of Yongin, Gyeonggi-do Province,

Gangneung. Seongyojang is a traditional Korean house from the

spent her summer vacation last year at a hotel in Seoul. "I went

days of the Joseon Dynasty, which is now open to the public.

swimming with the children in the hotel pool, relaxed at the spa,

There, the hands-on programs for guests include making sotdae,

and at night had a drink at the bar with my husband," she said.

or spirit poles, which were erected as a folklore object to ward off

"Rather than the stress of going somewhere far away, it seemed a

misfortune or to mark a celebratory occasion, and learning about

better idea to spend our holiday somewhere close and pleasant. "

Korea 's traditional tea culture, while coming to better appreciate the true richness of the cultural legacy of our long ago ancestors.

Dealing with the Summer Heat

Meanwhile, urban dwellers are being increasingly attracted to

With vacation alternatives becoming more diversified, the

the traditional "theme" villages now found in the countryside. For

beach areas, the original favorite, are thinking up ways to bring

children living in high-rise apartment districts, their contact with

back visitors. A new attraction at east coast beaches is a seaside

nature is limited at best. But at these villages, there are streams

mobile library. Two book-filled buses make a daily tour of the

where fish can be caught and they have a chance to enjoy tradi-

beaches during vacation season, so that people can enjoy their air-

tional games and pastimes. Cooking traditional food and working

conditioned interior, for reading or just relaxing. Many people now

in the fields are also all-new experiences for children and parents

spend part of their vacation time doing volunteer work. In Gang-

from the city. An added bonus is the genuine warmth and gen-

won-do Province, a popular visitor destination, a "3/1/2 move-

erosity of the easygoing country people and farmers, who benefit

ment'' is underway, in which vacationers will spend one day, out of

much from a more leisurely pace, devoid of the stresses associat-

three, performing volunteer work and then have two days of

ed with life in the city.

leisure time.

Urban Alternatives

tors interested in more than just swimming and sunbathing. Con-

Beach festivals are also a powerful magnet for attracting visiAs popular as the seaside and mountain areas might be

certs by popular entertainers and a dance festival are held at Hae-

among summer vacationers, they are not the choice of everyone.

undae Beach, while the Busan Rock Festival energizes audiences

These days, a growing number of people prefer to spend their

at Dadaepo Beach, where big-name music groups help rock fans

vacation in the city, so that they do not have to deal with the traffic

to forget about the tropical heat.

congestion and overcrowded visitor destinations. Instead, they

The growing diversity of summer vacations in Korea is a prod-

take advantage of the cultural venues and entertaining perfor-

uct of its recent adoption of a five-day workweek. With ever more

mances available in the city. Events such as the "Tropical Nights

employees and their families now regularly having two-day week-

Festival," held at the National Theater of Korea, are especially

ends, people are eagerly searching for more productive leisure-

worthwhile, with offerings that include traditional, classical, and

time activities. Likewise, this kind of attitude is being applied to

contemporary music concerts, as well as movies, all for free.

people's summer vacation time as well. t.;t

80 Koreana I Summer 2007

Journeys in Korean Literature

Lin1 Chul-woo

The literary works of Lim Chul-woo revolve around two basic themes: the Gwangju Democracy Uprising and division of the Korean Peninsula. Over the past 27 years, with his lyrical prose he has offered an insightful glimpse into the twists and turns of the modern history and violence of ideology of Korea.

CRITIQUE

Subduing the Violence of Ideology

with Pen and Paper Kim Hyoung-joong Professor, Chosun University I Literary Critic

n Korea, the approach of the 1980s was marked by the assassination of President Park Chung Hee, on October 26, 1979. For most of the populace, and especially its intellectuals, his death raised hopes of bringing an end to 20 years of harsh dictatorial rule. But on December 12, a military coup d'etat, led by Chun Doo Hwan, dashed the people's dreams for democracy, as the country found itself under the thumb of yet another authoritarian regime. Then, as public protests over the illegal seizure of power continued to mount, the Chun regime declared martial law. By May 1980, the enforcement of martial law had managed to quell public demonstrations around the nation, with the notable exception of Gwangju. The military regime, which had been looking for a scapegoat to demonstrate its authority, deployed an airborne unit of special troops to eradicate the antigovernment resistance in Gwangju. This led to the outbreak of what would be known as the Gwangju Democracy Uprising of May 18, 1980. The citizens of Gwangju, isolated from other regions, were no contest for the military troops, armed with tanks and Ml6s, who had been trained to engage in all-out combat. By May 27, brutal suppression of civil militias, known as the Citizens Army, forced remaining protesters underground. Over a 10-day period, the human carnage included the loss of life of some 2,000 Gwangju residents, who were summarily slain by government troops, which were funded by taxpayers. 82 Koreana I Summer 2007

Gwangju had thus witnessed the worst incidence of civilian bloodshed in Korea's modern history. Thereafter, this tragic incident served as a wellspring of inspiration for Korea's intellectuals, student activists, and citizens who longed for democracy in Korea, while also notably influencing later social reform movements. Due to the Gwangju Democracy Uprising, the general public came to better understand the significance of such issues as social reform, class discrimination, Korea-U.S. relations, and division of the country. As such, social movements became more organized and purpose-driven. Though the authoritarian regime was unrelenting in its suppression of pÂľblic opposition, the people's desire for democratic governance burned ever brighter. Then, violent protests erupted on June 10, 1987, which compelled the government to hold direct presidential elections. The Korean people elected Kim Young-sam as Korea's first civilian president in 1992. Against this backdrop, the starting point for Lim Chul-woo's literature is Gwangju, in early 1980. All of Lim's writing, especially his earlier works, are related in some way to the Gwangtju Democracy Uprising of May 1980. Although the settings for the works Infertile Period (Burimgi) and Stillborn Summer (Sasanhaneun yeoreum) are allegorical, they are unmistakably intended to represent Gwangju. This is quite natural, since Lim was a student of English literature at Chonnam National University in Gwangju at

the time of the uprising. He is a writer with a moral conscience, still suffering from remorse over those who experienced such a tragic fate. It is difficult to fathom the depth of the grief and outrage felt by such a compassionate individual, who saw with his own eyes the wanton killing of his brothers, friends, and neighbors. For Lim, he long struggled with this all-consuming guilt, which manifested itself in his 1997 saga, Spring Day (Bomnal). This novel represents a tour de force that helps to reduce a debt which various Korean writers have felt they owed since the 1980s, in terms of a professional obligation to make the profound tragedy of the Gwangju incident more widely known. Another undercurrent of Lim's literature is the division of the country. Lim does not belong to the generation that lived through the Korean War (19501953), but is part of its so-called second generation, which means that Lim and writers of his generation learned about the horrors of the war from their parents. Thus, as compared to those who experienced the war firsthand, these writers will often adopt a dual-view approach. Above all, Lim and his generation realize that the Korean War and national division continue to exert significant influence on today's society. In Korea's modern history, the government suppressed freedom of ideology, freedom of the press, and freedom of assembly and association, based on a rationale that

this was necessary to defend the South from possible aggression by the North's communist regime. But intellectuals in the South believe that as long as the issue of national division is politicized in such a manner, it will not be possible for Korea to enjoy genuine democracy or freedom. Accordingly, secondgeneration writers feel free to express their thoughts on the far-reaching consequences of the war and national division. This is true of Lim as well, who provides personal insight into the Gwangju Democracy Uprising and a perspective on Korea's divided country. The second-generation writers such as Lim, they give a voice to those with firsthand experience of the Korean War, in particular their parents. One of Lim's early works, "My Father's Land" (Abeojieui Ttang), adopts this approach, with the story being told from the point of view of his mother's generation. More importantly, though their experiences are different, the shackles that bound the first generation continue to weigh down the second generation, amid a melding of the past and the present. In the story, his mother cannot escape from the memories of his father, who was an accused communist. And like the barbed wire around the dead body, national division is a yoke from which Korea cannot be freed. Through this two-level story, Lim seeks to demonstrate how the Korean War and resulting division of the country, of the past, continue to influence our present. t..t Summer 2007 I Ko reana 83

The Korea Foundation Seocho P.O. Box 227 Diplomatic Center Building, 1376-1 Seocho 2-dong, Seocho-gu, Seoul 137-863, Korea www.kf.or.kr

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