Koreana Autumn 2007 (English)

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BEAUTY OF KOREA

Toechim U

ntil Korea's modern era, the toechim, a rectangular pillow,

neck when lying on your back or side. In this way, the toechim is

was an absolute necessity in the Korean home. It was espe-

said to offer a kind of natural chiropractic treatment for the neck

cially required for taking a quick and relaxing nap.

and shoulders.

The various types of toechim are named for its primary mater-

Toechim has long been a favorite of Korean men. Wooden pil-

ial, including mokchim, a wooden pillow that was widely used

lows, often crudely made, would be found in the sarangbang, the

because of the natural support it provided; dochim, a ceramic pil-

main room of the men's quarters in a traditional upper-class

low; jukchim, a bamboo pillow with a cool surface that made it

house, in which the master of the house studied and entertained

popular during the steamy summer season; and golchim, a pillow

guests, as well as the rooms of inns, where travelers stopped to

stuffed with rice stalks and covered with fabric, which people liked

spend the night.

for its cushiony feel.

The practical wisdom of ancient Koreans is clearly evident in

In homes, it was common for toechim to include small drawers, which men used to store stationery, and women for their hair-

the toechim's design. The distance between the neck and the

brush and other beauty implements. There were also high-end

shoulder of an average Korean is about 15 centimeters, while the

toechim in which the upper surface would be fitted with sheep or

space between your neck and the floor is about 11 centimeters,

rabbit skin, along with others that would be adorned with pearls.

when lying on your back. Thus, a regular rectangular toechim

Moreover, members of the elite class were known to prefer a

would have a size of about 15 centimeters in length and 11 cen-

wooden pillow that was coated with lacquer to produce a lustro¡us

timeters in height. As such, the toechim comfortably supports the

sheen . t.t

Korean a Korean Art & Culture

Vol. 21, No . 3 Autumn 2007

Published quarterly by

The Korea Foundation 1376-1 Seocho 2-dong, Seocho-gu,

Seoul 137-863. Korea PU BUSHER Yim Sung-joon ED ITOR IAL DIRECTOR Park Joon K. ED ITOR - IN - CHIEF Park Jeong-yeop

PHOTO DIRECTOR Kwo n Tae -kyun ART DIRECTOR Kim ln-sook DESIGNER Song Hye - ran ASSOC IATE ED ITOR Park Ok-soon,

Lee Ji-hye, Yi Jun-sung EDITORIAL BOA RD Choi Joon-sik, Han Kyung - koo, Han Myung - hee,

Kim Hwa-young. Kim Moon -hwan, Kim Young-na, Rhee Jin-bae SUBSCRIPTION

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The l(orean Alphabet: Hangeul 8

The World's Preeminent Writing System : Hangeul

www.gegd.co.kr PR INTED IN AUTUMN 2007

Samsung Moonwha Printing Co. 274-34, Seongsu-dong 2-ga, Seongdong-gu, Seoul 133-121. Korea Tel. 82-2-468-0361/5

Lee Sang Gyu

16 Hangeul in the Digital Age Ko Chang Soo

22

Koreana Internet Website httpJ/www.koreana.or.k r

© The Korea Foundation 2007 All rights reserved. No part of this publication may be reproduced in any form without the prior permission

Hangeul Inspires Cultural Endeavors

al the Korea Foundation.

Park Kyungsik

The opinions expressed by the authors do not necessanly represent those of the editors of Koreana or the Korea Foundation.

30 Can Hangeul Help to Bring the World Closer Together?

Kim Jinhyeong

Koreana. registered as a quarterly magazme wtlh the Ministry of Culture and Tounsm [Reg1strat1on No. Ba-1033, dated Aug. 8, 19871. 1s also published 1n Chinese. French. Spanish. Arabic.

Russian, Japanese. and German

34

FOCUS

Korea Gallery Opens at the Smithsonian Museum 38

I Kim Heesoo

INTERVIEW

Lee Jong-sang·s Endless Quest for the Origins of Form Kim Bok-yeong In 1444, King Sejong the Great published Hunm1n1eongeum , an inst ructional guide for the Hangeul writing system that had been invented for the common Korean people. Recently,

44

ARTISAN LEE IN-SE

Exemplifies the Tradition of Saban

Hangeul has come to be recognized as the world 's most scientific and rational writing

I Lee Min-young

system .

50

MASTERPI ECES

The Storied Pagoda of Gyeongcheonsa

54

I

ShinYong-chul

ART REV IEW

Springwave Festival 2007 Debuts in Seoul

60

DISCOVER ING KOREA KONISHI TAKAKO

Ardent Adm irer of Gyeongbokgung 64

I Lee Chung-woo

I

Park Hyun-Sook

ON THE GLOBAL STAGE KIM YU-NA

An Olympic Figure Skating Medalist in the Making 68

76

Sung Baik-you

ON THE ROAD

Yeosu: The City by the Sea ,3 9

I

I Han Chang-hoon

CU ISINE

A Simple Pleasure of Autumn: Daechu Oanja, Rice Cake with Jujube Paik Jae- eun

80

LIVING

User Created Content: New Form of Internet Expression 85

I Kim Heon- sik

JOURNEYS IN KOREAN LITERATURE

KIM IN-SOOK Subliminal Individuals Who Anguish over Life's Choices I chaMi-ryeong That Woman's Autobiography I TranslatedbyBrotherAnthonyofTaize

2

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Hangeul is the writing system that King Sejong the Great created in 1444 (the 12th lunar month of 1443) and is still used by Koreans today. Peoples around the world have taken great pains to create writing systems in order to express their language, but never before has a new writing system been so purposefully created and adopted for official use by a nation. In 1997, UNESCO acknowledged the unique value of Hangeul by including the Hunminjeongeum manuscript on its Memory of the World Register. The fact that Korea has one of the lowest illiteracy rates in the world is due to Hangeul's scientific structure, which makes it easy for anyone to learn. In particular, this remarkable ease of understanding has enabled Hangeul to serve as a driving force behind the development of Korean culture, which has become even more evident in today's digital age.

Kang Byung-in Calligrapher

here are an estimated 6,000 languages worldwide, along with some 300 writing systems. Of these languages, the number of speakers of Korean ranked ninth in the world in 2007.

Linguists around the world highly assess Hangeul for the scientific nature of its conceptual framework and the noteworthy rationale behind its creation.

Werner Sasse (b. 1942), a German linguist and former professor at the Universitat Hamburg, is lavish in his praise: "Hangeul is the world's greatest writing system, devised on a foundation of traditional philosophical principles and scientific theories."

T

Invention of Hangeul The writing system that Koreans today know as "Hangeul" was previously referred to as Hunminjeongeum. When it was created in the 15th century, it was so far ahead of its time that it embodied the theoretical principles of modern 20th-century linguistics. Hunminjeongeum is the only writing system in the world for which the name of its creator and the date of its invention are specifically known, earning it an unparalleled distinction among world writing systems.

In 1444, King Sejong (r. 1418-1450), the fourth monarch of the Joseon Dynasty (1392-1910), unveiled Hunminjeongeum. This fact is recorded in the section on the 9th month of the 28th year of the reign of King Sejong, in Book 113 of The Annals of King Sejong (Sejongsillok, a 163-volume chronicle of King Sejong's reign, compiled by some 60 comt officials) . This is also set fo1th in the following passage at the end of An Illustrated Explanation of Hunmi¡njeongeum (Hunminjeongeum HaeryeAu tumn 2007 I Ko reana 9

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ban), a book written by Jeong In-ji (1396-1478), a Joseon Dynasty civil official and scholar, which explains the purpose for creating the writing system and describes its usage: "In the winter of the year 1443, our king invented twentyeight characters of proper sounds ... and called them Hunminjeongeum."

After having invented the alphabet and writing system, Sejong instructed the scholars of the Hall of Worthies (Jiphyeonjeon), a research institute of the royal court, to prepare an instructional guide for the new writing system. This guide was Hunminjeongeum, which was published in the ninth lunar month of the year 1446. In Book 102 of The Annals of King Sejong, in the section on the 12th month of the 25th year of the king's reign, it is recorded that: "In this month, the king himself created an alphabet of twenty-eight symbols .. . He calls it Hunminjeongeum." It is clear from these records that Sejong himself invented the writing system and named it Hunminjeongeum.

So, what was the primary motivation behind the king's creation of Hunminjeongeum? At the time when King Sejong invented Hunminjeongeum, the

Ming Dynasty had just come to power in China, which caused the standard pronunciation of Chinese characters to shift from a southern style to a northern style. With the establishment of a new standard pronunciation of Chinese characters, there was a need to adjust and conform the Korean pronunciation of Chinese characters that differed from the new Chinese standard. Since Chinese was the common written language of East Asia, as was the case of Latin in Europe, it was necessary for Koreans to learn the new standard pronunciation.

Consequently, there was a need for a writing system that could be used to conform and express the Korean pronunciation of Chinese characters. This was a key factor for the invention of Hunminjeongeum, which reflects the prevailing circumstances of that time.

Hunminjeongeum is the title of the instructional guide, while the writing system is today referred to as "Hangeul." In addition, hunmin and jeongeum are compound words that mean "to teach the people" and "proper sounds," respectively. The term "hunmin" takes on a different meaning depending on the relevant perspective.

2

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In 1446, Kin g Sejo ng published Hunminjeon geum. an instruc tiona l gu ide fo r the Hangeul writing syste m tha t he had invente d. Wi th secti ons of "examp les" and "illustrated ex pla nations," Sejong made known his purpose fo r creating th e Hang eul system in the "examples" section.

Th e "illustrated ex planatio ns" section of Hunminj eo ngeu m . wh ich was developed by ni ne resea rch spec iali sts, exp lains in deta il th e principles of the writi ng system an d th e proper pro nun ciat ion of the co nso nan ts and vowe ls.

The Hunminj eo nge um was lost fo r a period of time and then recove red in 1943. In 1997, it was in clu ded on the UNESCO Memory of the Wo rld Reg ister. © Ganso ng Art Museu m In an effo rt to propaga te the new writi ng system, Ki ng Sejong pub li shed a numb er of boo ks . starti ng in 1447 with Yongb ieocheonga [Songs of Flying Dragons I. the first book pu blish ed in Hangeu l, wh ich praise d the achi eve ments of the Joseon Dynasty and hi s illustrious ancestors. © Gyujang ga k Worincheongangjigok [Song of the Moon ·s Impression on a Tho usand Riversl. pu blished in 1449. lauded the virtues of Sakyam uni Bu dd ha and included the lyri cs of so ng s written by Ki ng Sejong.

Aut umn 2007 I Korea na 11

From the point of view of the king and the elite class it would mean "to teach the people," whereas from the perspective of the common people it means "the people learn" or "the people use."

Thus, the purpose behind the invention of Hangeul can differ somewhat, depending on whose point of view is considered. From the perspective of the people, it would be "the sounds that people from all regions may know are the proper sounds," as is stated in an early Ming Dynasty record. Thus, Hunminj eongeum means both "proper sounds of the letters used by the people" and "proper sounds of the letters used to write our language." Above all, Sejong created Hangeul to make it easier for all of his people to learn to read and write. Of note, since the Hangeul writing system was a universal writing system that could express not only the sounds of Chinese characters but also the sounds of all world languages, it is more practical and inclusive than any other writing system.

Rational Structure Created on the basis of neo-Confucian cosmology (theories of yin-yang and the five elements) and the principles of vocal articulation, Hangeul is a profoundly intriguing featural writing system, in which the sound characteristics are inherent in the letters. In line with the philosophical principles of neoConfucian cosmology, distinctions between phonemes were expressed through top-bottom and left-right symmetry, as well as the inclusion of additional strokes. Consonants and vowels are written together in syllabic units, which enable horizontal, vertical, and complex combinations. It is also possible to write one individual character after another and still be legible. It is a userfriendly writing system that allows the expression of not only the vocal sounds of people, but natural sounds as well, like a bird singing or the sound of wind.

When Hangeul was first invented, it included 11 vowels and 17 consonants, 12 Koreana I Au tum n 2007

for a total of 28 letters. Vowels took their shape from heaven, earth, and humanity, and were thus related to the three basic lette rs of ¡ , - , and l .

These three basic letters were used to form other vowels based on the philosophical principles related to the complementarity of yin and yang, the five elements (metal, water, wood, fire, and earth), and the five directions ( east, west, south, north, and center).

Consonants were based on the shape of the speech organ used for their vocalization or the change in the shape of the organ as the sound was vocalized. The consonants were divided into four categories according to the five basic consonants of , (velar sound), L (lingual sound), o (labial sound), ,1,.. (dental sound), and o (guttural sound), as well as the characteristics of their sounds.

These four categories, which do not correspond exactly to English phonetic category terms, included weak plosives, strong plosives, voiced consonants, and a category which includes nasal and liquid sounds. The combination of the basic consonants and additional strokes allow for the creation of dozens more consonants.

The combination of these vowels and consonants in the initial, medial, and final positions enables the creation of a syllabary. Hangeul's excellence becomes even more evident when the application of modern printing techniques is considered.

Unique Characteristics In the mid 1990s, the Linguistics, Philology, & Phonetics Department of the University of Oxford, which is renowned for being at the forefront of linguistics research, evaluated 30 writing systems in terms of their rational, scientific, and unique characteristics.

This study ranked Hangeul first. Similarly, UNESCO founded the King Sejong Literacy Prize in 1989, which is awarded to groups or individuals who contribute to a lowering of world illiteracy, and included Hangeul on the

Memory of the World Register in 1997.

Hangeul possesses several unique characteristics when compared with other writing systems. The British linguist Geoffrey Sampson declared Hangeul to be a featural writing system and the most scientifically based of all writing systems. Dutch linguist Howard F. Vos also lauded Hangeul as the finest writing system in the world. Umeda Hiroyuki, of Japan's Reitaku University, has said that Hangeul is the most advanced phonemic writing system in the world, and a featural writing system that is rated a step above Roman writing.

As for its notable characteristics, Hangeul is a phonemic writing system with a unique structure that visually expresses syllables by transcribing the initial, medial, and final sounds together as a single unit. Thus, it has the advantages of a phonemic writing system as well as a syllabic system. The shapes of the letters are highly systematic, while the sounds related to one another include similarities. Hangeul is based on a dual structure of basic letters from which the remaining letters are derived. Also, the letters include similarities to indicate phonetically related sounds.

Moreover, the process in which Hangeul was invented was noteworthy for its scientific basis and creativity. The shapes of the consonants are based on the shapes of the speech organs used for their articulation, while the vowels are related to the three symbols of heaven, earth, and humanity. Creating letters to represent the shapes of the speech organs used for their pronunciation was indeed a revolutionary innovation.

Hangeul represents an entirely new system; that is, it was created without imitating or adapting an existing writing system. A relative latecomer to the ranks of the world's writing systems, Hangeul was not developed from an existing writing system over a long period of time but was newly created for a specific purpose. In the history of the development of writing systems, Hangeul stands alone in terms of being created com-

1

A declaration to the common people, written in Hangeul, by King Seonjo Ir. 1567- 16081.

2 With the creat ion of a writing system that could be easily used by Korea ns, Buddhist sutras in classical Chinese began to be translated into Hangeu l.

3 Hanjungnok [A Record of Sorrowful Daysi. written in Hangeu l by Queen Heongyeong 11735-18151. is a noteworthy example of palace literature.

4 The common people came to enjoy read ing Hangeul novels, such as The Story of Chunhyang, a love story about a young man from an aristoc ratic fa m ily and the daughter of a gisaeng !female entertain er]. during th e Joseon period.

5 A Hangeul letter wri tten by King Jeongjo Ir. 1776-1800] before his ascension to the throne.

Autumn 2007 I Koreana

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Th e 17 conso nants that existed when King Sejong created Hunminj eong eum in 1444 have undergo ne phon ological changes to become the 14 co nso nants of today's Hangeul.

Th e three bas ic vowe l chara cters of " ¡ ... .. _ ,.. and" 1 " we re created to symb oli ze a trinity concept of heave n, earth, an d ma nkind, while philosop hical prin ci ples we re app lied to create the remaind er of th e vowels. There are currently ten vowe ls in Han ge ul.

Conso nants take their shape from th e speech org an used for thei r pronun ciation or the chan ge in con fig uratio n of this organ during vocalization.

pletely from scratch without undergoing a long and gradual process of evolution.

In addition, Hangeul features a unique operating method that joins letters together by syllable to create yet another character; this is referred to as "joined writing." Hangeul consists of phonetic letters that are divided into consonants and vowels and joined together to form syllabic blocks. As such, this method of writing allows for easy reading and quick learning.

It is also quick and easy to input Hangeul characters using a computer keyboard or cellphone keypad, along with Hangeul being well-suited for voice-recognition software that is used to convert verbal speech into writing.

Hangeul' s excellence is based on the fact that it is both easy to learn and use, resulting in an essentially zero illiteracy rate in Korea, and also includes the ad14 Korea na I Autumn 2007

3

vantages of a phonetic writing system, which enables it to express practically any other language. For example, Japanese consists of about 350 syllables and Chinese includes some 420 syllables, nearly all of which can be expressed perfectly in Hangeul.

Finally, Hangeul can be written either horizontally or vertically, along with the combination of letters and the space that each letter occupies in each syllabic block being highly systematic.

Syllables can be made up of an initial consonant, a medial vowel, and a final consonant; the initial consonant (either a consonant or a silent placeholder for a vowel) and medial vowel are mandatory, while a final consonant is optional.

Changes in Terminology At the time of Hangeul's creation, the yangban (aristocrat) literati, who

were inured of toadyism toward China, did not welcome the arrival of the new writing system, calling it inferior to classical Chinese. For this reason, they called texts written in classical Chinese as "true writing" (jinseo), while those written in Hangeul were said to be "vulgar writing" ( eonmun). They also thought of Hangeul as a writing system for women, due to their adherence to a male-dominated society, and also referred to it as "woman's writing" (amkeul). It was also spumed as "children's writing" (ahaetgeul), because it was used by children who could not learn classical Chinese. It was even called "out writing" (dwitgeul), suggesting that it was meant to be read at the outhouse or toilet.

There are numerous Hangeul annotations of Chinese texts that were created for those who could not read classical

Chinese. The central government, provincial government offices, temples, and even private groups annotated classical Chinese texts and distributed copies, which helped to supplement Hangeul's relevance. The efforts of Joseon Dynasty women in particular were crucial to keeping Hangeul alive and well. Women had only limited opportunity, as compared to men, to learn classical Chinese, so they used Hangeul for the writing of letters and poetry, contributing immeasurably to Hangeul's survival for some 400 years.

With the advent of the enlightenment period and the launch of Korea's modernization, the Korean people rallied around a national spirit and placed a high value on the uniquely Korean writing system of Hangeul, which was referred to as "proper sounds" and "the national script." The individual who created the term "Hangeul" was Ju Sigyeong (1876-1914), a Korean linguist.

What had first been called Hunminjeongeum, and was referred to by various names over the years, was thereafter known as "Hangeul." It is called "Joseongeul" ("Korean writing") in North Korea.

Hangeul has undergone minor modifications since it was invented by King Sejong. Various letters are no longer used and certain phonetic sounds have been changed. For example, the letters <?, 'a, "-, o, oo, and 6 have disappeared, while the phonetic sound of A has been changed from (ts) to (tf) .

Today, Hangeul consists of 14 consonants and 10 vowels.

the information-oriented society of the 21st century.

Korea's ability to transmit digital content faster than any other country in the world is the result of the Hangeul writing system, which is ideally suited for use with digital technology. Through the Internet, Koreans enjoy an intellectual freedom that enables them to interact with people from around the world and share all manner of information and knowledge. Thanks to today's information-oriented society, Koreans live in a world in which the gap in intellectual standards has been considerably narrowed.

Korea is a world-leader in cellphone technology, while the speed with which users can exchange text messages, via cellphone keypads, is unquestionably the fastest in the world.

Like Hangeul, Korean cellphone keypads are based on a principle of adding strokes to basic consonants and vowels, which means that a minimal number of keys are needed to create the entire alphabet.

Hangeul is also being featured as a unique subject matter of the art world.

Items such as designer clothing, cellphones, and neckties are adopting Hangeul as an artistic motif, which has proven popular with consumers. In this way, Hangeul is more than a means of basic communication, with increasingly diverse applications in the areas of culture and the arts.

Sightings of Hangeul are rapidly growing abroad, including such examples as a Hangeul art work displayed at the entrance of the UNESCO Headquarters and a Hangeul sculpture displayed at the entrance to the Victoria and Albert Museum in the U.K. Hangeul information signs can be seen in the subways of Tokyo, Japan, while Samsung billboards are now a common sight along major roadways in China.

Hangeul is influencing the linguistic lifestyles of people around the world. A notable task at hand is promoting the use of the Hangeul writing system among those people who have no writing system of their own. In doing so, the extraordinary brilliance of King Sejong's Hangeul can be perpetuated and appreciated by people far beyond the shores of the Korean Peninsula. t_;t

King Sejong Literacy Prize Upon the founding of UNESCO right after the end of World War II, it adopted as a prime objective the efforts to eliminate world illiteracy. This was because the organization's leadership recognized that assurance of world peace, development of economies and societies, ma intenance of appropriate popu lation levels, and promotion of democracy wou ld not be possibl e without a decrease in illiteracy.

Thereafter, UNESCO has diligently undertaken concerted efforts to wipe out illiteracy, which in 1989 included the establishment of the King Sejong Literacy Prize, with funding support from Korea's Ministry of Foreign Affairs. On September 8 of each year, which has been deemed International Literacy Day, the UNESCO Headquarters in Paris selects two individuals or groups from developing nations, which have contributed to the development and/or diffusion of their mother tongue, who are awarded a $15,000 prize and the King Sejong Silver Medal.

In 2006, the Mother Child Education Foundation of Turkey and the Youth and Adu lt Literacy and Education

Impact on Reading and Writing Today, Korea is a dynamic country that boasts cutting-edge information technology, an advanced cultural infrastructure, and the ability to produce exceptional forms of culture. At the foundation of this capability is the Hangeul writing system. Sejong's creativity of centuries ago, applied to overcome language difficulties with a practical solution, is now revealing its true value in

Chair of the Latin American and Caribbean Pedagogical Institute of the Republic of Cuba were so honored by UNESCO. The Mother Chi ld Education Foundation was recognized for contributing to the promotion of women's rights through its "Our Class" distance-education program, which has provided instructional content to over five million viewers. The Youth and Ad ult Literacy and Education ¡Chair of the Latin America n and Caribbean Pedagogical Institute conducted its "Yes, I Can" program in 15 countries, such as Ecuador, in an effort to advance the potential of individuals and social groups.

In 2007, Tanzania's Ch ild ren's Book Project and Senegal's Tostan, two nongovernmental organizations, were honored with the prize. The Ch ildren's Book Project produces books in Swah ili and educates teachers, writers, and publishers, while Tostan works to better the plight of women and strengthen the capabilities of reg iona l society.

Autumn 2007 I Koreana

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he writing systems used in most civilized societies today are alphabets that have been developed by many people over a long period of time from ancient writing systems, such as Sumerian and Egyptian. It is only natural that many nations and peoples should choose alphabetic writing systems, since they are the crystallization of millennia of human wisdom. By contrast, Hangeul was created in 1444 in the small East Asian nation ofJoseon as the product of the scientific research of one man, King Sejong the Great. It is also such an easy writing system to learn that in the early 20th century, Korea's illiteracy rate dropped to almost O percent. For these reasons it is a marvelous writing system that has gained attention the world over.

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... ".."'"j .,:.. tric world view, the idea that it was only proper for Koreans to abandon the use of classical Chinese, the common written language of the East Asian civilization sphere at the time, and create a new writing system for the Korean language went against popular opinion. In a way, it was similar to the spirit of reformation shown by the religious reformer and theologian Martin Luther (1483-1546), who was the first to translate the Bible into German and thus contribute to the unification of the German language. As the most distinguished linguist of his time, Sejong recognized that the theory of Chinese phonetics was fundamentally limited in its ability to objectively express the sounds of Chinese characters.

The best way to solve this problem was to take the sounds of Chinese characters, which were conventionally divided by syllables, and invent a writing system that divided them by phonemes. And this phonemic writing system had to be both easy to learn and easy to remember.

Hangeul is based on five basic consonants, each of which takes its shape from the shape of the speech organ used to articulate its sound, while additional consonants can be created by doubling the consonant symbols and/or adding strokes. There are three basic vowels, which may be combined as well to ere-

ate further vowel symbols. For this reason, Hangeul became known in the late 20th century as a "featural writing system," one step above other phonemic (alphabetic) writing systems. The method of analyzing the ontological unit of phonemes according to the abstract and discriminatory unit of features was only recognized with the advent of the 20th century. Sejong's originality in establishing this method theoretically and using it to invent a writing system in the 15th century thus deserves to be called the victory of a scientific spirit that transcended its era.

Versatile Writing System Hangeul consists of only 14 consonants and 10 vowels, but if we dismantle these letters we find that they are based on the 5 basic consonants of " , " (k, g), «L,,

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(ng) and the 3 basic vowels of " · " ( B ), l " (i), with extra letters formed according to their phonetic features. For example, a plosive sound is added to"," to produce "=r", and"·" is added to either the right or left of" l " to produce" r" (a) or"~" (a ). In this way, the phonetic similarity between the sounds represented by "," and "=r" is highlighted, making Hangeul one of the easiest writing systems to learn. At first glance it may look simple, but in order "-" ( i: ), and "

to devise this system from scratch, Sejong needed not only an abundant knowledge of phonetics but also a revolutionary "digital mindset," which recognized individual sounds as complexes of abstract features.

As a featur al writing system, Hangeul's structure is systematized so that new letters are created by adding discriminatory features to existing letters, which enables it to most effectively express all of the sounds needed for the Korean language. Hangeul is also flexible enough to be expanded to express sounds that may not exist in Korean but do exist in other languages, such as Chinese. Thus, Hangeul can use its eight basic letters to create the 11,172 distinct syllables in common use according to the Unicode 2.0 standard (Unicode is a standard international writing system that allows computers to consistently express all of the world's languages) .

This is possible because Hangeul uses a system that combines a few basic phonemes to form syllabic blocks.

Ideal for the Information Society Hangeul is the most efficiently mechanized writing system in East Asia, so it was possible to design Hangeul typewriters similar to English typewriters. At first, Hangeul's characteristic method of combining letters to form Autum n 200 7 I Korea na 19

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syllabic blocks made it more difficult to incorporate Hangeul typewriters into everyday life than had been the case with English typewriters. But when computer software in the 20th century became capable of automatically forming Hangeul's syllabic blocks, the inconvenience of mechanical Hangeul typewriters was eliminated. That is, a computer can logically calculate whether a "o" (0 I ng) following a "7t'' (ga) should form the syllabic block "7J-" (gang) or be part of a new syllabic block, as in the case of "7} _2_" (gao). Such calculations are possible because Hangeul was designed so that syllables beginning with a vowel sound would have a silent " o " as a placeholder in the initial position.

Unlike other alphabetic writing systems, Hangeul has a similar number of consonants and vowels. Thus when designing a keyboard it is possible to 20 Koreana I Autum n 2007

arrange consonants and vowels symmetrically, assigning 14 keys to the consonants on the left and 12 keys to the vowels on the right. Because Korean syllables are composed of successions of consonants and vowels, this arrangement allows for a keyboard that is easy to use both cognitively and ergonomically. Thus, Hangeul is not only easy to learn, but it is also easy to produce Hangeul documents using a computer keyboard without any special training.

These advantages hastened the popularization of computers and the Internet in Korea, one factor in the nation's rapid development as a communications technology power.

Cellphone keypads have far fewer keys than computer keyboards, but since there are only eight basic letters in Hangeul before adding strokes or combining letters, sending text messages on

a cellphone using Hangeul is more convenient and approachable than with other alphabets. This ease of use and approachability allowed the Korean cellphone market to expand. Evidence of this is the widespread use of SMS (short messaging service) and derivate products by young Koreans.

Korea's leading cellphone makers applied the basic principles of Hangeul to their text-input methods. One principle that is particularly noteworthy is the "heaven, earth, humanity" principle.

Hangeul is comprised of 14 consonant and 10 vowels, but not all vowels are shown on Korean cellphone keypads.

Only the most basic and simplest vowels are shown, and the rest are achieved by adding strokes. When Hangeul was invented in 1444, the concepts of heaven, earth, and humanity were given shape in the three basic vowels of" ¡ ,""-,"and

" l ." Some cellphone keypads display only these three basic vowels, while others add strokes to these three vowels and display" t ( l + · )," "-l ( · + l )," " ..L ( . + -))" ((,- (- + . )," cc_," and (( l ."

These efficient keypad input methods, protected by international patents, also act as entry barriers for foreign cellphones.

Shining in the Digital Age The development of the 21st century information-oriented society is accelerating the creation of more forms of communication, more information, and more original thought. In the process, the demand for efficient linguistic infor-

mation management technology that goes beyond computer and Internet technology is increasing. Linguistic information management is, in a word, the ability for computers to understand human language, allowing for the embodiment of human linguistic knowledge in a computer system so that computers can handle intelligent tasks that once only humans could perform. Not only can computers handle tasks such as answering queries like "In what year did King Sejong invent Hangeul?" and automatically summarizing and categorizing documents, there are already technologies for translating any and every language, which are being improved to be

more intelligent.

In this way, it would seem that Hangeul's status in an age of digital civilization that transcends borders and languages and brings the world together as one will continue to improve. Since the time of its invention, Hangeul has made use of the digital theory of "features," so it is well-suited to the thoughts and behavior of "digital nomads," who favor mobile equipment. Also, since Hangeul is a phonemic writing system with the characteristics of a syllabic writing system, it may well serve as a bridge be tween typical alphabets and syllabic writing systems. t.t

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Hangeul Inspires Cultural Endeavors There is nothing that can better symbolize the Korean identity than the Hangeul writing system. This is evident from Hangeul's capability to inspire such a broad spectrum of cultural and artistic endeavors as well as commercial pursuits.

Park Kyungsik Design Reviewer

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24 Koreana I Autumn 2007

1-2 The dramatic blac k-a nd -wh ite brush strokes of Hangeul callig raphy provid e an abst ract an d aest hetic flo uris h for hau te cou tu re creations at a Pari s fash ion s how.

hese days, interest in Hangeul is on the rise, in and out of Korea. The Korean alphabet has been in the spotlight for a number of reasons, including its scientific and rational structure and graceful beauty.

In the past ten years, Hangeul' s reputation has enjoyed a sharp ascent on the global scene as well. Hangeul received much attention when Hunminjeongeum, an instructional text that provides detailed explanations of how and why Hangeul was invented and the principles of the writing system, was included on UNESCO's Memory of the World Register, in October 1997. In line with the elevation of Hangeul' s status, it began to be featured as a theme in such areas as fashion, performance, and film.

Moreover, in-depth research has been conducted on the distinctive beauty of its letters, ushering in a golden age for Hangeul as a cultural resource.

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Hangeul as Art In February 2006, fashion designer Lie Sang Bong presented a line of attire that featured the Hangeul calligraphy of painter Lim Ok-sang, in Paris, France.

At first, the letters were difficult to make out, but as the model walked down the runway they slowly came alive. The bold black and white brush strokes of Hangeul calligraphy were a perfect complement to the haute couture creations.

been praised as "an Asian yet at the same time modern aesthetic" and "harmony of an abstract formative aesthetic and clothing design," made quite an impression on the fashion world.

As for efforts to bring Hangeul to life, it is necessary to mention the Milmul Modern Dance Company. Founded in 1984, this dance troupe has been performing works that express Hangeul writing through the gracefulness of the human body and dance movement since 1991. This combination of dance, which is known as an "art of the moment," with the letters used to record information, is indeed a breath of fresh air. The company continues to develop experimental works, which use the dancers' supple bodies to form Hangeul letters and to symbolize the principles behind the Hangeul writing system as well as its background and history.

Hangeul's Natural Beauty The artistic beauty of Hangeul has also been highlighted by the Korean film

2 Autumn 2007 I Koreana

25

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About 200 Hangeul typefaces have bee n developed thus far. and they are bei ng used in magazines. newspapers and books.

Unfo rtu nately, howeve r, Intern et conte nt tends to ofte n use ei ther Oodum or Gullim , in sp ite of a ·staircase ·· effe ct, as the operati ng system was develo ped by Microsoft.

2-3 Milmul Modern Dan ce Company perfo r ms wo rks that co mbin e the elegance of Hang eul characters with th e gra ceful movem ent of the hum an body.

helped to win over consumers, even in the saturated cellphone market.

Hangeul is also being used as a theme in a variety of other areas, such as ceramics, sculpture, and Western painting, along with Hangeul letter shapes being applied to font design and calligraphy works. There are countless examples of artistic works that reveal Hangeul's natural beauty. And there are ever more instances in which Hangeul is being grafted onto consumer products, often involving brush-stroke Hangeul calligraphy.

At the forefront of the movement to popularize Hangeul calligraphy is the design studio Philmul<, which has produced a variety of works based on brush-stroke Hangeul calligraphy. The studio is actively engaged in a number of fields, such as the production of film posters and book covers, commercials, product logos, signboards, and pattern designs for the surfaces of kimchi refrigerators, which are designed for the proper storage ofkimchi.

The graceful forms of Hangeul lettering have led to the development of some 200 Hangeul typefaces, which are used in magazines, newspapers, and books. But aside from publications, there are far fewer choices available.

Among various typefaces, Internet content tends to often use either Dodum or Gullim, which are characterized by an-

gular, rigid, and square letters. Bitmap letters are comprised of pixels, leading to a "staircase" effect that gives characters a jagged edge. Dodum and Gullim, which are better than most alternatives, are nonetheless prone to the staircase effect that contributes to visual fatigue and a lack of aesthetic appeal, due to its irregular letter spacing.

The root cause of these problems is the pervasiveness of the operating system developed by Microsoft, a U.S. software developer, which despite a lack of familiarity with the characteristics of Hangeul, selects the Hangeul typefaces.

Thus, there is an urgent need for Hangeul fonts to be developed that are easier to read for Internet users. If Hangeul cannot keep pace with this fundamental medium of today's information society, its primary purpose, as a means of communication, will inevitably be eroded.

The one institution that has played a key role in the popularization of Hangeul typefaces is The Chosun Ilbo daily newspaper. The typeface that the newspaper introduced in 2000 was developed into a typeface designed especially for Internet use, after five years of research. As for the development of typography, this kind of initiative has usually been undertaken by newspapers, which is true of Korea as well. In early 2007, The Chosun Ilbo made available

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industry, which is riding a wave of success at home and abroad. It can be seen in the movie posters for such Korean films as Memories of Murder (2003), TaeGukGi: Brotherhood of War (2003 ), The King and the Clown (2005), The Host (2006), Secret Sunshine (2007), and Hwangjiny (2007), which all feature film titles written in Hangeul calligraphy.

Foreign films opening this year, such as Transformers and Shrek the Third, are no exception, with posters featuring digital penmanship that vividly convey the movie storyline.

Today, applications of Hangeul, for artistic as well as commercial purposes, are commonplace and everywhere. For example, at any convenience outlet or mom-and-pop store, a plethora of items, including beverages, snacks, and cosmetics, have packaging adorned with a diversity of stylish calligraphy, created with bold brush strokes.

Hangeul is also widely applied to the design of electronic appliances. In October 2006, LG introduced its new Shine Designer's Edition cellphone, which on the back side includes the following verse from the poem "Counting Stars at Night," by the beloved poet Yun Dongju, in handwritten lettering: "A reflection of the seasons, the heavens are filled with autumn. With not a single worry, I think I can count all the stars in the autumn sky." This distinctive touch has 26 Korea na I Autumn 2007

Autumn 2007 I Koreana 27

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For the past thirty years , calligrap her Shim Eung-sub has unflagg ing ly brough t to life the beauty of Hangeul.

Designer Lee Geon Maan has been at the forefront of creating consumer products that feature Hangeul and Korea-related motifs.

The cellphone "Shine,·· of LG Electronics, features a verse from the well-known Korean poem "Counting Stars at Night" on its reverse side.

3

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28 Koreana I Autumn 2007

the "Chosun Ilbo Myeongjo Typeface" for free, providing newspapers with an opportunity to adopt a Hangeul typeface specifically designed for today's print medium. In addition, The Hankyoreh newspaper and the Samsung Group have also published their research findings on Hangeul typefaces, which hopefully suggest that related efforts will be implemented in the future.

Typographic Designer

Ahn Sang-soo

Efforts to design typefaces are closely related to the development of typography.

Korea's representative typographic designer is Ahn Sang-soo [b . 1952). who developed a keen interest in Hangeul typography in the early 1980s. As Layout designer of the monthly magazine Madang, he created the Madang typeface to overcome the general monotony and rigidity of existing Hangeul typefaces. In 1985, he founded the graphics design firm Ahn Graphics and introduced his namesake typeface.

Previously, Hangeul could not escape from its traditional square frame. But the Ahn Sang-soo typeface broke free of this convention, and promoted the diversity of

Inspiration for Cultural Pursuits After its invention, Hunminjeongeum did not immediately gain widespread acceptance. The elite class disparagingly referred to it as "vulgar writing," "women's writing," and "children's writing," while during the Japanese colonial period (1910-1945) the use of Hangeul was prohibited as part of the colonial government's campaign to suppress Korean culture, which forced Hangeul underground. Yet Hangeul managed to survive these difficult times and is now considered an exceptional writing system, both at home and abroad, in addition to being actively used to create new artistic and cultural works.

It is gratifying to see how Hangeul can serve as a source of inspiration for cultural endeavors as well as commercial applications. Indeed, Hangeul is no longer limited to the domain of linguists, as people around the world are gradually taking an interest in this one-of-a-kind writing system. Thanks to the Hallyu (Korean Wave) and the growing influence of leading corporate enterprises as they take deeper root in global markets, ever more individuals are coming to Korea to study Korean, while the number of students majoring in Korea-related fields in other countries is rapidly increasing as well. In line with the rise of Hangeul's cultural value, Koreans must further refine the applications ofHangeul so that it can continue to serve as a wellspring of creativity and innovation. t;t

Hangeul typefaces. Ahn has continued to explore new shapes and forms for Hangeul through the introduction of highly creative innovations.

The German city of Leipzig awarded Ahn Sang-soo the 2007 Gutenberg-Preis, while taking note that: "Ahn Sang-soo is a typographer with a rare artistic ability and a distinctive sensibility, and through his innovative typeface development and typographic design he has contributed dramatically to the renovation of Hangeul typography." The Gutenberg-Preis was established in 1959

to

commemorate Johannes

Gutenberg [1398-1468). the inventor of movable metal type. It is awarded to individuals and organizations that contribute to the development of typography, as well as book illustration, editing , and production.

Autumn 2007 I Koreana

29

Can Hangeul Help to Bring the World Closer Together?

Hangeul's systematic and rational structure makes it an easy-to-learn writing system for Koreans and non-Koreans alike. In light of this capability, Hangeul is attracting much attention for its potential to serve as an international writing system that might help to bring the world closer together.

Kim Jinhyeong Senior Researcher, The International Korean Language Foundation Ahn Hong-beom Photographer

riting is the foundation upon which civilizations have been built and thus ranks as one of humankind's most fundamental creations.

Linguistic capability is closely related to basic human nature, but the ability to learn and use writing systems is for the most part an acquired skill. With the use of writing being the result of systematic human effort, various linguistic spheres, without their own writing system, have adopted writing systems from elsewhere, while other people get by without the benefit of writing. Due to the inherent advantages of an established writing system, it is reasonable to assume that people who do not maintain a writing system could immensely improve their quality of life by adopting a writing system of their own.

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30 Koreana I Autumn 2007

World Writing Systems The most widely used writing system today is the Roman script. Also called Latin script, it is used in Western and Northern Europe, North and South America, various countries in Africa that were once the colonies of European powers, Australia, and other areas. Recently, Southeast Asian nations, such as Vietnam, Indonesia, and Malaysia, as well as other countries like Turkey, have adopted Roman script as a replacement or supplement for their traditional writing system.

Roman script's growing worldwide usage is due in part to the fact that, as a phonetic writing system, it is relatively easy to learn and write; furthermore, the global expansion of Western culture over the past several centuries has also

Nowadays, a growing number of students from around the world visit Korea to learn Hangeul at domestic institutes, including the above Korean Language Fellows sponsered by the Korea Foundation.

contributed much to its pervasive influence.

Other writing systems used by large numbers of people include Cyrillic, Indian, and Arabic script, as well as Chinese characters. Cyrillic script, like Roman script, is known to have originated from ancient Greek script, and is used in former Soviet Union nations, including Russia. Other than Vietnam, Indonesia, and Malaysia, most Southeast Asian nations use an Indian script or a similar writing system. The writing systems used in these areas are presumed to have developed from Indian Brahmi script.

Middle Eastern countries such as Saudi Arabia have their own writing system, Arabic script.

There might be various differences between nations and peoples, but their writing systems can often be traced back to a common source. In the East Asian region, Chinese characters have long been the standard writing system due to China's dominant influence. Japan has used both Chinese characters and its own writing systems, known collectively as Kana, which are derived from simpli32 Korea na I Au tumn 2007

tied Chinese characters, while Korea has also used both Chinese characters and its own unique writing system, Hangeul.

In recent years, the use of Chinese characters in Korea has seen a steady decline.

Easy-to-learn Writing System Hangeul is distinctive as a writing system for "suddenly" appearing in the not-too-distant past. Moreover, Hangeul is the only writing system to have been created at a particular point in time by a specific individual. Phagspa script, which some scholars believe influenced the creation of Hangeul, is said to have been invented in the 13th century by the Tibetan monk Phagspa. But this writing system did not last long thereafter and thus does not occupy as significant a position in the history of writing systems as Hangeul.

Hangeul clearly differs from other writing systems in that both the principles of its creation and intended usage were systematically established from the outset. As such, Hangeul features a highly rational structure that makes it easy for anyone in the world to learn

and use. Most other alphabetic writing systems are the result of centuries of gradual evolution, and thus are not as systematically and rationally organized.

In Hangeul, consonants expressing lenis, aspirated, and fortis sounds were created with intuitive and expressive shapes (for example: --, (g) =1 (k) - ,, (kk), C (d) - E (t) - 0: (tt), lei (b) - lI (p) - 1111 (pp)), while the basic consonants take their shape from the configuration of the speech organs used for their articulation. These characteristics are truly extraordinary when viewed from the perspective of modern linguistics theory.

These characteristics make it easy for foreigners to learn to read and write Korean. Most people, when shown the relationship between letters of the Korean alphabet and the speech organs used to articulate them, and the method of combining letters into syllabic blocks, can quickly learn to read and write Hangeul. Dr. Werner Sasse (b. 1942), professor emeritus at Universitat Hamburg and the first German to receive a doctorate in Korean Studies, said that at

Korean-language Institutions

Korean

With the ongoing international diffusion of

Arabic

Korean, Hangeul is no longer an alien writing system to the peoples of the world . There are some 20 universities and graduate schools that

Chinese

offer Korean-language majors for foreigners residing in Korea who are interested in learning

English

Hangeul, Bringing the World Together

Korean as a second or foreign language.

Hangeul, qui relie le monde

institutions, there are some 150 educational

In addition to these formal educational

French German

Hangeul - eine Briicke zur Welt

institutions associated with various universities, including international language institutes and foreign-language centers. This number would increase dramatically if private language

Japanese

institutes are also included.

According to the Korea Foundation's "White

Russian Spanish

,D;OCT051HJ1e MMpOBOM U:MBJ1ITJ13aU:MJ1

coreano: acercar el mundo

Paper on Overseas Korean Studies" (2007), some 735 universities around the world offered courses in Korean Studies in 2005. According to data compiled by the International Korean Language Foundation (IKLF), in 2005, there were 380 universities in Northeast Asia that provided courses in Korean Studies and some 640 universities with courses in Korean Studies in Europe, the Americas, Africa, Oceania, and other regions.

These numbers are rather insignificant when

first he thought Hangeul was a difficult writing system, but when he taught it to his own children, who were not even ten at the time, they quickly learned and understood it. He says that they soon began to write German words phonetically in Hangeul in order to create "secret code" messages.

Global Usage Because Hangeul is so rationally structured as a phonemic writing system, and thus easy to learn, it is suitable for use as a writing system not only in Korean-speaking areas but for other language spheres as well. Just as various language spheres today use Roman script, which has been somewhat adapted to fit their basic languages, Hangeul also possesses the potential to be used as a writing system for numerous languages. In fact, it is an ideal multilingual writing system in terms of its structure, efficiency, and ease oflearning.

For the past several decades, UNESCO has focused its efforts on the elimination of illiteracy by supporting numerous projects around the world de-

signed to improve literacy rates. Despite these measures, UNESCO studies have found that a number of nations still have illiteracy rates of over 50 percent, and that about 20 percent of the world's languages have no established writing system, and are thus at extreme risk of disappearing altogether. Especially in the 21st century, when human society has expanded into the cyberspace realm, leading to increasing domination of a handful of globally influential languages, a growing number of non-mainstream languages, which maintain far fewer users, are being steadily shunted aside.

In light of the numerous conflicts and incidents of human strife that are seen the world over, it seems that a future in which everyone can. communicate freely and on an equal footing, yet without a loss of cultural and linguistic diversity, might be a pipe dream at best.

Nevertheless, all people need to come together to help better our current world situation in which so many people, without a writing system or who are unable to learn writing, are being alienated or excluded from the flow of mod-

compared to those for languages that have many more speakers worldwide, such as English or Chinese. But the day is fast approaching when Hangeul will claim its place as a legitimate international writing system that links Korea and the global community-along with bringing the world overall closer together-thereby establishing Korean as an international language.

A writing system that was created in a small nation in East Asia some 500 years ago has been lauded as "one of humankind's most important intellectual achievements" (G. Sampson,

Systems: A Linguistic Introduction,

Writing

p. 144). There

would be nothing of which Koreans could be more proud than if Hangeul were to be adopted as a medium of communication and for enhancing the quality of life of the world's peoples.

ern civilized society. For those who do not maintain a writing system, or lack the opportunity to learn a writing system, Hangeul offers a feasible alternative.

In recent years, the tremendous potential ofHangeul, as a multilingual writing system, has been recognized not only in Korea but abroad as well, with ever more people suggesting that it be adopted as a writing system for people who are struggling to overcome illiteracy. t,;t Autu mn 20 07 I Koreana 33

FOCUS

2

3

rea Ga11ery Opens at the Smithsonian Museum V .l'\..0

The Smithsonian Nati ona l Museum of Na tural Hi story, which annually attracts some 6 mi llion visitors, rece ntly opened a new Korea Gallery.

For many foreigners, Korea¡s exqu isite ce ram ics are one of the best known aspects of traditiona l Korean culture and arts.

Buncheong ware engraved with peony patterns, and a fish-like po rcela in water droppe r with decorative coba lt glaze.

o

n June 7, 2007, the Smithsonian National Museum of Nat-

ural History, in Washington, D.C., opened the doors of its new Korea Gallery. Located on the second floor of the

museum, the gallery area includes 100 square meters of exhibition space and an additional 60 square meters for the display of contemporary Korean art. The Korea Gallery is the first such exhibition area of the Smithsonian Museum dedicated exclusively to an individual country. Over six million people visit the Smithsonian Museum annually, making it the most highly attended museum in the United States.

Project Planning Since 1985, when the Smithsonian National Museum of Natural History launched its Asian Cultural History Program, it has

The Smithsonian National Museum of Natural History,

envisioned the opening of a Korean gallery. Then, in 2003, follow-

the No. 1 museum in the United States in terms of

ing the visit of First Lady Kwon Yang-suk, the construction of a

number of annual visitors, recently open~d a Korea Gallery, an exhibition area dedicated to the display of Korean cultural relics and artifacts.

Kim Heesoo Curator, National Folk Museum of Korea

gallery project gained momentum, with the Korea Foundation pledging to extend financial support and the National Folk Museum of Korea providing professional advice on exhibits and related matters.

Thus far, a majority of the Korean galleries in museums overseas have primarily focused on providing a permanent space to exhibit the subject museum's collection of Korean artifacts to visitors. The Korea Gallery at the Smithsonian National Museum of Natural History, however, is intended to present exhibitions that contribute to educating visitors in line with the museum's stated goal of promoting an "understanding of the natural world and our place in it." As such, subjects and themes were selected through research on expected visitor preferences, studies and analyses of exhibition items, and field surveys.

Through this process, seven themes were selected for the initial exhibition: "Landscapes of Korea," "Korean Ceramics : A Tradition of Excellence," "Honoring Family," "The Korean Wedding," "Hangeul: Symbol of Pride, " "Korea Beyond Borders," and "Contemporary Korean Art." From some 4,000 artifacts that the Autumn 2007 I Koreana

35

Smithsonian has accumulated over the past 120 years, 80 relics

duces the Korean concepts of family values based on family-

and artworks that span the period from 6 B.C. to the present day,

related rituals and customs. Visitors can view a formal altar-

and 200 other items, including photographs and re-creations,

table, incense table, and chairs used for memorial rites. A special

were selected for display.

display offers the visitor an opportunity to learn about doljabi, a

In addition, to celebrate the opening of the Korea Gallery, a

ceremony held on a baby's one-year birthday celebration, during

special Washington Korea Festival was held from May 4 to June

which the child is placed before a table with a variety of items,

28, which featured the themes of "Performances and Events,"

including thread, money, grain, a writing brush, book, noodles,

路路Lectures and Symposia," and 路路Korean Film Festival D.C. " Above

and a bow. The item that the baby grabs for is said to foretell his

all, this event provided an opportunity to highlight aspects of

destiny.

Korea's traditional culture and dynamic contemporary society

"The Korean Wedding " display, which offers a glimpse into

through the introduction of Korean music, literature, traditional

the cultural significance of marriage in Korea, includes pho-

costumes, arts and crafts, and film .

tographs depicting the dramatic evolution of traditional to pres-

Korean Ceramics and Nature

costumes, accessories, and shoes donated by clothing designer

ent-day wedding ceremonies. In particular, traditional wedding At the gallery entry, between two signs that read "Korea Gallery," in Korean and English, stand sotdae, "guardian poles"

Lee Young Hee help to present a clearer picture of the colorful ceremonial rituals.

erected at village entrances in traditional times to ward off mis-

The "Hangeul: Symbol of Pride" exhibit focuses on Hangeul,

fortune, and a muninseok, a stone statue of a government official,

the Korean alphabet. The letters of the alphabet are on display,

one of several stone monuments that traditionally stand in front

along with a portrait of King Sejong, its ingenious creator.

of royal tombs. Also greeting the visitors to the gallery are the

Hangeul is a writing system that consists of 14 consonants,

painting of a tiger, a familiar icon of Korea, and a welcome sign

including the first 3 consonants of .. -, ..... L

written in Korean calligraphy.

vowels, such as ..

t ," . ~ ,"

and ..

...

i ." Visitors

and .. c ," and 10 can learn about

The first section of the exhibition, "Landscapes of Korea,"

Hangeul and its significance, along with trying their hand at form-

reflects the traditional characteristics of the Smithsonian Muse-

ing syllables with the alphabet letters. Also on display are various

um. On exhibit are exquisite photographs that depict the splendor

implements related to Hangeul writing and calligraphy, including

of Korea's four distinct seasons and other materials which reveal

traditional writing items such as a writing table, brush , ink stone,

the Korean Peninsula's geopolitical position within the world,

and water dropper.

along with a display of Korean ginseng that showcases its pharmaceutical properties from an anthropological perspective.

"Korea Beyond Borders" introduces visitors to present-day Korea, which has transformed itself into an industrialized power

"Korean Ceramics : A Tradition of Excellence" features oil

only decades after the Korean War's utter devastation of the

lamps from the Silla Kingdom [57 B.C.-A.D. 935). celadon from

country. The display features Koreans whose achievements have

the Goryeo Dynasty [918-1392). and buncheong ware widely rec-

earned worldwide recognition. Korea's success in the interna-

ognized for its elegant gray-blue glaze and white porcelain from

tional sports arena is highlighted by the inclusion of Taekwondo

the Joseon Dynasty [1392-191 O). which represent one of the best-

as an Olympic event; the Seoul Olympics of 1988, when Korea

known aspects of Korea 's cultural legacy. The development of

made its leap onto the world sports stage; and world-renowned

Korean ceramics over time is highlighted by comparative analysis

Korean athletes, including LPGA star Pak Se Ri.

of the displayed works. Visitors can also learn about the shifts in

Contemporary Korean paintings displayed on the gallery

territory, as well as the culture and lifestyles of various eras,

walls include works that portray Korean landscapes and everyday

from the period of the Three Kingdoms [1st century B.C.-A.D . 7th

life in Korea, in addition to a rendering of a traditional motif of

century) to the Joseon Dynasty and today. The vividly presented

Korea-the ten symbols of longevity-the sun, mountains, water,

exhibit includes side-by-side comparisons of contemporary and

rocks, clouds, pine trees, herb of eternal youth, tortoise, crane,

traditional ceramics, a hands-on celadon-making experience

and deer.

[from start to finish). and flip-out materials for additional information.

Korea is a country with a 5,000-year history. But to people not familiar with Korea, it is still associated with stereotypical images, such as the Korean War, North-South division, and its remarkable

Korea's Past and Present

economic development. In this regard, the thematic exhibitions of

In the "Honoring Family" display, the close relations of Kore-

the Korea Gallery will enable visitors to experience and appreciate

an families are evident in their observation of ancestral memorial

Korean culture. It will also serve as an educational center where

rites and 1OOth-day celebrations for babies, which symbolize the

visitors can become better acquainted with Korea and acquire a

desire for good fortune, health, and longevity. This section intro-

deeper understanding of its people and culture . 1...1

36 Koreana I Autumn 2007

The walls of the corridor leading to the Korea Gallery were used to display an overview of Korea's contemporary art.

2 A porce lain incense burner with embossed 3

4

flower-patterns and cobalt. glaze.

An oil lamp set from the Gaya and Silla periods [5th-6th century).

The open ing exhibition focused on seven themes, including "The Korean Wedding" display, which featured traditional wedding-day attire.

2

Autumn 2007 I Koreana 37

INTERVIEW

Lee Jong-sang's Endless Quest for the Origins of Form

Lee Jong-sang has long been at the forefront of the contemporary painting scene in Korea. Throughout his career, he has used the canvas to express his belief that art exists within a historical context, based on a well-grounded philosophy.

Kim Bok-yeong Art Critic I Professor, Hongik University

B

orn in 1938 in Yesan, Chungcheongnam-do Province, Lee

ing; and second, in response to the contemporary art trends that

Jong-sang majored in Oriental painting at the College of

blindly followed Western Modernism, I tried to develop a new

Fine Arts of Seoul National University. Lee made a sensa-

concept of autogenesis as an alternative to heterogenesis."

tional debut in 1962 when he became the youngest-ever artist

In this case, autogenesis refers to a sense of identity based on

recommended to participate in the Grand Art Exhibition of Korea,

the fundamental traditions of Korean art. According to Lee, art is

an annual competition organized by the Korean Fine Arts Associ-

intended for a self-development process, which should not be

ation for the discovery of new talent. In the 1970s and 1980s, he

shaped by external factors or imitation. Along with advocating

studied for and received his Ph.D. from Dongguk University, in

that an autonomous and independent school of Korean art needs

Comparative Aesthetics and Eastern Philosophy, the first such

to be established, he claims that the dominant traditions of past

distinction for a working artist in Korea . Thereafter, Lee has

eras have influenced Korean painting of today, and will continue

devoted his efforts to an exploration of modern expression based

to do so in the future.

on traditional Korean ink painting, along with advocating an autogenesis process for Korean art.

For Lee, his passion and philosophical outlook have compelled him to delve into the problems of contemporary Korean art, even as he worked on the creation of his own artistic world.

Indigenous Artistic Culture As an artist, Lee is a rarity for his practical skills and theoreti-

His noteworthy accomplishments are the fruit of such lifelong endeavors.

cal concepts. His contributions to Korea 's contemporary art over the past 50 years have been so immense that a proper apprecia-

Diverse Oeuvre

tion of his work is a must for an understanding of the trials and

Lee¡s art, spanning over a 50-year period, is centered around

tribulations that modern Korean painting has experienced. From

at least three styles: jingyeong [true scenery] style of realism,

early on, Lee honed his craft in the manner of a soul-searching

" new murals, " and works that focus on the origins of form .

ascetic, while through his art he has constantly questioned his raison d'etre as a Korean.

From the late Joseon Dynasty [1392-191 OJ period through today, Korean landscape paintings have featured "real land-

"I hoped to resolve at least two issues related to Korean con -

scape," with a focus on realism . From the time that Lee first

temporary painting. First, I wanted to find a new source of energy

encountered this genre, he sought to understand the inherent

that transcends the tradition-bound limitations of Korean paint-

characteristics of Korean landscape painting, which led to his Autumn 200 7 I Korea na 39

Q 2

2

3

4

40 Koreana I Autumn 2007

Ookdo- Energy II, ink on Korean pape r, 89 x 89 cm, 1982 Ookdo-Energy I , ink on Korean pape r, 89 x 89 cm, 1982 Origins of Form 90073-Longing for Reunification, Korean ink and natura l dyes on

mulberry paper, 117 x 70 cm , 1990 Protocontinent, contemporary mural, 87 x 87 cm, 1970

immersion in the study of realism, for more than two decades from 1959. While ignoring abstract notions, he rendered his observations of scenes of mountains, rocky cliffs, the sea, and construction sites, in realistic detail, in ink and color on rice paper.

His goal was to follow in the footsteps of Jeong Sean [16761759). the foremost master of true-scenery painting from the late Joseon period, to see for himself the mountains and waters of Korea, in an effort to interpret "true scenery" from a perspective of contemporary Korea. In particular, Lee sought to express the geomantic energy and earthly spirit of the Korean Peninsula through his paintings of Dokdo.

"Of all my jingyeong-style landscapes, I am especially fond of my paintings of Dokdo, the island in the East Sea. I have painted many places of interest in Korea, but Dokdo is the one site that I have been most interested in since the 1970s, as the synthesis of my art. Better than anywhere else, Dokdo reveals the dual forces of the spirit of the earth, which is at the heart of Korean-style landscape painting."

As for Lee's "new murals" works, they can be grouped into three phases. The first phase includes his early works, such as

3

Ancient Times [1968-69]. Neungyeon [1968]. Protocontinent [1970). and Twelve Symbols of Longevity and Blue Dragon [1973).

Origins of Form-From the Earth [1989) and Origins of FormLonging for Reunification [1990) are examples from the second phase, while the mural Origins of a Form-Peace on Earth [1994) belongs to the third phase. In particular, he sought to re-create, in a modern style, the archetypes associated with the collective symbols featured in the ancient tomb murals of Goguryeo [37 B.C .-A.D. 668). These works are characterized by his experimentation with various techniques, from ink and color painting to fresco, natural colors, and oil painting on copper plate.

In 1988, Lee's focus shifted to an exploration of the origins of form, in both his landscapes and murals, which served to reinforce his artistic philosophy. Until 1995, his early endeavors were of a distinctive style that combined light touches of ink painting with heavier tones of color painting, using ink and light color, and natural pigments on traditional Korean materials, such as jangji, a thick, durable paper. As for his subject matter, he depicted the images of a divisive society. After 1995, he delved into a later style of origins of form, producing works along the lines of ancient Korean archaism, using earth as the original form.

Autumn 2007 I Koreana 41

Origins of Form 89117- From the Earth,

copper glaze mural, 400 x 1,300 cm, 1989 2

Twelve Symbols of Longevity and Blue Dragon, Pa inted canvas mural,

287 x 405 cm, 1973 3

Origins of Form 97061, mural installation, natural dyes and pigment on mulberry paper, 600 x 7,200 cm, 1987

42 Koreana I Au tumn 2007

After inventing his own style of oil painting , on copper plate

size the necessity of establishing an identity that Korean contem-

with an inlay technique, in which ink and natural pigments are

porary painting could pursue in the face of today's regionalization.

spontaneously applied to mulberry paper, Lee reached the zenith

With the use of "autogenesis," he wanted to warn that Korean art

of his artistic career. Through his paintings, he sought to criticize

should not stray from the characteristic form and quality of Kore-

the absurdities of the times, while expressing his desire to piece

an culture, based on a singularly heterogenesis process.

together the emotional and existential fragments resulting from

Pre-figures make up another element of his art, which suggest

the irrationality of a fractured Korean Peninsula. In stark contrast

that, as long as a painting remains what it is, it must embody his-

to his earlier works, these paintings seemed to reflect an attempt

torical fore-context. No matter how boundless the artistic freedom

to bring symbolic redemption to reality by imbuing his works with

that artists might enjoy, they cannot ignore historical and social

a Catholic spirit.

relations; therefore, Lee contends that a painting without fore-context will not only lose its identity, but its nationality as well.

Korean Archetypes

"True art cannot come out of arbitrariness or nothingness.

An overarching concept of Lee's works can be defined by the

For this reason, I seek to reveal historical reality in my works. I

German term urform, or "original form. " This concept embodies

try to derive this from Dokdo"s earthly spirit and the Goguryeo

and speaks for his entire oeuvre, while summarizing his lifetime

murals, and have devoted my life to portraying this in my work.

of art in a simple phrase, including autogenesis and pre-figures.

All my jingyeong paintings of Dokdo, which are based on the geo-

"With a concept of autogenesis, I wanted to criticize heteroge-

mantic principles of geography, and my wall paintings, which

nesis. Traditional Korean painting is a typical example of hetero-

were inspired by the Goguryeo tomb murals, are the result of my

geneous art that was born out of cross-breeding with Chinese

attempt to embody this reality."

painting . It represented a style of painting that was created by

Lee¡s art is a manifestation of his exploration of the origins of

blindly accepting the views of nature and conservative styles

the Korean form. His art can be likened to a discovery of sunken

based on the Confucio-Mencian mindset and the doctrines of

treasure, after a lengthy search of the vast sea of Korea¡s geog-

Chu-tzu , which were applied to the landscape painting of Korea. "

raphy and history. As such , hi"s paintings not only preserve the

Along with making known his critical views, Lee also sought

bold, simple, and subtle beauty of Korean art, but also serve to

to establish a foundation so that his art could be differentiated

reinterpret the unique Korean aesthetics of incompletion and

from Chinese painting through autogenesis. His views were not

margin, and the concepts of artlessness and unconventionality,

about an ideology of nationalism . Rather, he wanted to empha-

with a modern sensibility. t.t

ARTISAN

Lee In-se Exemplifies the Tradition of

Soban

In the traditional Korean home, since people sat directly on the floor, without using chairs, the tray-table was an essential household item . Despite the tumultuous change of modern times, the elderly master craftsman Lee ln-se is taking a judicious path as he carries on with the age-old craft of soban-making .

Lee Min-young Free lance Writer Seo Heun-kang Photographer

D

oubling as a tray for carrying food and a dining table, the small tray-table [soban) was

ideally suited to the traditional home and

lifestyle of Korea. At the royal palace as well, the soban would be used to present a specialty food or delicacy to the king . In addition, it was used to carry a bowl of freshly drawn well water to the women¡s quarters, where a wife would pray for a baby. And if so blessed, the child would later eat meals from such a table . When there was a death in the household, an incense burner would be placed on a soban as a memorial, thereby serving the living as well as the departed.

These versatile tables, once such an integral aspect of everyday Korean life, have been struggling to survive the changing times. But one artisan continues to work on their production , even as he ponders the ultimate fate of the soban tradition . Lee ln-se [b. 1928). a master in the craft of making soban, for which he has been designated Important Intangible Cultural Property No. 99, exemplifies the underlying spirit of traditional Korea.

Soban can be disti nguis hed by th eir region of origin. Haeju ban we re made in the Haeju reg ion of Hwa nghae -do , a provi nce in North Ko rea . The table su rface inclu des angled corne rs, along w ith elaborate carvin g of the legs an d side panels.

Rooted in Tradition In the traditional Korean home, rather than using chairs, people would sit directly on the floor, which often were heated by an ondol system of under-floor flues. Accordingly, the soban was an

essential household item, since the food cooked in the kitchen would be carried on these tra y-tables to the living quart ers, Autumn 2007 I Koreana 45

where the meal was eaten while sitting on the floor. In addition to fulfilling this need, the soban was also used for serving snacks and as a desk.

The earliest evidence of soban can be found in the wall murals of tombs dating from the Goguryeo Kingdom [37 B.C.-A.D. 668]. The mural of Gakjeochong [Tomb of the Wrestlers] depicts various items within a home, while a Muyongchong [Tomb of the Dancers] rendering shows a seated government official and Buddhist monk being served food on small tables.

During the Unified Silla [6 76-935). Goryeo (918-1392). and Joseon [1392-191 OJ periods, the government retained statesponsored soban craftsmen who were dedicated to the production and supply of the tables. As Confucianism called for segregation by gender, age, and social status, during the Joseon Dynasty it was the custom for people to be served and eat from individual soban . Therefore, it was necessary for the table to be compact in size-usually no more than 50 centimeters in length, 30 centimeters in width, and 30 centimeters in heightso that it could be easily handled.

The soban still around today are generally based on late Joseon styles, including examples that have been named after their region of origin, such as Hae-

juban, Tongyeongban, and Najuban. There are also types named for the shape of their legs, such as Gujokban for its "dog legs,"" and Hojokban for its "tiger legs." Saban are also categorized by their configuration, including circular, rectangular, and polygonal shapes.

Under the 1894 Gaba Reforms, which led to Korea's modernization of its political, economic, and social systems, tables with folding legs became widely available .

With the introduction of Western-style influences, including furniture, Koreans began to sit in chairs and eat at dining tables, causing soban to steadily fall into disuse. Nevertheless, the art of making soban has been kept alive by a handful of devoted craftsmen.

Utmost Dedication For the past 60 years, Lee ln-se has been wholly dedicated to the making of soban . These tradition-rich tables are so intertwined with his life that it is difficult to make out a distinction between the workshop and living quarters of his home.

After entering Lee 's front gate, there are all kinds of wood pieces stacked high in piles. Past the wood stacks is a work area with woodworking tools scattered about, such as various planes. Beyond this is a room where the tables are finished with lacquer, whose smell permeates the air. Finally, at the back of the house is a humble room that Lee and his wife use for their living quarters. For Lee, every day of his life is another opportunity to pursue his lifetime passion : the masterful creation of stylish soban.

46 Koreana I Autumn 2007

1-2 Various soban are named after

"You have to start making these tables with

the shape of the legs. The photos depict variations of a 路路tiger legs路路

knowledge of the tradition. My father had a soban

style of soban. Other examples of this kind include tables with "dog legs," "horse legs," or "bamboo legs."

3

4

A gongosang table was used to carry food taken outside from the palace or government offices. Attendants carried the food-laden tables on their heads, so the tables included holes in the sides that served as handles and enabled carriers to see where they going.

The soban tray-table represented an ideal solution for the Korean lifestyle, which inclu ded a custom of providing guests with individual servings of food and drink.

shop, so I started helping out when I was in my teens. I didn't really know what I was doing then. It was only when I was in my 50s that I began to understand the tradition . Even making a simple pattern is different when you have learned a lot about things from past experience and when you don't really know what you're doing.

Knowing what you're doing gives you the freedom not to just copy the original but to develop new patterns," Lee says.

Lee's interest in soban naturally developed at the age of 16 when he started helping out at his father's table shop in Anseong, Gyeonggi-do Province. In the meantime, he took art lessons from Kim Eun-ho [1892-1979). a distinguished artist who was wellknown for his paintings of landscapes, scenes of nature, and portraits. These lessons later proved invaluable when Lee needed to create designs for openwork carving of the side panels of Haejuban tables. Lee dabbled in other jobs, like working in a tire factory and for a railroad agency, but he invariably returned to making soban. He eventually made a commitment to the craft when he returned to Seoul, while in his 20s, and thereafter has channeled his energy into the design of decorative patterns.

Harmony of the Whole Although he makes various types of soban, Lee's favorite is undoubtedly the Haejuban style. Unlike most tables, rather than being supported by legs, they instead use wooden side panels, onto which a variety of decorative patterns can be carved. By carving unique designs onto the side panels, the soban becomes an elegant work of art.

Autumn 2007 I Koreana

47

To make Haejuban, the first step is to select good-quality wood . Wood with a uniform grain, such as zelkova or senwood, is suited for the top of the table, while gingko wood, with a fine grain that makes it easy to work with, is ideal for the side panels and the decorative carvings.

"The wood should be from a tree that is from a humid area and has a fine grain. The wood has to be dried, and the longer it's dried, the better-usually from five to ten years . I have some wood in my workshop that's been drying for nearly twenty years," Lee noted.

"After the wood has dried, I cut it into a shape with a proportion of four to three, length to width . Then with a plane I shave off seven millimeters to make a main piece for the top of the table, and then carve the corners, either angled or straight. When the top is finished, I work on the sides. I draw a design on the wood and then carve it out with a jigsaw. ""The pattern is important. I take traditional auspicious designs, like the man character (rt:', a good luck symbol). bats, and scrolls, and use them in combination to develop new designs.

For example, I join several of the man symbols together in an unusual way, or I add scroll designs to the symbols of longevity and happiness."

Lee creates the patterns, taking into account the design, proportion, and composition of the side panels. His single-minded dedication, not just as a technician but as an artist as well, results in tables with elaborate and graceful details. When the sides are finished, Lee makes the brackets to support the table top on the legs. He assembles the table top, sides, and brackets, and then the legs. The assembled table, known as baekgol, is finished with several coats of lacquer, applied over a period of several months.

Faith in Tradition For Lee, who turns 80 this year, his consummate craftsmanship has been recognized on numerous occasions. Since 1980, he has received all sorts of awards at national exhibitions of traditional handicrafts, while in 1990 he earned the Prime Minister's Award for a red-lacquer circular soban.

But what gives him even more satisfaction than these awards is when people hear about his tables by word-ofmouth and come by his place to purchase them. He is particularly grateful to Japanese visitors who come to Korea and then make their way to his hilltop workshop in Sanggye-dong. ''I've been making soban all my life. I tried other work but in the end I came back to this. And I'll keep on with this. What I want to make is a table inlaid with mother-of-pearl." The years of hard work have taken a toll on Lee, as evidenced by his bent-over back, but he is energized by his keen desire to create another exquisite work and an unshakeable faith in the tradition of his chosen craft. t.t

1-3 The table surface is made from pieces of wood . whi ch after be in g drie d for five to ten years , are cu t into sectio ns and ca refu lly planed to fit toget her.

The legs and brac kets are oft en embellished with in tricate carvings. An assembled tab le is finished with a number of coats of lac qu er that are applied ove r a peri od of several months.

4 The oenamudari soba n, whi ch includes a ce ntra _ l suppo rt and base legs. is so metimes bui lt so th at the surface can be rota ted.

Autumn 2007 I Koreana 49

MASTERPIECES

The Storied Pagoda of

Gyeongcheonsa The 10-story Gyeongcheonsa Pagoda, built during the Goryeo Dynasty, is distinctive for its lack of conformity to the prevailing artistic styles at the time of its production. After being taken to Japan and later returned to Korea, during Korea's turbulent period of modern history, it has finally found a home.

Shin Yong-chul Chief Curator, Tongdosa Museum

I Photography: National Museum of Korea

A

ccording to Goryeosagilthe History of Goryeo). King Yejong Ir. 1105-1122). the 16th king of the Goryeo Dynasty 1918-1392). conducted memorial rites for his father, King Sukjong Ir. 1095-1105). at Gyeongcheonsa Temple, which established a

precedent for the holding of memorial services for the Goryeo royal family there. This reflects the close connection between Gyeongcheonsa and the Goryeo royal court.

An inscription on the first level of the Gyeongcheonsa Pagoda states that Gang Yung and Go Ryong-bong made an offering in March 1348, for the building of this pagoda at the temple site, which is located in the village of Pungdeok near Gaeseong, in today's North Korea. By marrying off his daughter to the Prime Minister of Yuan China, Gang Yung was able to secure a senior-level government position . And it was in Yuan that Gang Yung selected the craftsmen to build the pagoda.

Goryeo Influences At the time, the people of Yuan China practiced Lama Buddhism, which originated in Tibet and whose pagodas were different in form from Chinese-style pagodas. The 10-story pagoda of Gyeongcheonsa embodies not only the characteristics of Lama pagodas, but also the 50 Korea na I Autumn 2007

After an unfortunate experience of wandering between Korea and Japan, the 10-story Gyeongcheonsa Pagoda (National Treasure No. 86) is now permanently housed at the National Museum of Korea. Built in 1348, it stands a magnificent 13.5 meters in height.

unique influences of Goryeo. A Lama pagoda is generally made up of five stories, or tiers, each of a different shape : a square, circle, triangle, semicircle, and lotus-blossom bead, from bottom to top. The different shapes symbolize the five basic elements that constitute the world-earth, water, fire, wind, and air.

In China, the oldest and most magnificent Lama pagoda is the White Pagoda of Miaoying Temple in Beijing, built in 1271. The foundation of the White Pagoda is shaped like the Chinese character .§:, while the body is cylindrical. The upper section is crowned with a multilayered spire of umbrellas of descending scale, along a triangular far;:ade. Covering the spire is a bronze-carved canopy, topped with an ornamental bead .

As for the ten-story pagoda at Gyeongcheonsa, the shape of its foundation and body, both three-tiered, follow the pattern of a Lama pagoda . And a similar style can also be seen in the upper section . However, the rectangular shape, which extends from the fourth story to the tenth, and the intricately crafted wood-like roofs on the .§:-shaped sections of the first story to the third, are not characteristic of a Lama-style pagoda.

At the time the ten-story pagoda was built, seven-story pagodas were popular in Goryeo , so it can reasonably be surmised that this trend influenced the seven-story structure of the pagoda ·s upper section. In addition, it was made from marble rather than granite, which had been a more popular material at that time. The more delicate nature of marble enabled the sculpting of graceful images as well as elaborate roofs and bracket systems, which are so intricate that they appear to be wood carvings. As a result, the foundation and certain elements of the upper section took the form of a Lama pagoda, but the pagoda is distinctively Korean in its various details.

Appeal to Buddha's Compassion Each story of the pagoda at Gyeongcheonsa Temple can be disassembled, including the foundation and first three tiers, which can be separated vertically. When unassembled, each individual part is etched on the inner surface with its location and position, like ··second story southeast." As such, this indicates that the pagoda was built with great care, based on a detailed blueprint.

Generally, pagodas are divided into three main sections: foundation, body, and upper section. However, this pagoda is comprised of four sections-a low, three-tiered foundation; three-tiered body in the same shape as the foundation; rectangular, seven-story body; and upper section. The rooftop between the third and fourth story, above which the Autumn 2007 I Koreana 51

surface area suddenly narrows, is double-layered, unlike the other roof coverings. Moreover, if the pagoda were to be divided at this point, the two sections would be nearly equal in height. In Korea, since marble was not a readily available material for this kind of a work, elegant sculptural details, which would not be possible with granite, have been applied to practically all the surface areas.

The carvings on the pagoda can be categorized into two basic groups: the lower three stories with the 2 shape, and the seven upper stories. From the first to the third story, the core area includes 20 sides, with one to five sides constituting a basic unit for a sculptural carving . The structure is composed of three areas-a frontal part at the center, or top; a middle, which slants inward; and an inside that faces the front, which is at the bottom .

On these surfaces of the first three stories, there are 12 carved scenes of a Buddhist gathering . These carvings are similar to the themes of Buddhist paintings that were popular during the Goryeo period, with depictions adorned with sutras which capture the essence of the scriptures. The various rituals of a Goryeo Buddhist service are portrayed in the carved images. The fourth story, which is rectangular in shape, features carvings of Buddhist scenes on its four side panels. On each side panel of the fifth tier there are carvings of five images of a seated Buddha, a total of 20, while on the sixth story and above, three images of a seated Buddha are carved on each panel, 12 on each level. In total, there are 80 carvings of Buddha images on the pagoda. In addition, animated images of dragons are carved in relief on the pillars of the pagoda .

On the first story of the pagoda body is an inscription which states that the pagoda was built: "To wish for the well-being of the royal families of Yuan and Goryeo, favorable

The building of this pagoda was based on a belief that the production of images of Buddha and Buddhist rituals would assure the welfare of the Goryeo nation and enable its people to gain access to the Land of Perfect Bliss.

52 Koreana I Autumn 2007

Made of marble, the 600-year-old Gyeongcheonsa Pagoda is exquisitely carved with graceful images, but many of the intricate details have been damaged by exposure to the elements.

wind and rain, and prosperity and welfare of the nation, so that Buddhism could spread further and bring enlightenment to everyone. " The building of this pagoda was thus based on a belief that the production of images of Buddha and Buddhist rituals would assure the welfare of the Goryeo nation and enable its people to gain access to the Land of Perfect Bliss.

A New Home Tragedy befell the ten-story Gyeongcheonsa pagoda from the time of the demise of the Goryeo Dynasty and on through the Joseon Dynasty (1392-1910). when the Korean monarchy collapsed. Tanaka Mitsuaki, who had been dispatched as a special envoy to attend the December 1906 wedding of Korea's Crown Prince (who was enthroned as King Sunjong and reigned from 1907-191 O). mobilized a Japanese workforce in March 1907 that dismantled the pagoda and shipped it to Japan. Tanaka sought to quell the vehement objections of the local governor and residents by fabricating a story that King Gojong had bestowed the pagoda onto him as a gift. But the story of his wrongdoing soon spread throughout the nation through the Daehanmaeilshinbo ( The Korea Daily News).

As protests of Tanaka's misappropriation continued to mount due to widespread media coverage in Korea as well as Japan, he was finally forced to concede, and the pagoda was returned to Korea in 1919. However, the pagoda's disassembly and the transport from Korea to Japan and back resulted in considerable damage to its parts, which were stored away in Geunjeongjeon, the main hall of Gyeongbokgung Palace. It was later restored on the palace grounds in 1960. But exposure to the elements, in particular acid rain, caused the delicately carved surfaces to erode, which led to its return to storage in 1995. Finally, in 2005, a century after its unfortunate journey, it found a permanent home at the new National Museum of Korea, where it can be seen standing proudly at the end of the central walkway.

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Aut umn 2007 I Korea na

53

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A~T RE/VIEW

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he Springwave Festival 2007, which was jointly organized

by Kim Sung-won, a prominent curator and art critic, and

Kim Seong-hee, an organizer of contemporary dance per-

formances, represented an international experimental arts festival, which featured a vast array of art forms covering such diverse genres as contemporary dance, theater, visual arts, music, film, and performance. Considering that the international art festivals held thus far in Seoul have tended to concentrate on specific genres or introduce widely known foreign artistic performances imported from abroad, it is evident that this festival was a noticeably more ambitious undertaking.

From the perspective of a global citizen, the existence of this kind of passion for contemporary art in the capital of Korea, which stands out as one of the most successful cases of industrialization since the end of World War 11, is noteworthy and welcome. However, many art lovers belong to a problematic generation of Korea, which after having experienced firsthand the impact of the rapid transformation of their country from an agricultural to an industrial society, and that recently has entered an era of deindustrialization, are now exhibiting an insatiable thirst for the arts, in this city that reverberates with such dynamic energy. These individuals are not content with simply importing the high-quality art performances produced abroad, but rather have devoted themselves to establishing a cultural foundation capable of developing home-grown art works, rooted in Korean sentiments.

Intellectual-style Art The Springwave ¡Festival 2007 officially got underway with a presentation of William Forsythe"s installation art work Scattered

Crowd, which in part included filling the Rodin Gallery, operated by the Leeum, Samsung Museum of Art, with balloons. The presence of such a legendary choreographer attracted an overflow crowd to the opening night event. Nevertheless, great expectations can sometimes lead to disappointment, which seemed to be the case as many of the viewers appeared less than inspired by what they saw. Apparently, it was hoped that participants would be overwhelmed with a sense of the surreal when viewing this creative installation work; however, it did not generate such a response.

The festival began to gain momentum with the showcasing of

I hear voices, by Nadia Lauro (b. 1970). at the Total Museum of Contemporary Art. Still, it was difficult to relate to her work from Autumn 2007 I Korea na 55

the signage that read: "At the point where the audience and stage exchange gazes, we are all absorbed in the sphere of waves that capture human bodies and sounds ." Presented against a backdrop of rocks covered with the dark gray pelts of wild animals, from which noises emanated, it failed to make a direct connection with viewers.

Unfortunately, due to personal circumstances, Tino Sehgal [b.

1976) could not visit Korea, which meant that her work, Instead of

allowing some thing to rise up to your face dancing Bruce and Dan and other things, had to be installed and performed by Jerome Bel [b. 1964). The work is a highly innovative performance from a historical standpoint. Of note, it is a criticism of Dan Graham 's Roll [1970). which itself is a critique of Bruce Nauman's prestigious work Wall-Floor Positions [1968). that takes issue with Nauman¡s emphasis on having no cameras visible .

Although this performance may have been a golden opportunity for the seven dancers who were selected through an especially rigorous audition process, the complexity of the performance left the Seoul audiences scratching their heads in a state of bewilderment.

Other noteworthy intellectual-style performances included

Monsoon Project, an undertaking that featured new artists from Europe and Asia, and Project Nong-Ak by the musician Hahn Rowe [b. 1961 l. Although the programs staged as part of this festival, which received public financial support, failed to produce the intended impact, and might therefore be thought of as another unwise expenditure of government funds, this endeavor is expected to contribute to the advancement of Korea's culture and arts over the long term .

Diversity of Contemporary Art Art critics will tell you that in regard to contemporary art, they are thankful to find one impressive work out of every ten works they view. This effectively reflects the difficulty of creating an exceptional work and the genre's vast diversity. In the world of contemporary art, the quality of a particular creation cannot be guaranteed by the reputation of the artist alone. This would be true of 100% Polyester, objet dansant n° 40, a work by Christian Rizzo lb. 1964). At the outset, the idea of depicting a couple dancing by presenting only two sets of clothing seemed to offer a fresh concept, but it soon became tedious.

Meanwhile, Romeo Castellucci 's Hey Girl! can be said to demonstrate the philosophical constraints of European contem56 Korean a I Autumn 2007

porary art. In the end, it represented nothing more than a description of a girl during her formative years that made use of second-class props. The shortcoming of this art performance, which has earned several awards in Europe, is that rather than achieving its stated goal of evoking an otherness of girlhood in the current era, it features little more than an exoticism of contrived girlishness.

The award for the most successful endeavor to achieve aesthetic otherness went to Raimund Hoghe [b. 1949). who sought to use his asymmetrical body and na'i've gaze to present a new interpretation of contemporary aesthetics. He used the voice of Maria Callas as a background for his work : 36 Avenue Georges fvfandel.

His performance was so soothing that it left many viewers in a kind of drowsy stupor. Nevertheless, the powerful influence of this art form is apparent from the admiration in the voice of an audience member who, after viewing the performance, exclaimed: 路路Although it made me rather drowsy, the performance was exquisite! It filled me with a sense of elation." This kind of noteworthy art can be created by only a master, and is thus beyond the capability of an ordinary artist, no matter how much effort might be exerted. In this sense, Raimund Hoghe's works can be said to transcend mainstream contemporary art.

I Can Not Talk to You, by Ahn Eun-me [b. 1962). can be

regarded as a similar kind of work, in which its characteristics extend outside the conventional realm of contemporary art. While enclosed in a large wire coop with a chicken, Ahn presented hour-long solo dance performances to the accompaniment of traditional Korean love songs. Nowadays, though traditional Korean music has fallen out of favor with the younger generations, the sight of young singers performing in elegant hanbok overwhelmed audiences by striking a chord deep within thE;r Korean psyche. Viewers were also impressed by the extraordinary dynamism that Ahn generated as she performed her solo dances to the melody of these unique love songs.

Although Ahn Eun-me路s performan~e was rooted in the kind of conceptual framework found in the works created by European artists, her work can be clearly differentiated in the way that it exhibits the virtues of using the entire body to reveal her artistic world. Whenever she sensed that the audience's attention might be wandering, she would engage in impromptu digressions, like having a conversation with the chicken or launching into the sales spiel of an itinerant peddler. Indeed, this was much more tha路n a simple performance by a professional dancer who sought to Aut umn 2007 I Korea na

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recapture her past glory. Various critics have compared elements of Ahn 's work to Franz Kafka's 1924 novel Ein Hungerkunstler [A Hunger Artist!. However, this can also be seen as a problem and sign that her work, like the circus acrobats which are no Longer regarded as avant-garde art, has moved beyond the current scope of contemporary art.

Upcoming Festival The "one success out of ten works" of the inaugural Springwave Festival included the creations of Raimund Hoghe and Ahn Eun-me. While 36 Avenue Georges Mandel was co-produced by Springwave and the Avignon Festival, I Can Not Talk to You was an independent production of Springwave. With two of the festival's thirteen performances deemed to be works worthy of high praise, the initial edition of this festival can be regarded as being relatively successful overall. Although the festival covered all genres of contemporary art, including dance, theater, visual arts, music, film, and performance, an interdisciplinary approach was not evident. Contrary to its theme of an " interdisciplinary approach to contemporary art," the event would have been better served by offering comparisons and appreciation of the various genres from a common perspective .

Despite various difficulties, the Springwave Festival 2007 proved to be a noteworthy affair that displayed a more intensive energy that some publicity-oriented international events of this kind are Lacking . Due to the fact that political intervention often causes festivals like this to waste so much time and energy to produce "public-friendly" activities, the bold efforts of the Springwa ve organizers deserve to be applauded. Although little is known about what kind of spring wave the "director-divas" Kim Sung-won and Kim Seong-hee will present next year, it is my fervent wish, as an art enthusiast, that next year's festival will be based on innovative planning and present even more noteworthy works. i:.t

58 Korea na I Autu mn 2007

Kim Hyoun g-M in presen ted his high-energy Call Back work on the stage.

Th e Uh Uh Boo Project used various musica l in strum ents , including trad itional ones, to create a new sou nd in Home Fashion.

Th e renowned Korean dancer Ah n Eun - me offered a passionate dance rendition as part of her eclect ic work: I Can Not Ta lk to Yo u.

Hong Sung - Min' s Pha ntom of the Opera/ara includes an eye-catch ing conglo meration of images, da nce . and live music.

Konishi Takako Ardent Admirer of Gyeongbokgung Konishi Takako is a Japanese lady who has been sharing her insightful knowledge about Gyeongbokgung Palace with tourists in Korea for seven years. In deciding to become a palace docent in order to acquire a more in-depth understanding of Korea , her boundless affection for Gyeongbokgung is readily evident .

Park Hyun-Sook Freelance Writer

A

I Ahn Hong-beom Photog ra pher

distinctive advocate of Korea¡s cultural heritage can regu-

a proper understanding of Korean history. To this end, I was

larly be seen on the grounds of Gyeongbokgung. This

determined to learn about Korea. One day, one of my Japanese

unique lady can be found at this storied Korean landmark

students told me about a palace docent course. Though I built up

at 10 a.m . on the second and fourth Friday of every month. Kon-

the courage to participate in the course, on the first day I soon

ishi meets a group of Japanese tourists assembled at the Yeong -

realized that I was going to need more than courage to get

jegyo Bridge in front of Heungnyemun Gate, which separates the

through it.""

outside world from the hallowed royal sanctum which lies within.

Konishi recalls how nervous she was after gazing out at the

She wears a traditional Korean hanbok. Her long black hair is

other participants on her first day of the palace docent course,

drawn back, exposing her gentle facial features, looking all the

conducted by the Rediscovery of Korea, a civic group that strives

world like a Joseon-era lady. Of course, you would naturally

to broaden awareness of Korea¡s cultural heritage. For Konishi,

assume that this is a Korean guide with a deep passion for Kore-

the other participants, who included a retired history teacher and

an traditions; that is, until you can catch sight of the nametag

history specialists, were like walking encyclopedias of Korean

hanging around her neck, which reads : "" Gyeongbokgung Docent

history. Konishi remembers being overcome by a sudden realiza-

Konishi Takako ...

tion that, unlike these individuals, she had no previous knowledge of the subject matter, which made her wonder how she could

Thirst for Knowledge The 44-year-old Konishi, who has been married to a Korean national for 18 years, has been serving as a volunteer guide for

possibly succeed . Moreover, the seriousness of the class atmosphere meant that she could not afford to relax for even an instanGe.

Japanese tourists at Gyeongbokgung since 2001 . Although it is about a two-hour commute from her home in Seongnam,

Boundless Affection

Gyeonggi-do Province to Gyeongbokgung at Jongno, Seoul, and

"" Everything that I experienced during the initial period was a

her responsibilities as wife and mother of two keep her busy

kind of test for me. The architectural designs and royal emblems,

enough, she has never once shirked her duties as a palace

which are so closely integrated with the history of Joseon

docent.

palaces, were all new to me. I went to great lengths to jot down in

"When my children were learning Korean history and culture,

my notebook everything the lecturers said . Trying to understand

I felt as if I was an idle bystander. I remember being overcome by

and memorize all my notes was really difficult. When I finally

an ardent desire to become a mom who could impart to her kids

completed the 64-hour course, I felt as if an immense burden had

60 Korea na I Aut umn 2007

been lifted from my shoulders, along with the beauty of Gyeong-

Konishi says that she felt an undeniable sense of responsibility

bokgung having been engraved in my heart. I remember feeling a

when she first heard of this utter devastation of Gyeongbokgung.

profound sense of shame when I learned just how strongly the

As such, she has made it her personal responsibility to tell visit-

shadow of Japanese colonialism hangs over the history of

ing Japanese tourists the truth about this shameful page in the

Gyeongbokgung ...

history of Japanese imperialism.

From the time of its founding in 1395, Gyeongbokgung served

Konishi carries a large stack of documents with her as she

as the royal palace of the Joseon Dynasty. After the palace was

guides people around all the places of interest within the walls of

burnt to the ground during the 1592 Japanese invasion of Korea,

Gyeongbokgung. These materials, which she accumulated while

it was rebuilt some 273 years later, in 1868 (the fifth year of the

studying about the palaces of Joseon, include a worn 10,000-won

reign of King Gojongl. The palace¡s numerous buildings housed

bill bearing an image of Gyeonghoeru, Japanese textbooks and

more than 7,000 rooms, but the Japanese imperialists destroyed

magazines, and Korean newspapers. Konishi believes that these

most of the buildings in order to undermine the aura of the

items can help tourists acquire a proper understanding of the

Joseon royal authority. Today, the complex includes 700 rooms,

significance of this venerable palace.

meaning that only 10 percent of the original palace still remains.

While first being attracted by the elegance of Gyeongbokgung,

Autumn 2007 I Koreana 61

Konishi has since come to appreciate not only its architectural

palace? The differences between the castles in Japan and

splendor but also the expression of principles of the universe and

Europe, which are usually surrounded by high walls and high

nature that are incorporated in its pillars and building materials.

mountains, are really striking, don路t you think? The kings main-

For example, the concepts of yin-yang and the five elements

tained a close relationship with the common people throughout

(eumyang ohaengseo/) are clearly reflected in the roof tiles.

the 500-year history of the Joseon Dynasty. This strong bond,

Moreover, a harmonization of the five colors (obangsaek, the five

which was built on trust between the king and the people,

colors that signify the five directions: blue, east; white, west; red ,

enabled the dynasty and its kingdom to survive for such a lengthy

south; black, north ; and yellow, center] is symbolized in dan-

uninterrupted and unified period . If you can sense their spirit and

cheong, the colorful patterns that adorn the walls, pillars, and

aspirations, then we can move on to the next site.'"

ceilings of palatial structures. A trinity concept (harmony among

The tourists quietly nod their heads and use their cameras to

heaven, earth, and man] is evident even on a door that separates

capture this noteworthy feature, which would have gone unno-

the spaces. The palace also boasts notable scientific innovations,

ticed if not for their guide"s explanation of its significance. A sec-

such as ondo/ (under-floor heating system]. a sundial, and man-

tion of Gyeongbokgung路s wall has just taken on a new meaning

made pond on the grounds.

for the visitors.

Japanese businessman Sakagami lchiro (58]. who is on his first visit to Korea, his colleague Hayakawa Atsuji (50]. Gushiken

Spirit of Joseon

Ayaka (26]. also on his first visit to Korea, and his friend Inoue

At Sajeongjeon, which served as the king's office, Konishi tells

Asano (26] let out a collective sigh as they heard about the history

another story about the Joseon kings. She begins by letting the

of Gyeongbokgung and its unique features. After viewing Geun-

group know that unlike other buildings in the palace, Sajeongjeon

jeongjeon, in which New Year"s ceremonies and royal coronations

was not heated. Joseon kings slept on unheated floors, even in

were held, the king greeted foreign envoys, and meritorious

winter, to remind themselves that their subjects had to sleep on a

retainers and court officials delivered morning briefings, the

cold floor and thereby enhance their attitude and mindset as

group moves slowly toward Sajeongjeon, where the king presided

supreme ruler of the kingdom . Sujeongjeon, situated to the west

over state affairs. Suddenly, Konishi stops and addresses the

of Sajeongjeon, stands on the site occupied by Jiphyeonjeon dur-

group. 路路Take a look at this wall' Doesn't it look too low for a royal 62 Koreana I Autumn 2007

ing the reign of King Sejong (r. 1418-1450]. Due to a lack of time to explain about Joseon's academia, science, and arts, including

the creation of Hangeul, and invention of the sundial and water

blurting out this reprimand in Korean and the sincere respect

clock, associated with Jiphyeonjeon, Konishi hands out informa-

that she displays for the residence of :Joseon queens make an

tion packets to the tourists. She then sings the praises of Gyeong-

indelible impression on this reporter. Konishi laughs about the

hoeru, an exquisite pavilion found behind Sujeongjeon.

fact that after almost 20 years of living in Korea she sometimes

''Gyeonghoeru was where foreign envoys were entertained

forgets whether she is speaking Korean or Japanese. As she

and royal banquets were held. It is not only the largest of all the

cleans up the footprints left on the floor, I realized that Konishi

pavilions in Korea, it also has the most decorative roof. Sitting in a

was more than a guide; indeed, she was a palace docent.

manmade pond , the pavilion exudes a sense of graceful elegance. However, the experience from inside the pavilion is even

Warmth of Koreans

more impressive. The surrounding Baegak, lnwang, Cheonggye,

Some 500 individuals have completed the educational cours-

and Mongmyeok mountains create a folding screen-like scene,

es needed to become a docent, which have included nine training

which viewers have described as exhilarating . The principles of

sessions held thus far. As for Konishi, a graduate of the third ses-

Zhouyi [ The Book of Changes, an ancient Chinese philosophy).

sion, she is now a veteran docent. Although she has been intro-

such as a blue dragon to the left and white tiger to the right, are

ducing Gyeongbokgung to tourists for some seven years, she is

vividly symbolized in the mountains. From Gyeonghoeru, you can

still in awe of the richness of its history. Her admiration for

view the landscape of areas beyond the royal palace where the

Gyeongbokgung has been further deepened through her experi-

common people lived. Although the area outside of the palace is

ences as a palace docent. Konishi attributes the passion that she

now cluttered with modern buildings, if you close your eyes and

feels for the palace to jeong, which can be roughly translated as

imagine yourself back in the Joseon era, it might be possible to

compassion.

understand how the king must have felt as he gazed from the palace to look over his people, while wishing for their welfare ."

Konishi also goes out of her way to emphasize the beauty of

"I learned about jeong from fellow Korean docents. They helped me even though I initially had no idea what I was getting myself into. They cared for me as if I was a member of their own

Gyotaejeon, the queen·s residence. Amisan Garden, named after

family and helped me get through all the difficulties I encoun-

the most majestic mountain in China, features a gorgeous land-

tered along the way. I really felt a sense of genuine warmth ema-

scape, with a diversity of flowers and trees. The chimney for

nating from their hearts. Now I have become a Korean ajumma

Gyotaejeon·s ondol system has been decorated to naturally blend

[married woman] who feels the same kind of sentiments emanat-

in with the garden.

ing from Gyeongbokgung ."

Suddenly, Konishi 's tour of the Gyotaejeon is interrupted by

The presence of a palace docent who goes to great lengths to

her high-pitched admonishment of someone who has stepped on

reveal the physical as well as intangible elegance of the palace,

the floor of Gyotaejeon without removing his shoes. Startled , the

based on an appreciation of jeong, means that the splendor of

man quickly retreats after Konishi points out a sign that instructs

Gyeongbokgung will never go unnoticed by anyone fortunate

visitors to "Please remove your shoes:· Konishi blushes. Her

enough to be part of her tour group. t.t

At the rea r of Gyotaejeo n, th e quee n' s resi dence , the re is a lovely garden area .

2

The most promine nt building of the Gyeo ngbokgung comp lex is Gyeo nghoeru , w here fo reig n envoys would be enterta in ed and roya l banquets held.

3

Kon ishi Takako, a certified palace docent, has bee n sha ring her pe rsona l knowledge and in sight about Gyeong bokgun g wi th Japanese visito rs to Korea fo r seven yea r s.

4

For sign ifican t bu ildin gs of Gyeongbo kgun g, images of va rio us creatu res are place d on roof beams to fen d off evil influences.

ON THE GLOBAL STAGE

Kim Yu-Na An Olympic Figure Skating

Medalist in the Making Like a dazzling comet, Kim Yu-Na has burst upon the figure skating scene, heretofore a rather low-profile sport in Korea. Lithe as a skylark, Kim is rewriting the history of figure skating in Korea as her ranking continues to soar upward in the international arena .

Sung Baik-you Sports Desk Deputy Editor, The JoongAng /Ibo

0

n March 24, 2007, at the Tokyo Metropolitan

Figure Skating Championships, she won the senior

Gymnasium in Tokyo, Japan, a young girl, as

Grand Prix Final, making her the Cinderella of

lithe as a lark, spread her wings and soared to

Korea's winter sports, which theretofore had been

the top of the figure skating world. That evening, Kim

narrowly focused on speed-skating competition. Kim

Yu-Na (b . 1990). earned the women¡ s bronze medal at

is the first Korean figure skater to place as high as

the 2007 International Skating Union (ISU) World Fig-

second in the world rankings, and it seems only a

ure Skating Championships, becoming the first Kore-

matter of time before she captures the No. 1 spot.

an to gain such a distinction. The day before, she had

With her slim _face and slender legs and arms,

surprised everyone with an incredible 71 .95 score for

Kim 's physique is like that of a lark. For a figure

her short program, setting a world record. Experts

skater she is quite tall, but her movements are as

anticipated a victory for Kim in the finals after her

graceful and effortless as a bird in flight. For the

breathtaking performance to a tango accompani-

musical accompaniment of her performances at vari-

ment. During the free-skating program, however, she

ous international competitions, Kim 's favorite is 'The

fell twice and ended up with a score of 114. 19, placing

Lark Ascending," by Ralph Vaughan Williams (1872-

her third overall, with a combined score of 186.14.

1958). Inspired by a poem of the same title by the

Her tumbles were attributed to problems with her

British poet George Meredith (1828-1909). Williams

back, which did not allow her to train properly.

composed this piece in 1914 and presented it to the violinist Marie Hall (1884-1956). When performed with

Elegant Performance

violin and piano, it delightfully conveys the atmos-

Figure skating has seen a surge in popularity in

phere of the original poem, with the chirruping sky-

Korea thanks to Kim Yu-Na 's international success.

lark depicted with a lithesome melody that achieves

Newspapers and TV networks have headlined her

the height of lyricism . In fact, this music, with a

personal achievements, while an online video of her

melody that is similar in feel to the Korean folk song

has recorded the highest number of Internet viewers.

"Arirang," is now familiar to many Koreans as the

Indeed, Kim is rewriting Korea 's figure skating histo-

background to Kim's on-ice performances. Because

ry. After winning gold at the 2006 ISU World Junior

of the marvelous scenes of Kim gliding so elegantly

64 Ko rea na I Sum me r 2007

over the ice, young Koreans are rushing to the ice rink

even more rigorous, and Kim had to watch whatever

to take lessons in figure skating.

she ate as any weight gain would make jump maneuvers more difficult. But she was as bright and cheer-

Practice, Practice, Practice I first met Kim in 2001 when she was still in the

ful as ever. It seemed as if she thrived on her grueling training regimen.

fifth grade. I was reporting on winter sports when I

Except when sleeping , her mother was constantly

received a phone call from my cousin. Though she

by her side, in the role of manager and driver. After

was a year younger than me, we had been close for

having followed her daughter around for 11 years,

as long as I can remember. On the phone she said:

she has acquired considerable skating expertise.

''My niece is a figure skater. People say she's quite

When she watches her daughter skate, she knows

good. You should keep an eye on her." I was told that

what technique is being practiced, how many points it

Kim trained at Gwacheon Ice Rink. I guess some peo-

is worth, and what mistakes she makes.

ple are meant to meet; at that time, I was taking my son to the same rink on weekends for ice hockey.

Eyeing an Olympic Medal

One day, Kim was scheduled to practice before

In Korea 's 1DO-year history of figure skating, Kim

my son's game, so I had a chance to see her on the

Yu-Na is the country's first real star. Though figure

ice. She was tiny, but her powerful jumps made peo-

skating has been around for a long time in the coun-

ple sit up and take notice. I especially recall the way

try, one major problem has been a shortage of indoor

her mother watched her, never letting her gaze stray

rinks. Until 1980, there were only two such faciliti es to

for even a second. I thought this intensity was impres-

speak of.

sive . For most busy parents, they would drop their

But things changed, in line with Korea's economic

kids off at the rink and return later to pick them up.

development. As of 2007, th ere are now 45 indoor

But Kim's mother stood absolutely motionless,

skating rinks around the country . Gangwon-do

observing her daughter's every move.

Province, which hosted the Asian Winter Games in

Thereafter, Kim started to become known as an

1999 and has been working on its bid for the Winter

up-and-coming figure skater. Often, I would read in.

Olympics since 2000, is taking the lead in promoting

the newspaper that she had won some competition or

winter sports.

other. Kim's daily routine was extremely rigorous. It

Kim is now in Toronto, Canada. She is working on

was the same thing every day. At 8:00 every morning,

various changes to her routine as she looks ahead to

she headed for Taeneung International Ice Rink

competing in the World Championships, and eyes a

where she trained from 11 :00 to 15:00. After a late

gold medal at the Vancouver Winter Olympics. At the

lunch, she rested and then studied until 20:00 in the

Toronto Cricket, Skating and Curling Club, she is

evening. After dinner, she made her way to Gwacheon

training under former Olympic bronze medalist Brian

Ice Rink where she underwent another training ses-

Orser lb. 1961 J. It is said that she will be saying good-

sion from 21 :00. By the time she got to bed it would be

bye to last year's tunes, "El Tango de Roxanne" and

2:00 a.m. At an age when she should have been out

"The Lark Ascending," as s~e plans to transform her

having fun with her friends, Kim was constantly on

graceful and elegant ro¡utine into a more up-tempo

the ice.

and entertaining style.

In 2003, in her first year of middle school, Kim

It will be fascinating to see how this lark, which

beat out a host of older skaters, including Korea's

has soared so breathtakingly onto the world stage,

senior figure skating champion, and was named to

matures before our eyes. Indeed, along with many

the Korean national team. But this was not particu-

other Koreans, I am eagerly awaiting the next chapter

larly ground-breaking, since Korea has few figure

of this real-life story in October. L;t

skaters of international-class caliber. Training got Autumn 2007 I Korean a 67

Yeosu is home to picturesque natural scenery and a number of historical sites, and is renowned for its delectable food . This wonderful city is now ¡making concerted efforts to win the r ight to host the 2012 World Expo.

Han Chang-hoon Novelist I Photog raphy: Ahn Hong-beom, Ha ji-kwon

68 Korea na I Autumn 2007

he ocean waters of Yeosu are gorgeous. Several years ago, I visited Venice, Italy and found it to truly be a city of water, with an attractive city center. But the water itself was not what I would call attractive. According to an age-old Korean saying: ··still water will spoil." At Yeosu, there is a significant variance between the low and high tides, and because ocean currents from the Jeju area flow along its coastline, the water is constantly renewed. Indeed, these are living waters.

The sun goes down, the moon comes out, and the sun rises again . All this while, the water continuously changes, moment by moment, from blue to copper to gold to silver. This is what makes the Yeosu waters so remarkably beautiful. In summer, cool sea breezes flow onto the land, while in winter, warm currents mitigate the cold. This city of 300,000, whose flower is the camellia, is where I spent my early teenage years.

Seaside Scenery For my return to Yeosu, I board a train. The Yeosu Peninsula comes into sight soon after passing Suncheonman Bay, a favorite stopover site for winter migratory birds, while Mt. Jirisan stands guard, imposing yet graceful. The endless stretch of winding mountains gradually flattens out. Among the many mountains nearby Yeosu, the most prominent is Mt. Yeongchwisan.

Long regarded a scared mountain, Yeongchwisan is where rites for rain were conducted in ancient times. Moreover, people have long come here to pray for good fortune, such as having a son or passing an examination, or some other wish .

Yeongchwisan is also well-known for its azaleas. In April, the entire mountain seems to be aglow with a blanket of azalea blossoms. Anyone who ventures deep into the mountains to wish for something must be either seriously ill or bearing an extremely heavy burden . Ashamed, perhaps, of being unable to fulfill everyone·s wish, Yeongchwisan is covered with blushing azaleas in spring, deterring the entry of intruders.

The train cuts through the center of the Yeosu Autumn 2007 I Korea na

69

2

3

A lig hthouse sta nd s at the entrance of the Yeosu Harbor.

The residents of Yeosu rely on the adjacent ocea n for their local eco nomy, primarily throug h fishing and tou rism act ivities.

Pa rticu larly charming at night, Do lsa n Bridge is a popula r att raction fo r families and yo ung cou ples.

Peninsula on the Last Leg of its journey. Through the windows, the sea finally comes into view. Where the Land ends, Hallyeo Marine National Park begins. In the distance, Namhae, Gyeongsangnam-do Province, is barely visible, while nearby there are dense pine forests . You can also make out Manseong-ri Beach between the gracefully eroded cliffs . Unlike a regular beach shore, the sand here is black. In summer, it can get so hot that it is impossible to walk barefoot on the sand . Rela xing atop this hot sand is said to be a natural treatment for neuralgia, while people with aches and pains in their backs, arms, or Legs, come from all over the country to take advantage of the sand 's therapeutic benefits.

Passing through the tunnel, the train almost seems to be gasping as it finally arrives at Yeosu Harbor, the terminus of the Jeolla Line. In front of the station Lies Odongdo, often the first stop for tourists.

The island is named for its abundance of odong [paulownia) trees, but these days it is covered with dense thickets consisting of 193 rare plant species, including camellia trees, Lauracae trees [hubaknamu), hackberry trees, and privet trees, earning it the

nickname "Badaui kkotseom," or island of flowers in the sea. Squirrels and rabbits scurry about beneath the lush foliage.

Odongdo is associated with a Legend of misfortune. Long ago, there was a couple who cam e to settle on the island. They cultivated the Land and fished the sea. One day, when the husband had gone out to sea on his fishing boat, a thief came to the house. The woman gave the thief everything he asked for, but what he really wanted was her. The woman attempted to flee, but when there was no escape, she Leapt off a cliff to her death . The cliff was on the southeast70 Ko reana I Autumn 2007

Autumn 2007 I Koreana 71

In the past. due to its strateg ic location . the headquarters of the nava l fo rces of the Joseon Dynasty, Jinnamgwan , was established in Yeos u, from whi ch Ko rea ¡s lege ndary Admi ral Yi Sun-sin masterminded the defense of the Korean Pe ni nsula that defeated the Hideyoshi - led invaders fro m Japan .

2 At the entrance of Heu ngguksa Te mp le , there is Honggyo Bri dge, the lon gest [40 meters] and hig htest [5.5 mete rs] . stone arch bridge in Korea, which was built in 1639.

3 Odo ngdo, known as the isla nd of flowers in the sea , is blanketed with groves of brilliant ca mellias.

ern part of the island, where the husband had gone fishing. When the husband returned after sunset, he discovered his wife's dead body. He wept with grief and buried his wife at the highest point of the island.

Over time , northern sasa and camellia trees grew up around her gravesite.

Northern sasa is a type of small bamboo, 30 to 80 centimeters in height, that grows in coastal areas.

Regarded as a symbol of a woman's chastity, the wood was used to make arrows. Camellia trees have flowers that bloom bright red even in winter, which are known as yeosimhwa , meaning "flower of a woman's heart. "

Rich in History In the downtown area where the old city center and alleyways have been preserved, Korea's largest one-story w ooden building, Jinnamgwan [Joseon Dynasty, Treasure No . 324). stands proudly. Wide open to the sea , this building served as the headquarters of naval forces during the Joseon Dynasty [1392191 O). During the Japanese invasions of Korea , Admiral Yi Sun-sin used the building as the center of naval operations for three provinces. With clever strategies and the iron-clad turtle ship, Geobukseon, which ¡ he built in Yeosu , Admiral Yi Sun-sin defeated the Japan72 Koreana I Autumn 2007

ese invaders, despite their overwhelming numbers.

Perched atop a steep cliff, the hermitage can only be

Due south of Jinnamgwan is Dolsan Bridge. Particu-

reached by climbing up a narrow stone passageway.

larly charming at night, the bridge is a popular attrac-

Just as you begin to perspire you reach the grounds,

tion for families and young couples. Below the bridge

which offer spectacular views of the land below and

is a small island, Janggundo. This tiny islet with a

seas beyond. The vast ocean waters in the distance

coastline of only 600 meters holds fond memories for

are awe-inspiring, especially during sunset.

me. While in Yeosu, I would go there to fish for greenling and rock fish . And if I got bored of fishing, I would

Unforgettable Food

take a walk around the island, which only took ten

The refreshing sea is a sight for sore eyes but by

minutes. It was like my own private island, where I

the same token trekking around Yeosu means weary

was the owner and only inhabitant.

legs and a hungry stomach. The Jeolla-do provinces

Janggundo is historically important as well. Car-

are widely known for their great food and Yeosu is a

ried along by the rapid ocean currents, Japanese

gourmet's delight. Yeosu offers a variety of foods, but

marauders often used the island as a landing site

being a coastal city, there is an abundance of seafood.

during the Joseon Dynasty. Hence, you can still see

The rugged coastline stretches on endlessly, along-

traces of Korea 's only underwater stone fortress,

side expansive tracts of tidal flats, where local resi-

Sujungseong, and a wooden barricade. Sujungseong

dents gather clams, shellfish, and octopus.

was built in 1497 by the naval commander Yi Ryang to

The sea's bounty includes sole, eel, hairtail, Span-

protect the area against Japanese intruders. Today,

ish mackerel, sea bream, gizzard shad, and croaker,

the fortress ruins are immersed in seawater, which

which are served as sashimi, grilled, or in soups and

flows along like the currents of history.

casseroles, depending on the season . A wide variety

For visitors to Yeosu, the Hyangiram Buddhist

of seafood is featured in a traditional Korean full-

hermitage is a must-see attraction. The great monk

course meal [hanjeongsik). Indeed, hanjeongsik is

Wonhyo of the Silla Kingdom [57 B.C.-A.D. 935) built

best suited for serious eaters, with discriminating

this retreat in 644, the fourth year of the reign of King

taste and a large intake capacity. Once, a colleagu¡e of

Uija of the Baekje Kingdom [18 B.C.-A .D. 660).

mine was so flabbergasted by the huge amount of Autu mn 200 7

I

Korea na

73

74 Koreana I Autumn 2007

food served at a hanjeongsik restaurant that he suffered from indigestion just looking at it them.

One specialty closely associated with Yeosu is gat kimchi, a variety made with leaf mustard [gatl. Leaf mustard is a member of the cabbage family and can reach a height of one meter. Rich in protein and vitamins A and C, the leaves have a pungent taste . Families make their own versions of gat kimchi to their personal tastes, while the local branch of the National Agricultural Cooperative Federation and commercial makers produce it in large quantities.

I once gave a jar of gat kimchi that my mother had

Brea th taki ng view of t he ocea n fro m t he Hyan gi ram Buddhi st he rmitag e.

sent me to some friends, a poet couple. A few days

2

later when I visited their home for dinner, while sitting at the dining table I noticed the wife using scissors to

Yeosu is fam ou s for all kind s of foo d, but perhaps gal kimchi most of all. Th e ta ste is uni qu e, hot and sharp at first , an d then savo ry.

cut the kimchi into pieces, then placing one piece on a spoonful of rice . When the husband placed two kimchi pieces on his rice, his wife grabbed his hand and said: ¡¡one piece at a time." To this, he complained: " Don't

Visitors to Yeosu who have a taste of gat kimchi at

be so mean." "You're the one who said we should only

local restaurants will invariably take some home for

eat one piece at a time,"' she retorted. They disrupted

family and friends. This variety of kimchi might initial-

their eating to quarrel, while glaring at each other

ly seem overly sharp and spicy, but people come to

across the table. I had to laugh to myself and promise

like the way it provides a savory complement to any

I would never give them gat kimchi again . Of course it

kind of food. This is the flavor of Yeosu, a delightful

was great tasting, but I did not want to contribute to

city with marvelous landscape scenery, historic sites,

domestic bickering .

and wonderful food . t.t

Yeosu is busily promoting its bid to host the 2012 International Exposition, which is said to be

Yeosu's Bid for 2012 International Exposition

one of the three biggest international events, along with the Olympics and the World Cup. The International Exposition is a kind of cultural and commercial Olympics, in which, under a particular theme, the achievements of humankind and prospects for the future are presented, along with visionary solutions for global challenges.

The Yeosu theme for the 2012 International Exposition is "The Living Ocean and Coast." Though the development of world civilization has depended on the benefits of the ocean, our maritime resources are being rapidly destroyed by environmental pollution, reckless development, and rampant over-fishing. The starting point for the Yeosu International Exposition is an awareness that it is urgent to make efforts to protect the ocean, which is an essential resource needed to sustain life on earth.

The exposition will highlight our valuable maritime resources, w ith related activities being based at the nearby Gwangyang port. This represents a national initiative in which the government and international organizations, such as the United Nations Environment Program (UNEP). International Maritime Organization (IMO). and United Nations Commission on Sustainable Development (UNCSD), have pledged $10 million of support for efforts to address environmental and maritime issues in developing countries.

At the farewell ceremony for the Yeosu International Tall Ship Festival, held in May, Yeosu was declared an "International Maritime and Tourism City." Related p'rojects include building port facilities for cruise vessels. To rally international support, the Ministry of Foreign Affairs and Trade organized a tour of Yeosu for foreign diplomatic missions in Korea . With the final selection of the host city coming up in November, the government and private sector are working closely with Yeosu to help win the bid .

It is the sea that enables nations to contact each other and develop cross-border relations, because it imposes no barriers, while functioning as an open roadway. In this way, the residents of Yeosu harbor a dream of using the sea and the World Expo to interact with people from around the world.

Autumn 2007 I Koreana 75

CUISINE

A Simple Pleasure of Autumn

Daechu Danja, Rice Cake with Jujube Whereas Westerners might wind up a meal with coffee and dessert, Koreans have long enjoyed a traditional serving of tea and rice cake. The jujube , or Chinese date, which ripens to a luscious red in autumn, is a favorite in Korea for making rice cake and tea .

Paik Jae-eun Professor of Food and Nutrition, Bucheon College

A

I

Bae Jae-hyung Photographer

I

Lee Kyung Cuisine Consultant

utumn is a time of abundance in Korea , when ripened crops and fruit are harvested. Oaechu, the jujube or chinese date in English [zizyphus jujube var. inermis). starts to bear fruit in the summer that ripens into a luscious red with the approach of autumn. In Korea, the jujube can be eaten fresh, but is more often

found in a dried form, which is used as a versatile ingredient for making rice cake, tea, and various dishes, in addition to having a symbolic role in ancestral rites and wedding ceremonies.

In times gone by, a Korean household would invariably have a jujube tree in the yard . Today, jujube trees are commonly planted in the landscaped areas of apartment complexes for ornamental purposes . Unlike other trees, the jujube does not easily lose its embryonic fruit, even to gusty winds, which enables its gorgeous blossoms to turn into a bounty of fruit. For this reason, the jujube has long been regarded a symbol of fertility. At the conclusion of a traditional Korean wedding ceremony, there is a pyebaek ceremony in which the bride and groom formally present themselves as a couple to the groom's parents to receive their blessings. As the bride bows to her parents-in-law, the father-in-law throws a handful of jujubes onto her skirt, which symbolizes a hope that she will bear many children.

Medicinal Benefits Traditional foods made with jujubes include various types of rice cake, tea, rice porridge, wine, and vinegar.

The jujube is 43 percent carbohydrate, with a high content of iron and calcium. It also consists of protein [1.5 %). fat [0.8 %). and residue [4.2 %]. Fresh jujubes are a rich source of vitamin Caswell.

From long ago, Koreans have favored foods that not only taste good but also are known for ¡their medicinal benefits. The jujube is included in a variety of dishes and beverages, along with being used as an ingredient for making traditional herbal medicine. Dried jujubes are used in medicinal potions that are prescribed to treat lethargy, body ache, insomnia, muscle spasms, substance addiction, digestive ailments, lack of appetite, bad complexion, skin dryness, and anxiety. Jujubes are also said to be effective as an antihistamine and to prevent tumors.

76 Koreana I Autumn 2007

Koreans have lon;

f~: ~

ot only tasty but known ed foods that are n . . b Chinese dat ' ben fits as well. The :~J:an~us dishes and

for their me 1c1 h a flavorful add1t1~~ l herbal medicin â&#x20AC;˘ is such a food: wh1cd_ i:t for making trad1t1ona a basic mgre ie

r Delightful Treats The most popular food made with jujubes is danja, a sweet rice cake. Sweet rice cake can be prepared with a variety of ingredients, including gingko, chestnut, citron, ginger, and jujube. To make danja, one of these ingredients is mixed with sticky rice powder and shaped into round forms, about the size of chestnuts. Along with a variety of different types of danja, sweet jujube rice cake is prepared for all the major seasonal holidays, including NewYear"s and Chuseok [Harvest Moon Festival].

Joseon Recipes, published in 1938, includes a recipe for preparing sweet rice cake with chopped jujube. The ingredients include jujubes, sticky rice powder, pine nuts, and honey. First, the jujubes are finely chopped and then combined with the rice powder. The batter is steamed, after which the steamed rice cake is rolled in a mixture of honey and sugar, then spread out on a cutting board, topped with ground pine nuts, and sliced into individual pieces.

Jujube is also used for making tea. Jujube tea , along with green tea , is a traditional drink that Koreans have long enjoyed . Traditional teas are brewed with a wide range of medicinal ingredients, fruits, or green tea leaves, which have been dried and crumbled or ground into powder. The ingredients can be combined with honey or sugar, or simply brewed in hot water. Koreans drink jujube tea for its remedial effects. Two types of jujube tea that are readily available today include a kind of jujube concentrate with honey, to which hot water is added, while there is also jujube tea sold as a bottled or canned beverage, which can be consumed hot or cold .

Whereas Westerners might wind up a meal with coffee and dessert, Koreans have long enjoyed a traditional serving of tea and rice cake. At the teahouses in lnsa-dong, where you can get a glimpse of Korea·s longstanding traditions, jujube tea and delightful jujube rice cake are commonly found on the menu . Various branches of Starbucks Korea now offer not only Western-style desserts, but Korean rice cake as well. Jujube rice cake is a natural with traditional tea, but it can also be a refreshing complement with coffee. lit

·a~.~ .....\

.

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Rice Cake with Jujube

Ingredients 4 cups sticky rice powder 1 teaspoon salt 2 tablespoons water 4 tablespoons chopped jujubes

Jujube Tea

15 whole jujubes 15 chestnuts 3 tablespoons honey

Preparation 1 Soak sticky rice in water for three hours; drain off

water, season with salt, and grind into a fine powder.

2 Remove the jujube pits, grind the fruit into powder, and combine thoroughly with the sticky rice powder; add water and cook in a steam cooker, covered with a moist cheesecloth.

3 Place the steamed rice cake in a mortar and knead with a pestle.

4 Place the kneaded rice cake on a cutting board and

Ingredients

coat with honey. Spread out the rice cake into a 1-

16 jujubes

centimeter thickness, then cut into pieces of 3 cen-

20 grams ginger

timeters by 2.5 centimeters. Sprinkle with chopped

8 cups water

jujubes and chestnuts.

4 tablespoons honey

5 The rice cake can also be formed into jujube shapes by hand, then coated with honey and sprinkled with

pine nuts jujube garnish

jujubes.

Preparation 1 Wash the dried jujubes. Peel the ginger, and cut into

thin slices.

2 Place the jujubes and sliced ginger into a pot of water, and boil.

3 Boil until the flavor is fully extracted, and filter the liquid through a sieve.

4 Add honey, and garnish with jujube or pine nuts.

Autumn 2007 I Koreana 79

LIVING

ser re ate ontent New Form of Internet Expression User Created Content (UCCI has seen a surge in popularity among the younger generation. Moreover, an understanding of this phenomenon, in which some 50 percent of Internet users participate, can provide insight into Korean society as well.

Kim Heon-sik Cultural Critic

80 Korea na I Autumn 2007

2 3

4

Park Seang - min, who is known as "D essin Man," ga ined fame with a UCC that shows how he draws portra its. Hi s UCC was viewed by 70 ,000 netizens.

Two wan na- be comed ians attracted considerable atte ntion by presenting their own comedy act.

With UCC, there are no age barriers. Here, a group named "Fe nn eky," of six elementary-schoo l students , performs like professional musicians. In fact , this exposure led to an appearance on local te levis ion as we ll as an invitation to Cheong Wa Dae on Child ren's Day. Lim Jeong- hyun , a co llege st ud ent and amateur guitarist had the honor of being in troduced on Yo uTube and featu red in the New York Times as an accomplis hed gu itarist, wh ich all resulted from the pub li city of hi s UCC.

5 There is a in creas in g number of sin gin g groups. such as

6

the "8eight" group, who are be in g invited to appear on television thanks to their UCC clips.

Some UCCs present news reports as we ll.

Autumn 2007 I Koreana 81

ometime ago, a broadcast firm asked me, in my capacity

would flourish here, as a source of entertainment and means of

as a cultural critic, to conduct interviews about an obses-

sharing personal experiences. As such , UCC video has become

sion among elementary, middle, and high school students

all the rage, especially among the younger generations.

for spinning pens on their fingers. While seeking out back-

The results of a survey on the current state of UCC usage,

ground materials in preparation for the interviews, I soon came

released by the Ministry of Information and Communication in

to realize that there were a number of Internet communities

April 2007, indicated that 51 .1 percent of Internet users have

dedicated to the spinning of pens on your fingers. In fact,

produced some kind of UCC, including 35.2 percent who have

although the spinning of pens on your fingers might seem pecu-

produced and uploaded such content on the Internet at least

liar, it does not represent an especially unique phenomenon.

once a month. By a wide majority, the preferred UCC medium

Rather, this practice can simply be regarded as a means of

was video (91.3 percent). followed by images (49 percent). artis-

diversion for students from the always stressful environment of

tic works (40.6 percent). and text (30.4 percent]. Thanks to the

our university entrance examination-centered education sys-

widespread availability of digital-technology devices, about two -

tem . Nonetheless, the video images that I viewed at various

thirds (66 .3 percent) of Internet users have produced some kind

Internet sites were truly remarkable.

of UCC video, thereby confirming that UCC has become an everyday facet of Korean society.

Part of Everyday Life The video images of people spinning pens on their fingers

8-Boy Phenomenon

vividly depict the advanced skills and techniques needed to

In fact, the rise to prominence of Korea¡s B-Boys in the

master this activity. In this regard, Korean students describe the

global arena can be attributed to the presence of UCC video. For

methods that they have developed as well as the numerous

example, to learn hip-hop dance in the past, there was little

techniques which have been learned from abroad . For students

choice other than to follow the lead of established performers

with an interest in improving their spinning, a wealth of infor-

from abroad, the originators of this form. As schools did not

mation is available on these Internet sites.

teach this kind of dance, there were no formal means of learn-

The spinning of pens has spread beyond the classroom to

ing the genre, except to pick up bits and pieces through obser-

become an actual nationwide competition. Recently, regional

vation and self-development. But a lack of in-depth knowledge

preliminaries were followed up with a national championship.

about dance techniques left performers dissatisfied with the

How exciting is that? Now, students from the smallest of

ability to refine their talent. However, the emergence of UCC

schools can aspire to win a national contest. And all of this was

video helped to overcome these shortcomings.

made possible by the availability of UCC video.

UCC refers to various forms of content that are created by

Thanks to Korea's high-speed communication network, Internet users can easily download videos and study the content

individual users and shared on the Internet. And , in light of the

in detail. UCC videos have enabled Korean performers to realize

tech-savvy capability of Korean society, it is natural that UCC

a quantum leap in their dance capabilities, thereby vaulting

82 Korea na I Autumn 2007

2 3 4

Lee Se - na [right ] ga in ed notice for a UCC that hig hli ghted the process of maki ng ceram ic wares. She was designated, alo ng with the actor Park Chul, as a goodwill ambassador for the 4t h Gyeongg i Province World Ce rami c Bienn ale 2007.

A UCC video dubbed .. Pong Pong Pong Da nce .. at wedd in g cere moni es has recently enj oyed an imme nse viewe rshi p.

In one UCC video, the scene of a disabled person pe rfo rm ing a graceful rend ition of .. Moon light So nata .. created qui te a st ir.

Many peo ple are using UCC video to show off their tale nts. Thi s young stu dent shows his sk ills and tec hniques needed to spin pens on hi s fin gers.

Korea 's B-Boys to the pinnacle of this genre, as evidenced by their impressive perfo rmances at international B-Boy competitions . Today, UCC videos featuring B-Boys of Korea have become an essential training resource for B-Boy enthusiasts the world over. As such, B-Boys have been cited as a trend that will help to maintain the forward momentum of the Hallyu [Korean wave] phenomenon.

Cultural Insight Korean society has long embraced a so-called bang [room] culture. This includes activities associated with specific places,

Dance" has recently enjoyed an immense viewership . It features

such as noraebang [singing room]. jjimjilbang [public

five men in tuxedos, who instead of singing the usual congratu-

bath/sauna facility]. PC bang [PC room]. and video bang [video

latory songs are shown doing hilarious dance moves, amid

room]. In regard to UCC videos, noraebang scenes are especial-

bewildered guests and bursts of laughter. This UCC will no

ly popular. Because a noraebang room is kind .of a private

doubt pr:ovide the bride and bridegroom with an unforgettable

space, people will engage in outlandish behavior that they

memory of their wedding day.

would not even think of doing in public. Typically, noraebang

The school ground is another favorite backdrop for UCC

videos capture people letting off steam, expressing themselves

videos . One particular video, which records the eloquent

in song and dance without inhibition, often providing a glimpse

farewell address of a school principal to his students, is known

into hidden aspects of their personality.

to have struck an emotional chord among a wide range of view-

Recently, a UCC video, titled 'The Nation's Little Sister at a

ers . Another video , which shows a student-teacher making

Noraebang," featuring figure skater Kim Yu-Na singing at a

known her inner sentiments through a rap number, is notable

noraebang, had taken the Internet by storm. In this video, which

for its freshness. On a more serious note, there are scenes of a

a friend of the world-class figure skater took when Kim and a

third-year high school classroom that capture the heavy burden

group of friends went to a noraebang, Kim looks like a regular

and relentless stress which students must endure ahead of the

16-year-old girl, who is simply having a good time, rather than

university entrance examination.

the game-faced competitor that viewers see when she performs at skating competitions. This particular UCC video set a record for number of hits, and continues to be frequently viewed.

Beyond Simple Entertainment A psychological factor behind Korea 's Internet culture is "emotion. " As suc_h, Jeong [compassion] has long been identified

Nowadays, another popular UCC subject is wedding cere-

as one of the fundamental characteristics that has propelled

monies. For example, a UCC video dubbed "Pong Pong Pong

Korean TV dramas to the forefront of the Hallyu phenomenon :

Autumn 2007 I Ko reana 83

over-the-top events. A perfect example of this development was a recent .. fake subway wedding. " This UCC video, which supposedly recorded the story of two low-income school-aged orphans who had to get married on the subway, with the passengers serving as guests, soon became a hot-button topic of discussion. However, the entire affair was eventually revealed to be an elaborate hoax.

UCC videos can be funny, sarcastic, or bizarre, and more.

As netizens quickly tire of shallow-minded UCC materials, this has led to the creation of content that deals with real-life This can be seen as a natural outcome since Koreans possess

issues, such as the environment, transportation, and educa-

an inherent weakness for stories/themes centered on jeong.

tion, which are increasingly attracting the attention of viewers.

In one UCC video, the scene of a disabled person perform-

In the aforementioned survey conducted by the Ministry of

ing a graceful rendition of .. Moonlight Sonata .. created quite a

Information and Communication, a large majority of respon-

stir. In fact, various organizations were so impressed with his

dents [72.2 percent] favored the production of UCC material

talent that he has been invited to perform at formal events. In

that dealt with information- and education - related subjects,

this way, UCC videos serve as a source of entertainment for

rather than content which was intended for amusement or

viewers, as well as a window to allow the public to see various

curiosity. Consequently, there seems to be a consensus on the

happenings that are otherwise not readily observed.

preferred direction of Korean-made UCC. A producer of UCC

However, excessive expectations about the potential commercial value of such .. emotions .. have led to the staging of

84 Koreana I Autumn 2007

material has stated that its creation is rooted in boldness, a spirit that is needed to create such a new content.

t,;t

Journeys in Korean Literature

Kim In-sook

At the age of 20, Kim ln-sook burst onto the literary scene with a best-selling debut novel. Thereafter, she underwent a transformation that led her to produce works about the struggles of individuals who experienced extreme difficulty in adjusting to the rapid changes of Korean society.

CRITIQUE

Subliminal Individuals Who Anguish over Ijfe's

r

rP

Cha Mi-ryeong Literary Critic

n 1983, Kim In-sook made her literary debut, at the age of 20, with a story titled "Season of Loss" (Sangsilui gyejeol).

At the time, she was a second-year university student majoring in journalism and broadcasting. Then, in 1984, while still in the spotlight from her initial success, her first novel, Veins (Pitjul), was published. With sensationalized publicity as a "novel describing the sexual practices of modern society written by a female university student," it enjoyed brisk sales. But this novel, which created a considerable public stir that contributed to its commercial success, is probably a work that Kim would now like to disassociate herself from.

In reflecting on herself at the time when Veins was published, Kim notes: "I became a novelist before I knew what a novel was. To me a novel was 'writing done by novelists.' Of course, I had never thought to link novels with the reality of the times." Though a gifted young writer, she did not know how to apply her talent properly. But after much effort and a self-transformation, she went on to produce works of a totally different nature. The novel, Winter of '79 and Spring of '80, published in 1987, and a collection of her writings, Walking Together (Hamkke geonneun gil, 1989), marked a turning point in her literary career.

As the titles suggest, these works deal with the turmoil of Korean society during the 1980s, a period of oppression when people struggled to attain fundamental rights. In the 1980s, Kim In-sook and countless other Korean literary writers were inspired by a notion that literature could be used as a weapon to remedy the absurdity of society. The writings in Walking Together address the key social issues of the 1980s, such as the right to vote in presidential elections, labor rights, and the national teachers' union movement. Underlying her works is a staunch determination to struggle against abuses of the authorities and faith in the power of the people. The lead characters confirm their sense of identity through a common vision. In looking at the body of Kim's works, the period setting of these novels is quite brief yet significant. There is no

I

86 Koreana I Autumn 200 7

doubt that her personal experiences during that period have formed a framework for her novels thus far.

Kim's career underwent another transformation in the 1990s. While leaving her youth behind, she surged ahead with a new passion. Military dictatorship might have come to an end but the world had not turned out the way that young people had envisioned. Along with a collapse of socialism, an era of ideology gave way to an age of capitalism, while attention shifted from the masses to the individual, from activism to culture. Was there nothing more that literature could do to change the world? The uncertainty surrounding this question was a problem that Kim, and all writers who had debuted in the 1980s, encountered as they reached the 1990s.

At this time, they began to create works that reflected upon past experiences. These novels told the stories of individuals who, with the triumph and hardship of the 1980s behind them, sought to cope with an evolving reality. Kim's novels, Blades and Love (Kalnalgwa sarang, 1993) and Glass Shoes ( Yuri gudu, 1998), would fall into this category ofliterature. In these works, she faces up to the reality that capitalism is firmly entrenched and explores the existential suffering of individuals that is a product of social suppression. Her most notable works from this period are Blades and Love and Darling (Dangsin), which deal with the plight of women who end up being alienated from family and society.

A sense of alienation also underlies her novels, At Sydney's Blue Ocean (Sideuni geu pureun badae seoda, 1995), which is based on her experiences while living .in Australia for a period of time, and A Long Way (Meon gil, 1995). Both books delve into the lives of people who, as outsiders, lack the ability to interact with others. Although the characters make their way to Australia, in a hope of leaving their problems behind, they come to find new difficulties there as well. While not without hope, Kim can be slow to make its existence known. She calmly goes about inspecting the wounds of those who are stniggling to get on with their wearisome life.

Wounded souls out of step with the world-these are the type of characters featured in Kim's novels since the 1990s.

Their painful hardships are rooted in their memories of the 1980s. Adapting quickly to the changing world may well be the only means to assure survival. But Kim's heroes and heroines find it difficult to accept such change. Their current lives are made even more miserable by memories of their youth when they struggled mightily to make the world a better place for everyone. Though they are not materially destitute, they are spiritually devastated.

With their youthful ideals engraved in their hearts, they are unable to make the compromises needed to cope with reality, which causes readers to feel disdain and yet empathize with these characters, who choose not to conform. While hindered by an inability to fit in, Kim relates in detail the painful torment wrought by a capitalist society. Noteworthy works along this line from the 2000s include The Sea and the Butterfly (Badawa nabi), which received the Yisang Literature Award in 2000, and The Jail Yard ( Gamokeui tteu0 that was awarded the Isu Literature Prize.

In the anthology, The Woman's Autobiography ( Geu yeojaeui jaseojeon, 2005), Kim's writing is focused on similar issues, especially in the title story, in which a woman is working on an autobiography. But the autobiography in the story is not about the woman. The woman is ghost writing an autobiography for a nouveau riche man, named Yi Ho-gap, who aspires to run for political office. She is bitterly contemptuous of the fact that she has to glorify another person's life for money. But her circumstances are such that she must accept this disgrace. The payment she is promised for the ghostwriting project is more than she has earned in the past ten years, and with tl1at money she will be able to concentrate on writing for a while with no financial worries.

She agonizes over the thought of "selling worthless writing for the sake of writing what I want to write." In the story, this conflict is shown to be neither abstract nor straightforward. Yi

Ho-gap, so wealthy that he provides a hotel suite for his ghostwTiter to do her work, is sharply criticized by people he has been involved with. And once, he breaks down in front of the woman, lamenting: "I've lived a really hard life." If so, however, is it the poor people who are happy? Perhaps not. In contrast to Lee, the woman's older brother has lived an honest life but always has struggled financially, which imposes a heavy burden on his family. The gravity of the reality from which she seeks to escape darkens her outlook. The woman thinks to herself that perhaps what her father wanted for his book-loving daughter and his son was the ability to live in financial wealth. Perhaps when her father read about the lives of famous figures, what he wanted them to learn about was not the greatness of their lives but the honor and prosperity that they enjoyed.

It is not so easy to pass judgment on the affluent Yi Hogap and the financially troubled brother, the ghostwriting of an autobiography and pride of authorship, or material comfort and ethical behavior. Kiin reveals tl1e underlying turmoil, which everyone in contemporary society must deal with, in some form. "That Woman's Autobiography" ends with a fantasy about a past incident. In the fantasy, the woman and her brother place leaves between the pages of a book, which become "more beautiful than the real thing and more eternal," as they gradually dry out. In the woman's imagination, the leaves, placed between the pages, come to life at night and fill the house with their scent, a symbol for the self-existence that Kim will not give up on. The people who must embrace such wretched despair in their insignificant lives, while anguishing over their baneful existence, may seem trivial, but there is more to them beneath the surface. They are pained yet subliminal. Through their constant suffering you can appreciate the depth of Kim's investigation of the human condition. L;t

Autumn 2007 I Korea na 87

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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A few small kernels of grain can fill a village with smiles of joy This quiet village in Tanzania' s Manyara region is buzzing with excitement today about a grain-puffing machine from a faraway land called Korea. All the village children have brought containers , some full of com, others empty. As they anxiously wait, the machine makes a deafening "boom". Instantly, there' s plenty of fresh puffed com for everyone. And as each child' s container is filled with the delicious treat, their smiles of joy show they are the happiest kids in the world.

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