Koreana Spring 2007 (English)

n.

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BEAUTY OF KOREA

Celadon Cosmetic Box Celadon Cosmetic Box with Inlaid and Openwork Tortoise -Shell Patterns National Museum of Korea

W

omen have long used makeup to enhance their beauty.

A divider in the middle of the box separates it into two sec-

But many people believe that a lack of modern makeup

tions, while the top of the container is fitted with a rectangular

products means that the women of long ago were thus

tray. The tray is also separated into two sections, with a set of

limited in their use of makeup. However, upon seeing the various

five small cases on one side . The sides and upper part of the

cosmetic items used in ancient times, these people would likely

cover, as well as the sides and bottom of the box, are adorned

be amazed by their creativity and artistic quality, which in aes-

with openwork carving of tortoise-shell and lightening pat-

thetic terms even surpassed that of modern-day cosmetics.

terns . The small cases feature inlaid arabesque and lightening

This celadon masterpiece, from the Goryeo Dynasty (918-

designs.

1392). is a cosmetic box for storing makeup items. It includes an

Despite its relatively small scale, the artistic sentiments of

oblong copper mirror, silver needle case, and small cases for

the people who lived in the olden days, as well as the consum-

articles. The cosmetic box is decorated with openwork carving

mate brilliance of the celadon culture that thrived during the

and inlaid patterns.

Goryeo era, are vividly reflected in this elaborate artifact.~

Korean a Korean Art & Culture

Vol. 21, No . 1 Spring 2007

Published quarterly by Th e Ko re a Fo un da ti o n

1376- 1 Seocho 2-dong, Seocho-gu , Seoul 137-863, Korea PUB LI SHER Yim Sung-joon ED ITO R-IN-CHIEF Park Jeong-yeop ART DIRECTO R Choi Seong-su CHI EF DESIGNER Kim In-soak DESIGN ER Song Hye- r an ASSOCI ATE EDI TO R Park Ok-soon EDITORI AL BOARD Cho i Joon-s ik, Han Kyung-koo , Han Myung-hee.

Kim Hwa-young , l<im Moon -hwan .

Kim Young-na , Rhee Jin-bae SU BSCRIPTION Price for annual subscription : Korea WlS ,000, As ia by air US$33,

elsewhere by air US$37 Price per issue in Korea W4 .500 Subs c ripti on/c irc ulatio n co rrespo nde nee : THE U. S. AND CANADA Yeong & Yeong Book Company 1368 Michelle Drive St. Paul, MN 55123-1459 TeL 1-651-454- 1358 Faxc 1-651 - 454 -3519 OTH ER AREAS INCLUDING KOREA The Ko rea Foundation 1376-1 Seocho 2-dong , Seocho-gu,

Seoul 137-863, Korea Te l , 82-2-3463-5684 Faxc 82-2 -3463 - 6086 ADVERTIS ING CNC ad .

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Seoul 133- 121 . Korea TeL 82-2-468-0361/5

The Land of Dolmens 8

Korean Dolmens: Unique Aspect of the World Megalithic Culture Ji Gon-gil

Koreana Internet Website httpd/ www.k oreana.or.kr

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

14 Overview of Korea's Dolmen Culture Lee Young-moon

22

Ancient Dolmen Traditions Remain Alive Today Ji Geun-hwa

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

Koreana . registered as a quarterly maga zine with the Ministry of Cultu re and Tourism [Regist ration No Ba-1033. dated Aug. 8, 1987]. is also published in Chinese . French, Spanish , Arabic, Russian , Japanese. and German.

28

FOCUS

Korea's Nonverbal Performance Groups Garner Acclaim on the World Stage I Kim Jong Whee

34

INTERVIEW LEE AE·JOO

Master of Korean Dance with a Public Consciousness Dolmens are imp ressive monume nts of a megalithic cu lture of ancient peop les. As home to roughly half of th e world's dolmens. Korea can rightfully be called "the land of dolmens."

The dolmen on the cover. situated at Bugeun-ri.

Ganghwa, is a notable example of the 29.510 megalithic art ifacts found on the Korean Peninsula.

Photography: Joo Byoung-soo.

40

ARTISAN OH OK-JIN

True Master of Letter Engraving I

46

ChoiTae-won

MASTERPIECES

Creating Masterful Paintings from Brush and Ink

50

I Kim Moon-hwan

I Hongsun-pyo

ART REVIEW

4th Seoul International Media Art Biennale: "Dual Realities" I Yoo Jin-sang

56

DISCOVERING KOREA RAIMUND ROYER

Blue - eyed Practitioner of Korean Oriental Medicine

60

I Whee Min

ON THE GLOBAL STAGE

Professor Kang Hyo Helps to Nurture Korea 's Young Musicians I Pa.r k Yongwan

64

ON THE ROAD

In Springtime, Namhaedo Island Sparkles Anew

72

CUISINE

Ssuk : Basic yet Versatile Herb

76

I Ko Doo-hyun

I Chun Hui-jung

LIVING

Korea 's First Astronauts Prepare for Launch into Space

81

I umso-hyung

JOURNEYS IN KOREAN LITERATURE

LEE HYE-KYUNG Mending the Cracks Between Islands Adrift in the City The Shadow I

Translated by I-Jin Jang & Grant Surridge

I Hwang Do-kyung

egalithic culture is a general term that refers to the cultural aspects and ritual activities related to burial or sacrificial practices, including relevant structures built of large stones. Various megalithic relics are found throughout the Eurasian expanse, primarily along coastal and island regions, such as the Atlantic Ocean's eastern coast, the Mediterranean Sea, the Indian Ocean, and the Pacific Ocean's western coast, but not in the colder areas of the northern regions. These megalithic relics can be generally categorized into menhirs, menhir alignments, stone circles, and dolmens. Of these, dolmens are the most common prehistoric monuments used for burial purposes.

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Uprig ht stone alig nments (aven ues) of Carnac , France ; some 3,0 00 menhirs are arrang ed in 10 or so rows , along a di sta nce of 4 kilometers, creating a grand spectacle.

Easter Isla nd is home to so me 550 stone sculptures , known as Moai , some of whi ch have an estima ted we ight of 90 to ns.

Stone henge , on England 's Salisbury Plain , is one of the best- known megalithic monuments , featurin g a circular arra nge ment of menhirs .

Mega lithic relics are primarily fo und througho ut coasta l an d isla nd reg ions, such as the Atlanti c Ocea n¡ s east coast , the Mediterranean Sea, the Ind ian Ocea n, and the Pacific Ocea n¡ s west coast. Roughly ha lf of the world's dolmens are fo und on the Ko rea n Pe nin su la.

10 Koreana I Sp ri ng 2007

Diversity of Megalithic Relics Menhirs are among the most basic type of megalithic relics, consisting of a single, upright stone, measuring one to three meters in height. Menhir relics, which are rarely seen on the Korean Peninsula or throughout the Northeast Asian region, originated from phallism, religious worship of the male sex organ, as a symbol of fertility and abundance.

In the region of Brittany, France,

there are examples of huge menhirs, reaching heights of up to 10 meters.

Lines of stones or alignments of single or multiple rows of menhirs are found primarily in Western European countries, such as France and England.

In all likelihood, these relics are related to some form of sun worship, since their alignment often coincides with the sun's position on the solstice. In Carnac, France, some 3,000 menhirs are arranged into 10 or so rows, along a distance of 4 kilometers, creating a grand spectacle.

Generally, arrangements of menhirs into circles are thought to have served as altars or sacred grounds for sun-worship rituals. The world-famous Stonehenge, situated on England's Salisbury Plain, is the most representative of these relics; archaeological excavation and research have revealed that its construction was started in about 2800 B.C., and then required another 1,200 years to be completed.

In general, a dolmen consists of several flat stones, which are positioned above ground to form a rectangular burial chamber covered by a

various regions, dolmens are built with an underground burial chamber that is covered by a capstone just above or at ground level. In contrast to the megalithic relics of Europe, which served as ritual structures related to sun worship and other beliefs, dolmens were typically used as burial tombs. Among megalithic relics, dolmens are the most actively studied, due to their significant number and variety of structures. Dolmens also involve a wide range of burial methods, and while the majority of dolmens on the Korean Peninsula and elsewhere in Northeast Asia are examples of singleburial tombs, some dolmens found in Western Europe served as multiple-burial structures. The remains of 20 corpses have been recovered from a single dolmen, within a burial chamber measuring only 1.65 meters by 1 meter, in the Eure area of France.

Background of Megalithic Culture In general, relics of megalithic culture were produced during the prehistoric period, ranging from the Neolithic Age to the Bronze Age, although there are various adjustments to this timeframe due to regional differences. The

megalithic relics of Western Europe, which could be called the center of megalithic cultural studies, were built over a period of 3,000 years, from about 5000 B.C. to 2000 B.C. The dolmens of Northeast Asia, including those found on the Korean Peninsula, in the Liaoning and Jilin provinces of China, and Kyushu, Japan, appear to have been built during the first millennium B.C., which corresponds to the Bronze Age for this region. Yet megalithic culture is also known for its long-term existence, as seen in the fact that megalithic cultural traditions survived until recent times in

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Southeast Asia and areas of Oceania.

Archaeologists have long been interested in the formal and structural traits that these relics share, despite the existence of such a broad range of temporal and spatial characteristics. For example, the round holes found in the support stones of dolmens on India's Deccan Plateau, and in western Caucasus, are found in Western Europe as well, particularly in the Oise area, north of Paris, France. Even up through the mid-20th century, various European archaeologists suggested that there might be a connection between these structural characteristics.

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Spring 2007 I Koreana 11

The cultural relics that first attracted the attention of European diplomats and missionaries who visited Korea in the late 19th century were the dolmens scattered about the peninsula. There were many Korean dolmens that showed structural similarities with the dolmens found in various European regions. In this way, dolmens became the first Korean archaeological relics to be introduced to the Western world.

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Northern type dolmens were bu ilt with broad slabs to fo rm a cham ber above ground, which was cove red by a ca pstone, often of massive pro portion s. Due to th eir resemb lance to a ta ble. they are known as "table dolmens."

So uth ern type dolmens often inclu de d a series of supp ort ston es. upon whi ch the capstone would be posi tioned . Other fo rms wo uld have no support st ructure , in which case th e capstone was placed directly onto th e gro und .

12 Korea na I Sp ri ng 200 7

Northeast Asia's Megalithic Culture Megalithic cultural relics on the Korean Peninsula include a predominance of dolmens, along with a few menhirs.

The dolmen culture of the Korean Peninsula forms the center of a Northeast Asian megalithic cultural sphere, which extends from northeast China to Kyushu, Japan. Studies have found that the highest concentrations of dolmens

are situated in the northwestern areas of the Korean Peninsula, including Pyeongannam-do Province and Hwanghae-do Province, as well as the western coasts of Korea, along Jeollanam-do Province and Jeollabuk-do Province. The gently sloping topography, ample waterways, and rolling hills of these regions made them attractive locations for prehistoric people to settle. This is also evident from the location of today's major cities.

Although there are some solitary dolmens, the majority is found in clusters of about 10 or so. But there are several clusters that include tens and even hundreds of dolmens. Some 400 to 500 dolmens can be found along a 2-kilometer tract of land in Sanggap-ri, Gochang, Jeollabukdo Province, while another cluster of about 850 dolmens has been discovered in the areas ofYeontan and Hwangju of Hwanghae-do Province. Although no

accurate statistics have been compiled on the distribution of dolmens on the Korean Peninsula, and surrounding areas, various project surveys of certain regions have been undertaken. Over 20,000 dolmens have been identified thus far in Jeollanam-do Province, where the bulk of the surveys and studies of dolmens have been conducted. This region, which features the highest concentration of dolmens in Korea, offers a general guide to the distribution of dolmens throughout the Korean Peninsula.

Northern and Southern Types As such, the Korean Peninsula is recognized for having a higher concentration of dolmens than any other area in Eurasia. The dolmens of the Korean Peninsula and surrounding areas can be grouped into northern type and southern type, based on their structural char-

acteristics, such as whether the burial chamber is above or below ground. The northern type dolmen, which was generally built above ground, consists of a chamber enclosed by four stone-slab walls that was covered by a capstone larger in size than the chamber area. In comparison, the southern type dolmen includes a burial chamber that was dug into the ground, while stone mounds placed along the perimeter of the chamber area or a few support stones supported the capstone. Some have no support structure, in which case the capstone was placed directly onto the ground. The northern type is found in the northern regions of the Korean Peninsula and adjacent northeastern areas of China, while the southern type is associated with the southern regions of the Korean Peninsula and Kyushu, Japan. A boundary between the two

types could roughly be drawn along the Bukhangang River.

Unlike the varied megalithic cultural relics of Western Europe, dolmens make up the majority of such relics in Northeast Asia. Also, there are no known examples of stone-row or stone-circle arrangements. In contrast to Northeast Asian dolmens, which can be grouped into northern type and southern type, based on their structural characteristics, the dolmen types of Western Europe include passage graves, single chambers, gallery graves, and other forms. Also, the majority of Northeast Asian dolmens are built with a single burial chamber, while dolmens in Western European include structures for multiple burials.

These differences in megalithic culture can be attributed to the influences of regional characteristics, related to geographical and historical factors. ra1

Sp ri ng 2007

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Koreana

13

comparison of Korean dolmens, with those of China and Japan, can provide insight into the prehistoric cultural exchanges of the Northeast Asian region, the origins and development of dol~ens, and the hierarchal structure of Korean society during the Bronze Age. In recognition of this, the dolmens found in the Gochang, Hwasun, and Ganghwa areas have been registered as World Cultural Heritage No. 977.

1, 2 A tab le dolmen consists of a tomb cham ber, built with two or fou r broa d stone sla bs, whi ch would be cove red with a flat , broad capston e. Fo r thi s type of dolm en, th e co rpse wou ld be la id within the ab ove-groun d tom b cham ber.

3, 4 A num ber of dolme ns were di scovered at Chilg ok, Gyeo ngsang buk -do Province, duri ng co nstructi on of th e high-speed railway proj ect, which are now being excavated. Stone blades and arrowheads have bee n re covered from the to mb cha mbers.

16 Korea na I Sp ri ng 2007

olmens are the characteristic relics of Korea's prehistoric era as well as a megalithic culture that flourished among ancient peoples the world over.

As the most common type of various megalithic monuments, a dolmen generally consists of a tomb chamber enclosed by upright stone walls that are covered by a large capstone. Dolmens were built in Korea during a period of about 1,000 years, from sometime prior to 1000 B.C. through about 200 B.C. These megalithic monuments were built as symbols of social standing or objects of religious belief.

In terms of their numbers, as well as variety of form and scale, the dolmens of Korea are distinctive from those found anywhere else in the world. A

D

Various Form and Structure Dolmens of various forms can be found in Korea. In terms of external appearance, dolmen styles can be classified as table, checkerboard, covered, and closed. Table dolmens are generally constructed of four stone-slab walls arranged to form an above-ground tomb chamber with a capstone, which can look like a crude table. So-called checkerboard dolmens consist of a capstone positioned atop four to ten support stones, which is said to resemble an oversized game board. Generally, covered dolmens include a stone chamber that is set into the ground and then covered with a large capstone, like a coffin.

Most covered dolmens were used as burial tombs, as indicated by the accompanying funerary items. Closed dolmens feature capstones laid upon stone-support slabs that completely enclose the burial chamber, leaving no open spaces; they are also known as Jeju dolmens because of their close association with Jejudo Island. Table dolmens are found worldwide, but checkerboard dolmens are unique to Korea.

The structure beneath the capstone is another distinguishing characteristic of dolmens. Various examples include expansive chambers measuring tens of meters per side, as well as rectangular and oval tombs. Support stones that match the capstone form and elaborately designed tomb chambers are also unique elements of the dolmens in Korea.

Notable Burial Items Relics unearthed from Korean dol-

mens can be roughly divided into burial items from within the tomb chambers and ceremonial artifacts found around the stone structures. Burial items include weapons, earthenware, and personal accessories, but the most common artifacts are stone blades and arrowheads. Often, only a single stone blade would be buried with an individual corpse, although as many as several dozens of stone arrowheads might be included. Bronze artifacts, such as luteshaped swords which are thought to have been associated with certain social classes, have been unearthed in the southern areas of the Korean Peninsula, around the Yeosu Peninsula, and along the southern coastline. Ceramic items recovered from dolmens include redpolished earthenware and those with painted patterns.

Crescent-shaped and cylindrical jade beads, assumed to have been used as earrings, jewelry accessories, and clothing decoration, and other personal items

have been unearthed from various sites.

Numerous ceremonial artifacts have been found in a broken state, probably discarded burial items or everyday stoneware and earthenware that were intentionally broken as part of ceremonial rituals related to the burial or dolmen construction.

Among the burial items, the redpolished earthenware is of particular significance. Since red is associated with the color of blood and its ability to fend off evil spirits, red earthenware was meant to symbolize revival in the afterlife and protection from misfortune.

Stone and bronze blades, which were status symbols of the dolmen occupants, were also believed to be useful in the next world. As burial items, the stone blades are unique to Korean dolmens.

Extraordinary Feats of Construction To build a dolmen, the most fundamental and difficult tasks involved the efforts required to quarry and transport

Sp ri ng 2007 I Ko reana

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Presumed Dolmen Const ruct ion Process

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Holes are dug to sec ure the support stones.

The support sto nes are covered with a mo und of ea rth and rubble to provide a solid surface for posit ioni ng the capsto ne.

Logs are laid onto th e moun d surface, while ropes and leve rs are used to position the capstone atop the support stones.

The mound of earth and rubble is removed.

18 Korean a I Spri ng 200 7

the capstone. Most capstones were shorn off from mountain boulders or cliff faces. In all likelihood, levers or wedges were used along cracks or seams in the stone to shear off large slabs for making capstones. Once a suitable stone slab was extracted, it was shaped into a rectangular or oval capstone.

Building a dolmen required the mobilization of a variety of specialists, along with a sufficient number oflaborers. In order to mobilize such a significant amount of manpower, it was necessary for a society to have an agriculturebased system, which enabled a certain level of labor specialization. In addition, a kind of hierarchal social structure,

centered on a chief or leader, was essential as well. It can also be presumed that social standing played a key role in determining which individuals would be interred in the dolmens.

The construction process called for advanced masonry techniques to extract stone slabs from mountain cliffs and to trim them into proper shapes, in addition to innovative engineering methods for their transport and accurate placement onto stone supports. The majority of dolmen capstones weighed less than 10 tons, but larger ones could weigh from 30 tons to 40 tons, and even more than 100 tons. Even with today's heavyconstruction machinery it would be no easy task to maneuver such a massive stone. As such, the large dolmens of Korea are a testament to the truly extraordinary feats of construction that ancient Koreans were able to achieve, without the aid of modern equipment.

Gochang Dolmens The dolmens of Gochang are located in Jungnim-ri, Gochang-eup and Sanggap-ri, Asan-myeon of Jeollabuk-do Province. The dolmens in these areas, which have been excavated since the 1960s, are located along a continuous mountain range. They form the largest group of dolmens in Korea. On the southern slopes of the mountain range,

A covered dolmen generally cons isted of a tomb chamber that was set into the ground , and covered w ith a broad, flat stone , to create a stone coffin. Various funerary items have been recovered from this type of dolmen.

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A checkerboard dolmen features a massive capstone pos itioned atop a series of four to ten support stones.

centered at Jungnim-ri, 442 dolmens are arranged to match the land contours, grouped into six clusters in Jungnim-ri and four clusters in Sanggap-ri. Here, the terrain includes a broad plain with gentle hills alongside the Gochanggang River, making the area ideal for farming.

Around the hills on the other side of the Gochangcheon Stream, to the south, are the Dosan-ri dolmens, the largest concentration of table dolmens in southern Korea.

A noteworthy point about the Gochang dolmens is that all 442 are crammed within a small area of only 1.8 square kilometers. Since this area features the highest density of dolmens in Korea, it could be called a treasure trove of Korea's megalithic culture. In particular, while the table dolmens of Dosanri, like the dolmens of North Korea and Liaoning Province in China, are built with rather thin capstones having a large overhang, the table dolmens of Jungnim-ri are characterized by low-standing stone chambers and thick capstones, a notable departure from the conventional table-type style. Most of the dolmens of Gochang are of the checkerboard type, with rectangular capstones having a distinctive megalithic character. The capstone of the largest of these dolmens is 5.8 meters long, 5 meters wide, and 2 meters thick. Some of the

checkerboard dolmens have pillar-like support stones and capstones that convey a sense of surreal magnificence, which serves to differentiate the Gochang dolmens from those of other areas.

Another characteristic of the Gochang dolmens is their notable lack of burial items. Shards of plain earthenware have been recovered from various dolmens in the area, but many have an absence of burial artifacts. A piece of earthenware with a band around its circular mouth was found in a recently excavated stone chamber without a capstone, but no otherwise common grave items, such as stone blades or arrowheads, have been recovered here.

Hwasun Dolmens The Hwasun dolmens are found in Hyosan-ri, Dogok-myeon and Daesinri, Chunyang-myeon of Jeollanam-do Province. First discovered in 1995, the Hwasun dolmen group comprises 596 structures grouped into 10 clusters along the eastern slope of a IO-kilometer-long valley, connecting Hyosan-ri with Daesin-ri. The dolmens were discovered amid dense forest growth, in an area with little interaction with people, which enabled the structures to be well maintained in their original state. Additional dolmens can be found in a valley about one kilometer from the broad plains of the Jiseokgang River, as well as in and around nearby villages and surrounding plains and hills.

Of particular significance, the stones for building the Hwasun dolmens are known to have been quarried from a nearby mountain slope. The stone at this quarry area is mainly volcanic tuff, with well-developed vertical seams, making them ideal for the extraction of stone slabs. At the quarry and surrounding areas, there is evidence of quarry activity as well as unfinished stones. Combined with information about the various dolmens found helow the quarry area, this provides considerable insight into the development of the Hwasun dolmens.

Spring 2007 I Koreana 19

20 Koreana I Sp ri ng 2007

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The Hwasun dolmens, which were discovered

by Professor Lee Young -moo n in December 1995, rema in in an excelle nt state of preservation because they are situated beyond the dense growth of a forest area.

Some of the checkerboard dolmens have pillar-like support stones and capstones that convey a se nse of surreal magnificence, wh ich serves to differentiate the Gochang dolmens from those of other areas.

The Ganghwa dolmens are located in such areas as mountain slopes, hills, flatlands, and mountain ridges . They are scattered randomly rather than arranged in clusters.

It is presumed that wedges and spikes we re driven into the seams and cracks of stone surfaces to shear off slabs from boulders and cliff faces.

Stones from the Suncheon reg ion , whi ch borders Hwasun, provide evid ence of the use of wedge implements during the quarrying process.

Another characteristic of the area is the distribution of a significant number of large-scale checkerboard dolmens and sacred dolmens built for ceremonial rituals. The largest dolmen in Korea, in terms of weight, is located at Daesin-ri.

Its capstone, which measures 7.3 meters in length, 5 meters in width, and 4 meters in thickness, is estimated to weigh some 200 tons. Some dolmens there are surrounded by flat stones that form a square or oval perimeter to designate the boundaries of a tomb site or sacred grounds. The sacred dolmens were constructed to serve as megalithic monuments rather than burial tombs.

The Daesin-ri dolmens include a variety of tomb chambers, such as dolmens joined together by flagstones and those with only support stones. Burial items found within the tomb chambers included spindle wheels (from two sites), and fragments of red and plain earthenware. A wide variety of artifacts have been recovered from around the tomb chambers, including stone arrowheads, chisel and adze tools, swords, mortar and pestle implements, and numerous shards of plain and red-polished earthenware. Radiocarbon dating of charcoal recovered from the tomb chambers of these dolmens estimated a date of 555 B.C., while thermoluminscence dating of earthenware remains calculated a date of770 B.C. Ganghwa Dohnens The dolmens of Ganghwa are situated in Bugeun-ri, Samgeo-ri, Gocheon-ri, Osang-ri, and Gyosan-ri, Ganghwa-gun, Incheon Metropolitan Area. They include 127 dolmens found on the northern slopes of Mt. Goryeosan, which are scattered randomly rather than arranged in clusters. These dolmens have long been known for its historical significance. There is a total of 66 well-preserved dolmens in the Ganghwa area that have been designated as world cultural heritages: 16 in Bugeun-ri, 9 in Samgeo-ri, 18 in Gocheon-ri, 12 in Osang-ri, and 11 in Gyosan-ri.

The Ganghwa dolmens are located in such areas as mountain slopes, hills, flatlands, and mountain ridges. The dolmens of Gyosan-ri and Gocheon-ri are found on mountain ridges, while the dolmens ofBugeun-ri and Samgeo-ri are scattered about flatland plains. Located on a plateau below the northern slopes of Mt. Goryeosan is the renowned table dolmen of Bugeun-ri, which is the largest of its kind in Korea. It stands 2.6 meters high, with a capstone 6.5 meters long, 5.2 meters wide, and 1.2 meters thick. Only two of the dolmen's support stones remain in place, giving the interior of the stone chamber the appearance of a passageway. Judging from its grand stature, which enabled the imposing structure to be easily seen from afar, this dolmen likely served as a monument or ritual altar.

The dolmens of Gyosan-ri and Gocheon-ri are found along mountain ridges. In Gyosan-ri, 11 dolmens line the northern ridge of Mt. Bongcheonsan, at an elevation of 200 meters above sea level, while in Gocheon-ri there are 19 dolmens around Naktabong Peak, west of Mt. Goryeosan.

At Osang-ri, of Naega-myeon, 13 dolmens have been excavated and restored. There is also a cluster of 12 small table dolmens located west of Mt. Goryeosan. A variety of stone artifacts, such as blades, arrowheads, disc-shaped axes, and knives, as well as fragments of red-polished earthenware, has been unearthed here.

Most of the Ganghwa dolmens are table-style dolmens, which include burial tombs and monuments. With the exception of the large-size dolmens of Bugeun-ri and Samgeo-ri, most of the dolmens are small burial tombs. The Ganghwa dolmens are also unique in that several are located along high mountain ridges. A majority of dolmens are found at flatland plains alongside rivers and waterways, at the base of mountains, and in hilly areas; however, the dolmens of Gocheon-ri are situated atop mountain ridges and peaks. 1..t Spring 2007 I Koreana 21

A dolmen in the backyard of a farm house in Gochang. Jeollabuk-do Province. Dolmens are often revered as sacred objects due to a belief that they were capable of harboring divine spirits or havin g magical powers.

2 Dolmen-theme festivals help people to acquire an understand in g of Korea's little-known mega lith ic cult ure. The Ganghwa Dolmen Cult ure Festiva l in cludes a live demonstration of the process of const ru ct ing a dolmen .

n Korea, many people, especially commoners, have long respected and worshipped dolmens. Due to a belief that these megalithic structures are capable of harboring a soul, they have been revered as sacred objects that can grant people's wishes. And because people believed that anyone who might damage a dolmen would bring serious misfortune to himself and his descendants, this notion has helped to preserve the natural state of dolmens for thousands of years.

I

Religious Objects Seven dolmens stand side by side in a hilly area of Jangsan-ri, Taean-gun, Chungcheongnam-do Province. Until quite recently, the village residents have regularly offered sacrifices to these dolmens. In particular, on the eve of the 24 Koreana I Spring 2007

first full moon of the lunar year, the village women would gather here to pray for good fortune in the upcoming year.

The dolmens have no support stones, consisting only of capstones partially burrowed into the ground. In fact, at first glance they do not look like dolmens. The local residents thought that it was highly unusual for seven stones to be placed in such an arrangement, so they came to call this duster of dolmens the "Stones of the Seven Stars of the Big Dipper," which was believed to possess divine powers.

Another well-known dolmen in Gonam-ri, Taean-gun is the "General Rock," where passersby would offer a prayer, due to a belief that it had the power to grant wishes. In Hwasun-gun, Jeollanam-do Province, there is a dolmen known as "Pingmae Rock," which is related to a legend about the Fairy Grandmother.

It is said that when the Fairy Grandmother heard that 1,000 images of the Buddha and 1,000 pagodas were being built at the nearby Unjusa Temple, she picked up a huge stone and headed toward the temple. But along the way, she was told that all the images and pagodas had already been completed, so she laid the stone down there and departed.

Pingmae Rock is also associated with other traditions related to a large hole in its surface. It is said that if a pregnant woman tosses a coin and it falls into the hole, she will bear a son; but if it misses the hole, she will have a daughter. It is also said that if an unmarried couple toss a coin that goes into the hole, they will marry soon; but if not, marriage is not in their future. Nowadays, you can see people tossing coins at the Pingmae Rock, for fun or a glimpse into the future. In this way, dolmens are not simply relics from an ancient era, but the source of legends and objects of prayer for well-being and good fortune, which are shared by all people.

Educational V aloe Well-maintained dolmen parks and

dolmen-theme festivals, with a variety of events, help to bridge the gap between prehistoric eras and modern times. Suncheon Dolmen Park, in Suncheon, Jeollanam-do Province, was developed to preserve the dolmens that were in danger of being submerged by the construction of a new dam. The Suncheon city government excavated the cultural relics, scattered throughout 49 sites in 9 townships, in the areas of Suncheon, Boseong, and Hwasun, that would have otherwise been flooded by the reservoir waters. As a result, a variety of dolmen clusters and monoliths were relocated into their new home at Suncheon Dolmen Park, which features 147 recovered dolmens, 5 models of various types of dolmens, 2 monoliths, 6 dugout dwellings, and a Paleolithic shelter.

The Yanggu Prehistoric Museum, in Yanggu-gun, Gangwon-do Province, includes outdoor displays of dolmens, while Gochang-gun, Jeollabuk-do

Province and Hwasun-gun, Jeollanamdo Province have also developed dolmen parks, featuring dolmen clusters. In addition, plans are being prepared to build a large-scale dolmen park in Ganghwa-gun of the Incheon Metropolitan Area, to highlight the Ganghwa dolmens, which have been designated world cultural heritages and national Historic Site No. 137. Ganghwa Dolmen Park will feature a museum of prehistoric relics, an outdoor area for the display of models of dolmens from around the world, and exhibition areas that demonstrate the construction process of dolmens and the life of primitive people, thereby providing visitors with a broad overview of dolmen-related culture ..

These dolmen parks include wooded recreational areas, walking paths, and convenience facilities, making them an ideal destination for family outings. They also offer educational experiences for learning about nature and

related subjects, such as the lifestyles of ancient Koreans.

Dohnen-theme Festivals Recently, dolmen-theme festivals have been organized as tourism resources, based on local characteristics.

In Ganghwado, an annual dolmen festival is held to promote the world-acclaimed Ganghwa dolmens. Since its launch in 1998, the Ganghwa Dolmen Culture Festival received a huge boost when the local dolmens were recognized as world cultural heritages in 2000 , which has resulted in a steady increase of its scale and diversity. A wide variety of activities are offered to satisfy the interests of festival -goers, including hands-on experiences of primitive life, such as dolmen building, stoneware and earthenware making, fire lighting, dugout dwelling life, stone-ax throwing, and ancient hunting. There are also various visitor activities that include histo-

Sp ring 2007 I Koreana 25

2

The sout hern type dolmen of the Hwasun region , with its low support stones and flat capsto ne, provid es a convenient surface for the drying of red peppe rs.

In Hwasun and neighboring Gurye, Jeollanam-do Provin ce , large-scale dolmens still stand am idst crop fie ld s. In this way, the dolmens of ancient times continue to exert their influence on the everyday life of modern Koreans.

26 Koreana I Spring 2007

ry-related tours, to fully capitalize on Ganghwado's abundance of historical attractions.

Hwasun-gun, Jeollanam-do, also stages a dolmen festival to publicize the cultural value of the Hwasun dolmens, which likewise have been designated world cultural heritages. The Hwasun Dolmen Festival, the first festival of its kind in Jeollanam-do Province, is presented along with an academic forum, in which dolmen researchers, UNESCO committee members, and other specialists gather to discuss the preservation of dolmens and their utilization as tourism resources. There is another dolmen exhibition area in Gochang-gun, Jeollabukdo Province.

The dolmen festivals focus primarily on hands-on activities. Festival-goers can thus enjoy such events as fishing,

stone-ax throwing, and dolmen building, to get a taste of everyday life back in the Bronze Age. Even local residents, who have lived alongside dolmens all their life, can gain a deeper understanding of the dolmen culture through these events. As such, the dolmen festivals help to create delightful memories as well as valuable learning experiences for children.

The dolmen festivals also bring to the forefront each region's specialty products and local characteristics, in an effort to optimize their regional flavor.

Visit a dolmen festival to see how dolmens continue to play a role in the life of modern people, as objects of religious belief and educational value, while also serving as sources of energy and inspiration for the harried masses of today's society. t;t

rofessor Park Chang-born first acquired an interest in dolmens in 1997, and has since been crisscrossing the country to conduct on-site inspections.

What peaked his interest in dolmens were the cup-like markings carved onto their surfaces. To Park, dolmens with cup marks are archaeological relics as well as astronomical artifacts.

Cup marks did not appear naturally on dolmens, but were intentionally carved by the people who built them, as some kind of symbol or expression. Then, what might these people have been seeking to express with these cup marks? The Korean term for "cup mark" literally means "fertility hole." As such, there is a general consensus among academic circles that. the marks are symbols of fecundity and abundance. Professor Park concurs that the cup marks are rooted in a religious belief that sought well-being and prosperity. But, he emphasizes that this is not the whole story.

"People long ago also pondered the existential question of what happens to us after death. Constellations drawn on the walls of tombs during the Goguryeo period (37 B.C.-A.D. 668), and the Silla period (57 B.C.-A.D. 935) are evidence of this kind of view toward life and death. For example, Ursa Major is a symbol of death as well as resurrection. But these views of life and death would not have appeared suddenly. It is natural to assume that this re-

P

Park Chang-born A researcher in Korea, who has extensively studied dolmens for nearly a decade, has reached a startling conclusion: dolmens are not only archaeological relics, but astronomical artifacts as well.

Cup marks did not appear naturally on dolmens, but were intentionally carved by the people who bui lt them, as some kind of symbol or expression. It is highly likely that the cup marks were meant to represent constellations.

suited from a tradition handed down from one generation to another."

Since Goguryeo and Silla tombs were decorated with constellations, and considering the fact that dolmens were the tombs of ancient peoples, it is highly likely that the cup marks were meant to represent constellations. Indeed, there are several examples of cup marks that are arranged in the form of constellations. A representative example is the cup marks on a dolmen in Yegok-ri, Haman-gun, Gyeongsangnam-do Province, which depict various constellations, such as the Milk Dipper (part of Sagittarius).

"Worldwide, southeast was the most favored direction for grave sites during the megalithic cultural age. Although Korea's dolmens do not all face in a specific direction, the cup marks carved onto the dolmens are all clearly oriented toward the southeast. This means that the cup marks reflected the cultural sentiments of the prehistoric-era people."

If the cup marks were intended to depict constellations, what is the significance of this? First, the depiction of constellations with cup marks is a reflection of an agricultural society as well as a religious belief that people journey to the heavens after their death. Yet, there is an even more profound meaning.

"Modern Korean science began during the Japanese colonial period (1910 to 1945), while traditional science was introduced from China during the time of the Four Commanderies of Han (four administrative districts that Han China established in Korea in 107 B.C.). But modern and traditional science are hardly independent of each other. Yet the cup-mark constellations prove that there was an indigenous science in Korea as well."

Professor Park is thus making the case for a view that the dolmen cup marks offer a new starting point and origin for the history of Korean science. When his research of Korean cosmology is completed, he plans to present a paper on the "astronomy of dolmens." Indeed, he may well be opening a new chapter in the history of Korean astronomy. t,;t Spring 2007 I Koreana 27

FOCUS

Korea's Nonverbal Performance Groups Garner Acclaim on the World Stage Korea's nonverbal performance artists are rapidly gaining notable success on the global stage. Especially noteworthy is their ability to integrate a variety of performance genres to form a new realm of avant-garde theater.

Kim Jong Whee Cultural Critic

28 Koreana I Spring 2007

I Ahn Hong-beom Photographe r

Nanta, which is derived from Korea's traditional musical form of samulnori, features animated storylines, which are played out in a kitchen setting, along with a diversity of lively rhythms and sounds. In September 2006, Nanta performed for its one-millionth fore ign audience member.

N

onverbal performance in Korea has a brief history of only some ten

years, beginning with the launch of

Nanta [also known as Cookinl Korean performance art, though a late entry to the ranks of leading international nonconventional theater groups, such as STOMP, Blue Man Group, and Cirque du Soleil, has since attracted considerable attention from not only domestic audiences but the

fied with simply displaying the artistic ele-

worldwide performance scene as well. In

ments of Korea 's samulnori and martial

September 2006, Nanta broke the 1-mil-

arts. As such, they sought to express the

lion mark, in terms of the number of for-

joys and sorrows of everyday life, which

eign audiences, while Jump celebrated

might occur in the kitchen or ordinary

the opening of its own theater, which will

family situations, through animated dra-

be dedicated to the group's performances

ma . They created a model for success

on a long-term basis. An evaluation of the

based on an ability to integrate traditional

factors behind the remarkable success of

Korean cultural themes into their nonver-

these two forerunners of Korea's innova-

bal performances, which are presented

tive theater reveals a number of common

through comedic storytelling .

characteristics.

The two groups also set foreign-audience milestones for Korea 's performing

Broad Appeal of Korean Culture The first that the two groups discov-

arts sector. Although these groups debuted in Korea, they both envisioned mak-

ered was the global appeal and competi-

ing their way onto the global stage, based

tiveness of Korea's traditional culture.

on successful appearances at the well-

While Nanta focused on samulnori [tradi-

known Edinburgh Fringe Festival. Indeed,

tional-style percussion music performed

they went on to gain widespread acclaim

with drums and gongs). Jump developed

during world tours, and then used this

martial arts-related themes. This popu-

momentum to establish dedicated the-

larization of areas of Korea's traditional

aters in Korea for staging their perfor-

culture, through the nonverbal genre,

mances on a long-term basis.

helped to differentiate Korean nonverbal

Thanks to active marketing of their

performances on the world stage. More-

performances as part of package tours

over, neither Nanta nor Jump was satis-

for visitors to Korea, the two groups have Sp ri ng 2007 I Koreana

29

The recent phenomenon of Korea 's 8-boys has attracted the keen attention of the domestic nonverbal performance art scene. 8-boy performances, which feature their spell-bind ing maneuvers, are being integrated into such existing performance art forms as ballet, mime, and traditional Korean dance.

enjoyed growing popularity, both at home

rea , on the world stage, Korean B-boys

However, performance-art observers

and abroad.

have recently dominated several interna-

are cautious about the long-term success

Buoyed by the notable success of

tional competitions, while earning a repu-

of B-boy theater, because although there

Nanta, a number of new performance

tation as being the world's foremost B-

seems to be tremendous possibility for

groups have sought to follow in their foot-

boy dancers. Performance agencies have

successful ventures, from the outset,

steps, but the results have been mixed .

come to realize this and are thus racing to

competition has been extremely fierce,

Tokebi Storm and DoodRock offer enter-

be the first to launch a host of new perfor-

and the market can only support the most

taining performances; however, they have

mances to Korean audiences. 'The Balle-

popular productions. Ultimately, it is likely

failed to clearly distinguish themselves

rina Who Loved a B-boy," which has seen

that a small handful of performances

from the Nanta brand of nonverbal the-

steadily growing popularity over the past

might survive, while the remainder is

ater. On the other hand, Jump highlighted

year since its opening at a theater in front

doomed to failure. Perhaps aware of this

elements of martial arts, rather than per-

of Hongik University, a kind of mecca for

harsh reality, the agencies that promote

cussion instruments, which enabled it to

youth culture, is now encountering inten-

B-boy performances are being especially

create a unique image, which was distinc-

sified competition from B-Boy Korea, cre-

careful and varied in their marketing

tive from that of Nanta. After this decade-

ated by the agency that represents Nanta,

strategies.

long process, Korea's nonverbal perfor-

as well as Picnic, the management

mance scene is now building a platform

agency of Jump.

The agency behind Nanta, which is leading the way in pioneering an overseas

for another takeoff, which seeks to capi-

Jump has contributed greatly to the

market for Korean innovative theater,

talize on the recent emergence of Korea 's

B-boy performance phenomenon. Where-

seeks to apply the lessons learned from

sensational B-boy culture.

as Nanta is centered on the Korean

its trial-and-error experiences to properly

sounds of samulnori, Jump performers

develop the international competitiveness

execute the high-precision maneu-

of B-Boy Korea . For now, its strategy calls

Potential of Korea's 8-boy Culture Although Korea's B-boy culture has long been considered merely a

vers of martial arts routines. As

for refinement of the show

for the recent clamor about B-

through long-term perfor-

boy culture, it is related to their

mances in Korea so that a highly

truly extraordinary movements, which are perhaps even more physically demanding than those of martial arts. Although Korea's B-boy culture is not rooted in Korean tradition, the stellar reputation of Bboys from Korea has been firmly established worldwide, making this area another form of theater performance art, and a potential successor to Nanta and Jump.

I Spring 2007 I Koreana 31

Jump, which performed at the 2005 Edinburgh Fringe Festival and was th e No. 1 box-office attraction, combines Eastern martial arts, such as taekwondo, kung fu , and taekkyeon, with comedic elements to create a dazzling form of martial-arts entertainment.

competitive product can be developed for foreign audiences, before advancing abroad . The agency representing Jump, on the other hand, which got a later start than Nanta in entering overseas markets, is taking a more aggressive approach by staging their initial performance overseas. They are striving to produce a work that will first be successful abroad and then stage a triumphant return to Korea.

Need to Satisfy Audience Interests There are also concerns about the uniqueness and competitiveness of B-boy-related perfor32 Korea na I Spri ng 2007

\;

mances. Already, there are several concepts that combine 8-boy dancing with traditional instruments or comic drama, but most industry experts are assuming a waita nd-see attitude about whether these efforts can capture that new and special something of the original charm of 8-boy culture. There are also those who worry that if these fads fail to exhibit a new form of artistry, this could well result in a loss of the opportunity to transform the exceptional talent of Korean B-boys into high valueadded performances on the world stage.

The noteworthy successes of Nanta and Jump have contributed much to the rapid growth and development of nonverbal performance art in Korea over the past ten years. In contrast, the recent efforts to combine 8-boy culture with other forms of entertainment are now at only a fledgling

phase. ¡But, one difference is that the accumulated production and marketing know-how will enable new productions to be introduced to the market within a shorter timeframe . Not only 8-boy culture, but other forms of innovative theater as well, must attain a more mature level by developing subject matter from everyday life and constantly engaging in creative experimentation.

Korea's nonverbal performance art finds itself standing at a crossroads, while preparing to launch another ten years of entertaining performances. It is hoped that the recent addition of B-boy culture will result in varied forms of diverse artistry, while creating new momentum for Korea 's innovative theater. t.;t

n June 29, 1987, at the Acropolis Plaza of Seoul National University, students had been steadily gathering since noon to participate in the school's launch ceremony for the June 29 Peace March. It was known that certain professors had helped to organize an anti-government dance performance, in support of the students. Indeed, the atmosphere there could not have been more tense with anticipation . Then, a petite, yet charismatic, woman appeared on stage and began to perform.

Lee Ae-joo Master of Korean Dance with a Public Consciousness

Fanning the Flames of Democracy The opening act was "The Seed," an introduction to life; the second and third acts were 'Water" and "Fire," portraying a fierce clash between the ruthless forces of death and the grassroots populace. The final act was 'The Flower of Hope," an appeal for resurrection. The entire performance, entitled "Greeting the Wind" [Barammaji chumpan). was performed by Professor Lee Ae-joo.

Lee remembers that day this way: 'The brisk footsteps of the students who had come to take part in the Peace March and the fluttering flags were like the blaring of horns to warn of an enemy advance. This energized me. As I prepared to take my first steps, I could hardly believe my body's movement. When I thrust my bare foot into the air toward the sky, my whole body seemed to float

Lee Ae-joo has dedicated her entire dance career to expressing the joys and sorrows of people. Above all, she is an ardent dancer, who has experienced the ups and downs of Korea's modern history, while, like some

upward . It was a free, natural movement. I just danced and danced my heart out. When I finished, the students cheered and shouted, and then poured out onto the streets. When I saw my picture in the newspapers the next day, I was astonished. I'd never seen such a dance photo,¡ or rather, such a dance move-

kind of crusader, having been on a lifelong quest to

ment. Body arching toward the sky, fists clenched tight, legs

promote traditional Korean dance.

jumping freely, coordinated hand and foot movement, which is a

Kim Moon-hwan Professor of Aesthetics, Seoul National University Lee Eun-joo Photographer

feature of Korean dance, forming an outline of the Korean peninsula . My body was making the shape of our country."

This photograph of Lee was published by the foreign press; it was a historic image that aroused interest around the world about Korea's struggle for democracy. At the time, it helped to move Korea's democracy another step forward. The struggle for democracy was ignited when Seoul National University student Park Jong-cheol died on January 14, 1987, after being beaten and tortured during a police interrogation. The clash then intensified on June 9 when Yonsei University student Lee Han-yeol was killed after being struck by a tear-gas canister thrown by riot police, who sought to quell an anti-government demonstration staged by some 1,000 students in front of Yonsei University.

Thereafter, a crowd of one million citizens gathered in front of City Hall, led by the dancer Lee Ae-joo.

Sp ri ng 2007 I Koreana 35

Lee Ae-joo is a master of seungmu, a solo dance rooted in Buddhist culture. It is said to be the dance that best expresses the essence of a "stillness of movement,'" a unique characteristic of Korean dance.

Master of Traditional Dance What is the source of Lee's boundless energy? First, it would

do, and returning to a four-count beat, until her sleeves are dramatically unfurled at the conclusion .

be helpful to review her lengthy dance career. Born in 1947 in Bongsan, Hwanghae-do province, Lee began to learn dance at the age of seven . While studying under Kim Bo-nam (1911-1964)

Overcoming Hardship That Lee Ae-joo has been designated a title-holder of seung-

of the National Center for Korean Traditional Performing Arts,

mu , an Important Intangible Cultural Heritage that requires

Lee met Han Yeong-sook (1920-1989) in 1969, whose instruction

extraordinary technique, reflects the epitome that she has

enabled her to master seungmu, the Buddhist monk's dance.

attained in her dance artistry. But just as importantly, Lee 's

Han was the granddaughter of Han Seang-jun (1875-1941). a

dance is intertwined with her desire to alleviate the oppressive-

pansori master who helped to promote Korea's traditional dance

ness of society. Because of this , after graduating from the

and song as a form of performing arts.

Department of Physical Education at Seoul National University,

Most people think of seungmu as a dance performed by Bud-

she enrolled in the Department of Korean Language and Litera-

dhist monks at religious ceremonies, but this is not entirely true.

ture the following year. Her original purpose was to study dance

It was also a solo dance that would be performed at secular ban-

from a more academic perspective, but this department was also

quets and festivals by a dancer wearing a flowing white Buddhist

where the leaders of the student movement for democracy,

robe with extended sleeves, along with a red sash and white coni-

through the arts, would gather: Kim Ji-ha, Chae Hee-wan, Kim

cal headpiece. While being rooted in Buddhist dance, as well as

Min-gi , and Lim Chin-tack (Lee's brother-in-law). Lee taught

folk arts, including mask-dance, farmer's music, and ha/lyangmu

Korean dance to this group, who taught her about the fundamen-

(dance of prodigal noblemen, or hallyang). it was developed

tal principles of minjung (people's) ideology.

through private performances. Public performances of seungmu

Lee also passionately sought to perfect the techniques and

were staged at the end of the Joseon Dynasty (1392-191 O). thanks

spirit of salpurichum (folk exorcist dance). which Han Seang-jun

in large part to the efforts of Han Seang-jun. The dance includes

had refined . A dance to console departed souls and to celebrate

a variety of regional versions, of which the first to be designated

the living, salpurichum is highly improvisational. As such, it

an Important Intangible Cultural Heritage was that from Gyeong-

undergoes constant change, according to time and place, while

gi-Chungcheong, developed by Han. The seungmu title-holder

seeking to heighten people's consciousness of self-existence. In

had been bestowed by Han's granddaughter Han Yeong-sook

1974., her dedicated efforts were highlighted in a performance

onto Lee Ae-joo on December 31, 1996.

called "Lee Ae-joo Chumpan."

Seungmu begins slowly, with the dancer's movement being

Because of her student activism, Lee was constantly under

almost imperceptible. Then, one of the extended white sleeves

surveillance by the military government, whose primary goal was

(hansam) is suddenly unfurled, to form ripples in the air. This is

to advance Korea's industrialization. This led her to depart for the

followed by her melodious striking of the upright drum a few

United States in 1978. During her four years in New York, she did

times, to a faster six-beat rhythm. Then, to an entrancing four-

odd jobs, such as working at a supermarket and as a street ven-

beat rhythm, she performs a series of gracefully flowing move-

dor. But she maintained her desire to learn and enrolled in a

ments. She removes her hands from the sleeves to beat the

Ph.D. program at New York University, and even studied modern

drum, first slowly, then in earnest, and building up to a crescen-

dance under Martha Graham.

36 Koreana I Sp ri ng 2007

"From Martha Graham's work 'Release and Contraction,' I learned that the breathing method which dancers used was an Asian technique," Lee noted. "Once I realized this, I thought rather

her presentation of "Barammajichum" marked a culmination of this process in 1987.

"In 'Barammajichum ¡ the wind, baram, has a dual meaning. It

than learning what I already know from someone else, based on a

refers to resistance in the face of a destructive wind that can

different method, it would be better to further enhance my seung-

wreak havoc, and rallying behind a rousing wind with the power

mu . I started teaching seungmu to Korean students and some

to revive the oppressed and even the dead," Lee explained .

Americans when I was offered a professorship at Seoul National University [SNU). So, I returned home in 1982."

While immersing herself in a search for ways to express these sentiments, Lee would burn with passion at times and also weep for those who suffered at the hands of injustice. In 1987,

Pursing an Equitable Society It was surprising that Lee had received such an offer under

when Lee accepted a position with the Minjung Party, which named Paik Ki-wan as its candidate in the presidential election,

the government of Chun Doo hwan, which succeeded the military

she came under fire, as many speculated about her political

dictatorship of Park Chung Hee. Undoubtedly, this was proof of

ambitions. But with the Minjung Party having little hope of win-

the high acclaim of her mastery of Korean dance. While diligently

ning the election, Lee's actions could be interpreted as a symbol-

instructing her students at the conservative-minded SNU, she

ic protest against the authoritarian regimes of that time.

joined a movement to promote folk culture . This led to her performances of "Nanumgut," which called for a society that

Origin of Korean Dance

embraced equitable distribution, and "Dorajikkot," that depicted

For sometime thereafter, Lee seemed to drop out of the pub-

the suffering of Korea's "comfort women," who were forced by

lic's sight. However, this did not mean she had stopped dancing.

imperial Japan to serve as sex slaves for its troops. Thereafter,

She performed at an international conference in Japan in 1988,

38 Korea na I Spri ng 200 7

which called for the elimination of nuclear weapons; the Asian Folk Festival in 1995; and the first World Folk Festival, held in the Netherlands in 1996. Every year since the 1990s, she has presented a memorial concert in honor of her teacher, Han Yeongsook, along with appearing in other performances as well. All the while she has been searching for the origin of Korean dance, which she believes she has finally found in yeonggamudo, or singing and dancing.

"Yeonggamudo includes chanting, singing, dancing, and jumping, which strives to attain a state in which heaven, earth, and humans can become one,.. Lee said. ··only when humans and nature are in harmony can the laws of nature be clearly revealed in the sounds and movements of human beings. Though there are no artificial rules for singing and dancing, there is a certain order and method, such as the five basic sounds: eum, ah, eo, i, and u. These sounds correspond to the five major organs of the body, and when they are strung together like beads, and raised and lowered, or bent and straightened, they become song : · Dance is a natural movement of the body to the rhythm of song. As such, if the sounds are lengthy, the body slumps, but when the sounds pick up speed, to form phrases of a rhythm, the body becomes animated , walking about and making movements.

As the dance quickens, when the bodily movement and music reach a peak, the performer collapses onto the floor, while a soothing melody signals a return to the beginning. And in this way, the body and mind are cleansed and revitalized. Accordingly, Lee thinks of yeonggamudo as a form of meditation. In April 2005, I accompanied Lee on a tour of six prominent universities in the United States to present lectures on Korean culture, along with practical demonstrations. At each session, the audience showed a keen interest in yeonggamudo and salpuri.

In February last year, Lee staged an event, entitled "Lee Ae-

Taepyeongmu demands the most precise footwork of any

joo·s Dance and Stories," at UC Berkeley, under the sponsorship

Korean dance. The movements are elegant and graceful, but

of its Center for Korean Studies. Based on a theme of ··Penetrat-

highly regimented as well (opposite page). Geommu is a sword

ing 10,000 Years of History with Movement of the Soul: Traditional

dance in honor of a warri or's spirit, which ironically

Korean Dance," the goal of the performance was to demonstrate

emphasizes peacefully flowing movements (above).

the ··nothingness" of dance, featuring the movements of an ascetic, who integrates mind , body, and breath, to attain a state of enlightenment, as a meditative being. She started with yeonggamudo, and with elegant movements laid the groundwork for a ritual dance, sword dance, salpuri, taepyeongmu (folk dance). seungmu, and finally barachum (cymbal dance). Here, she revealed the results of her research work of the Goguryeo-era tomb murals of Muyongchong (Tomb of the Dancers]. t.t Sp ri ng 2007 I Ko rea na

39

ARTISAN

Oh Ok-jin True Master of Letter Engraving In the hands of Oh Ok-jin, the essence of an otherwise ordinary wood piece can be brought to life .

A wooden signboard with masterfully engraved lettering provides an elegant touch to the entryway of a palatial hall or venerated shrine.

Choi Tae-won Freelance Writer

T

I Seo Heun-kang Photographer

he desire of people to make records of their lives is a basic

and suffered an injury that impaired the vision in his right eye.

human instinct, which has been around since the dawn of

Without normal vision in one eye, your depth perception is limit-

humankind. What has changed over time is the media on

ed. But this limitation did not deter Oh from spending more than

which such records are maintained, which have evolved from

half a century to perfect his letter-engraving craftsmanship.

cave walls to paper and today's palm-size computer diskettes.

"I was discharged after the injury and wanted to pursue

When printing technology made the leap from wooden printing

advanced studies, but my family could not afford my education so

blocks to metallic type, this marked an inevitable decline for the

I took up carpentry at the National Vocational Training Institute. I

craft of letter engraving . Oh Ok-jin [pen name: Cheoljael is a mas-

must have had some talent because I received an award from the

ter letter engraver, for which he has been designated Important

Chief of Naval Operations, while I was training there."

Intangible Cultural Heritage No. 106. His lifelong dedication to

He went to work for a furniture manufacturer, but later took a

this seemingly forgotten art form has given him the aura of a

job at the Dong-A /Ibo national daily, where he first encountered

hero-figure in a museum display, struggling valiantly to survive in

the realm of letter engraving . His great-grandfather was a book-

a world headed toward collapse.

binder, who also made family-clan registers, while succeeding

Realm of Letter Engraving Gakja refers to the art of carving letters onto printing blocks

engraver Oh, embarking on a path toward becoming a gakja

or the signboards that are installed at the entrances of prominent

~hile determined to overcome his visual disability, he went to

Oh generations maintained the family business. So, for the young might have been a preordained destiny.

buildings, memorial chambers, and religious shrines . Since

study under the renowned engraving artist Sin Hak-gyun, who

wooden blocks are no longer used for printing purposes, nowa-

trained him in the intricacies of traditional letter engraving. How-

days the application of gakja is mainly limited to signboards and

ever, Oh was never satisfied with simply acquiring technical skills;

plaques, for which demand is hardly enough to keep the hands of

he believed that : "In order. to create a quality engraving, one must

a gakja master busy. Nevertheless, master engraver Oh Ok-jin, a

do more than merely carve other people's writing . An engraver

septuagenarian whose wiry physique betrays his age, possesses

must have a deep knowledge about lettering and calligraphy, and

an extraordinary passion for his craft.

should also be a talented calligrapher in his own right."

Oh is a disabled veteran of the Korean War. In 1953, while still

This led him to study under two distinguished calligraphers :

a teenager, he was assigned to a frontline unit, as a signalman,

Kim Chung-hyeon and Im Chang-sun . And he also underwent

40 Koreana I Spring 2007

The art of gakja requires an intimate knowledge of letters, perseverance to maintain your concentration for extended periods, and ability to creatively combine trad ition with modernity.

training from his uncle Oh Geum-seok to enhance his knowledge

As evidence of Oh 's mastery of his craft, his works can now be

of the traditional ways of gakja. 'What is at the core is not tech-

seen in all corners of the country. These include the seven-

nique. You need a firm grasp of the fundamentals of the work.

meter-long signboard above the main gate of Jogyesa Temple, in

You should take the time to think about what the ultimate pur-

downtown Seoul; numerous plaques that adorn the palace build-

pose of your work is and what you might gain from it."

ings of Gyeongbokgung and Changgyeonggung; and signboards of renowned Buddhist temples, such as Songgwangsa and

Cultivating a Personal Style Oh, who has been around wood all his life, never thinks of wood pieces as being inanimate, lifeless objects . He thus

Hwaeomsa, and other prominent landmarks, such as the Independence Hall of Korea , Hyeongchungsa Shrine, and National Center for Korean Traditional Performing Arts.

breathes life into wood even though it might have long been cut from the tree. For this, Oh trims and shaves the wood by hand-a

Restoration of Ancient Works

process that engravers call "taming the wood ." After the lettering

Oh has also concentrated on the restoration of masterpieces

is engraved onto the wood pieces, they are transformed into a

created by engravers of past eras, particularly those of the

new life form, as dignified works of art, which grace the entryway

Joseon Dynasty [1392-191 DJ. He has re-created wooden printing

of such buildings as the halls of Gyeongbokgung Palace and the

blocks for such invaluable Joseon-era materials as Hunmin-

memorial chambers of renowned families. In the process of

jeongeum [Proper Sounds to Instruct the People). Nonggawol-

acquiring a thorough knowledge of the fundamentals of carpentry

lyeongr:;a [Songs of the Farmers ¡ Almanac), and Goryeogayo

and woodwork, he began to develop his personal style of letter

[Anthology of Songs from Goryeol. Oh also restored the printing

engraving.

blocks for Joseon cartographer Kim Jeong-ho's maps, including

As a young boy, his father taught him how to carve seals and

Suseonjeondo [1824). a woodprint map of Seoul, and Daedong-

shave jujube-tree wood . Once, while working at a lumber mill, he

nyeojido [1861). a detailed map of the Korean Peninsula. He was

noticed a wood wedge that was used to block the wheel of a

awarded an Order of Civil Merit for his consummate restoration

truck. He picked up the wood piece, studied it briefly, and then

of these national treasures.

carved it into an artistic figure. He had somehow recognized the

While pointing at a print of Suseonjeondo, hanging on a wall

treasure hidden within a plain piece of wood that nobody else

behind him, Oh noted: "This map is made with very fine lines,

could see.

which beautifully render the mountains. The lines are far more Spring 2007 I Koreana

43

To master engraver Oh Ok-jin, the art of gakja is about breathing life into an inanimate piece of wood. Small-size seals, commemorative plaques, and the seven-meter-long signboard at the main gate of Jogyesa Temple in ~ downtown Seoul, are various examples of Oh's . masterful Letter-engraving works.

1

¡¡.

~

refined than those of other maps. This refinement made it quite difficult to re-create the map. Hard wood is difficult to engrave, but soft wood is prone to smudge fine details when printed. This is why the initial process of taming the wood is so critical." He took on this arduous task of restoring the artistic achievements of past masters because of his profound respect for his craft, which is evident in the fact that he has generously donated his handcrafted blocks of Suseonjeondo to the National Folk Museum.

Mentor of Dedicated Students Gakja can be categorized into two types of engraving: for printing blocks and for signboards and plaques. The engraving process consists of three basic stages. First, a proper piece of wood, usually birch or gingko, is selected and tamed, then soaked in seawater and left to dry out. Second, the text is arranged and sketched on the wood surface, for which special attention to detail is required when carving printing blocks, because the letters must be produced as mirror images. Third, the lettering is engraved on the wood piece, which demands painstaking precision and concentration.

Throughout his adult life, master engraver Oh has fully imme_rsed himself in his craft, pouring every ounce of his heart and soul into his wood carvings. However, he is not a person trapped within a world headed toward an untimely demise. His role as a guardian of Korea's traditional arts has been fruitful and rewarding . He has taught over 300 crafts people and currently has about 30 students under his wing, which he considers his most prized treasures. Since 1980, he and his students have staged an annual exhibition, entitled "Cheoljaegagyeonjeon," to showcase the little known world of letter engraving to the general public. t.t 44 Koreana I Spring 2007

MASTERPIECES

Creating Masterful Paintings from Brush and Ink As an artist, Kim Myeong-guk insisted on creating works that were true to his personality and sentiments. His unbounded creativity, free from any conventional standards or notions, is clearly evident in his hallmark Bodhidharma painting.

Hong Sun-pyo Professor of Art History, Ewha Womans University Graduate School

46 Koreana I Spring 2007

'¡

Kim Myeong-guk's Bodhidharma, 1643, ink on paper, 83 x 58cm, National Museum of Korea

Spring 2007 I Koreana 47

In the hands of a master such as Kim Myeong-guk, nothing more than a brush saturated with ink is needed to create a painting of extraordinary artistry. It seems as if the boldly applied brush strokes exude a kind of life-energy, derived from the artist's irrepressible dynamism .

/

Oa/majeo/rodogangdo, another masterpiece by Kim Myeong-guk, depicts Bodhidharma crossing a river on a reed . 97.6 x 48.2 cm , Ink on paper, National Museum of Korea

48 Koreana I Spring 2007

Implied Form of Beauty

Spring 2007 I Koreana 49

orea·s representative media art exhibition, the Seoul

cant amount of media art also -dwelled on the fundamental issues

International Media Art Biennale [also known as

of the growing complexity and intertwined concepts of exactly

Media_City Seoul). was presented at the Seoul Museum of

what constitutes reality in today·s technology era. Thus, this exhi-

Art from October 18 to December 10, 2006. In particular, the exhi-

bition included some works that made no use of digital technolo-

bition dealt with the points of contact between technology and art

gy, in contrast to those featuring computer-generated virtual

in today's era, under an overall theme of "Dual Realities." Media

reality and interactive art, which responded to viewers· use of

art is also known by such terms as "digital art" or "technology

sensors . For example, Leandro Erlich's The Glass Shop

art." Since becoming a common noun, media art is now evolving

"Eclectica, .. [2005] consisted entirely of everyday items, yet the

to include art works that utilize video equipment or computers.

technical mastery of the installation 's re-creation of images of a

Accordingly, art works falling within the scope of media art can

"glass shop, " reflected in a mirror, created a sense of virtual

include the images and creations of the virtual realm.

reality which transcended that of a regular mirror. Most of the works included technical elements, such as data streaming,

Multiplicity of Reality

motion tracking, and augmented reality. This is because one of

"Dual Realities" refers to the duality of today's reality. As

the key functions of media art exhibitions is to introduce the pub-

such, the works in the exhibition focused mainly on questions

lic to the ways in which recent technological advances are being

about the ambiguous distinction between everyday reality and vir-

utilized for artistic expression.

tual reality, based on computer- and Internet-related applica-

The exhibition was divided into three spaces, one on each of

tions. Like other contemporary forms of art, however, a signifi-

the three floors of the Seoul Museum of Art. Named after the

52 Koreana I Spring 2007

Garden (2006, interactive installation). a Joint creation of Kohei Asano and Kosuke Matsuura ; visitors toss paper forms lying on the floor into the air. that somehow turn into blooming flowers when they land .

2

Lee Han-su·s Dual Trance (2006, interactive installation] explores the cultural duality of East and West, past and future, and tradition and modern technology.

3

Liu Wei's Small Caps Camera (2006 , video installation] shows the various facial expressions of an individual, as he reacts to everyday situations and events.

exhibition's overall theme, the "Dual Realities" section on the first

result is an ·expressive technique often used by media artists.

floor presented works that dealt with the increasingly obscure boundary between the real world and virtual reality. Subtitled " Encounters and Clashes," it emphasized the differences and interaction between our evolving perceptions of reality.

Restructuring of Reality The "Extensions of Reality" section on the second floor contained works that encouraged direct participation by visitors, in

For example, Byun Ji-hoon 's The Wind [2006) transmits in

keeping with the section's subtitle: "Spread of the Experience and

real time data about the velocity of the wind blowing across the

Enjoyment. " Designed especially for children, Kohei Asano·s Gar-

beaches of Busan, some 400 kilometers away, while trans-

den [2005) is an interactive work in which viewers toss paper

forming an exhibition wall into a curtain that seemed to flap

forms lying on the floor into the air, that somehow turn into

freely in the wind. Data streaming is a technology used to mon-

blooming flowers when they touch the floor. Meanwhile, Oh

itor stock-market indicators or transmit real-time weather

Yong-seok's Drama allowed viewers to rearrange scenes from a

reports, but when it is used in such an innovative and visual

well-known movie, which had been cut up into small pieces, and

manner, as in The Wind, it seems to reveal a wholly different

create scenes as they remembered them.

side. For Scott Snibbe's work Blow Up [2005). viewers would

On the third floor, the "Competitive Reality" section intro-

blow onto small fans arranged on a table, which produced a

duced a large variety of works that exhibited new categories of

noticeable breeze from fans dozens of times larger. Such a

artistic methods and expression based on cutting-edge technolo-

simultaneous presentation of a reality recognized by our physi-

gy and their creative applications.

cal senses and another realm that produces an unexpected

For example, Axel Roch's Ambiguous Signalscapes [2005/06) Spring 2007 I Koreana 53

This exhibition presented 81 works from 19 countries that highlighted the creative energy of artists through cutting-edge technology, in addition to raising a number of questions about the growing ambiguity of everyday reality and virtual reality.

2

3

Throug h images of a figure wandering about a maze. Jin Siyon¡s Human Maze 12006, video installation]¡prods viewers to reflect upon their own wandering through a multifaceted reality.

Park Seong-hoon's In the prologue of end 12006, paper animation] arranges individual pencil drawings to represent a kind of cross-section of time . which highlights the dual nature of reality.

Through symbolic as well as dramatic video images. Pipilotti Risfs Stir Heart. Rinse Heart 12006, multimedia video installation] challenges our conventiona l understanding and perceptions of reality.

used eye-motion tracking technology to create a dizzying array of

International Media Art Biennale might not be as sophisticated as

scenes out of thin air, when viewers wore a special set of goggles.

that seen in scientific research facilities, but the ability of these

As for Paths of G [2005), by Dietmar Offenhuber, Sam Auinger,

artists to develop applications for artistic expression is another

and Hannes Strobl, a series of film frames could be rearranged

matter altogether.

to produce a sequence of events based on a visitor's memory,

Nowadays, the development of media art is being undertak-

which formed a linear arrangement in a virtual realm . Memories

en by a community of artists and technicians, from around the

are spread out as individual points, but when two points converge

world , who are conducting a diverse variety of experiments. The

a sequence of images is displayed, which reflect a causal rela-

intellectual efforts of this community, which are centered on

tionship. These kinds of works elevate the concept of "virtuality,"

onlin~ media, demonstrate that science and technology are

which is now being popularized mainly by the Internet, to a higher

being actively applied to enhance industrial production as well

level for artistic exploration .

as to advance cultural creativity. In line with this, Korea is not only striving to bolster its IT capability, based on semiconduc-

Technological Creativity

tors and the Internet, it -is also promoting programs such as

Indeed, recent technological advancements are dramatically

Media_City, which helps to educate the public about the vast

changing our perceptions of reality, like with new three-dimen-

potential for applying advanced technology to artistic and cul-

sional experiences. As such, the realism of these virtual experi-

tural pursuits . In this way, the Seoul International Media Art

ences has noticeably influenced the form and content of everyday

Biennale serves as a barometer for gauging the future direction

life. The level of technology adopted by the artists of the Seoul

of these efforts . 1:.t

54 Koreana I Sp ri ng 2007

~""

.&,

..

'~ .~inlcDr.""7

Rain1und Royer Blue-eyed Practitioner of Korean Oriental Medicine The traditional practice of Korean oriental medicine remains relatively unknown to a majority of people. Enter Dr. Raimund Royer, an Austrian national who was so enamored by this ancient science that he eventually became a certified practitioner of Korean oriental medicine.

Whee Min Poet

I Ahn Hong-beam Photographer

pon entering the medical examination room, my nose

to say the least.'" This was the manner in which his relationship

detects a pleasing fragrance. It is a subtle yet distinctive

with Korean oriental medicine began [Korea's traditional medi-

characteristic of oriental medicine. This soothing aroma

cine was originally introduced from China but then was indepen-

cannot be fully enjoyed in the midst of a metropolitan city awash in

dently developed).

smog and air pollution. It seems that this fragrance is able to lift

In 1989, two years after he had returned to Austria, Royer

the lid off my closed mind. This kind of experience is not unique to

again traveled to Korea; this time for the purpose of learning

me alone; many other people say they have a similar sensation in

Korean oriental medicine. However, in order to do so, he first had

this environment. Then, a tall, blue-eyed doctor entered, greeting

to master the Korean language. For this, he enrolled in a one-

me with a cheerful '"Anyeonghaseyo?" in fluent Korean. He is none

year language course at Yonsei University's Korean Language

other than Dr. Raimund Royer [b. 1964). the director of the Jaseng

Institute. He also delved into the study of Oriental philosophy and

Hospital of Oriental Medicine's International Clinic.

Chinese classics, to familiarize himself with Chinese characters and Oriental culture. In 1991 , he made his entry into the world of

Korean Oriental Medicine Raimund Royer first visited Korea in 1987. After graduating

Korean oriental medicine when he gained admission to Daegu Haany University.

from the University of Graz [Department of Economics) in Austria , Royer went to work for a trading company. Then one day, with no

A Truly Korean Character

particular destination in mind, he decided to travel to Asia in

Royer has now resided in Korea for 19 years. There is a say-

search of oriental mysticism. Since much was known about

ing that '"10 years is an eternity." So, 19 years would be like two

Japan in the West and travel to Communist China was still

eternities. Perhaps this is why his fluent Korean and sense of

severely restricted, Royer set his sights on Korea .

humor seem so natural to Koreans. His high fluency in Korean

'Wanting to know more about Korea, I studied taekwondo for

supports Royer's claim that the language has now become like a

three months, while I backpacked across the country. One day I

mother tongue to him. After having conversed with him at some

hurt my ankle during training, and I was taken to an oriental

length, I could only wonder to myself: '"Is this person really an

medicine clinic in Jongno, Seoul, where I received acupuncture

Austrian?" If so, then to what extent does he think he is Korean?

treatment. The doctor thrust some kind of needle into the affect-

'" I think I am Korean in almost every aspect, especially when it

ed area and the pain disappeared. It was a mystifying experience

comes to food. Being married to a Korean, I have the luxury of Spring 2007 I Koreana 57

being able to regularly enjoy Korean food at home. These days, I

Healing the Spirit

am in love with the taste of mugeun kimchi [matured kimchil. A

As a doctor of Korean oriental medici ne, Royer offers the fol-

while ago, after my wife made gimjang [winter kimchil. she want-

lowing advice in regard to the current craze for exercise. He

ed to discard some mugeun kimchi . Before doing so, I had a taste

believes that working out on the treadmill at health clubs, a prac-

of it, and was amazed by its flavor. These days, all I need to finish

tice now in vogue, is not especially beneficial for the body. Of

a bowl of rice is that kimchi ."

course, it is better than not exercising at all. However, a compul-

When I asked Royer if he had a fa vorite Korean dish, he

sive need to work out can turn exercise into a kind of burden. As

answered without hes.i tation: cheonggukjang. This left me

with your overall lifestyle, exercise should be undertaken with a

speechless, since I know many Koreans who cannot tolerate the

positive frame of mind.

pungent odor of this traditional dish of fermented soybeans. Chil-

··Korean oriental medicine is a medical art that places great

dren and teenagers, who are accustomed to fast food , are espe-

importance on the human aspect of the doctor-patient relation-

cially adverse to even having cheonggukjang on the dinner table .

ship . The initial focus is on healing the patient's mind, before

Yet, for Royer, his favorite Korean food is cheonggukjangl There

treating the physical affliction. The task of healing one·s spirit

can be no doubt about this doctor"s Korean character. I then

takes on an even greater significance due to the increasingly

asked him what he thought, as a doctor of oriental medicine,

stressful situations of modern society."

about Korean cuisine. ··Korean food does not consist solely of what can be tasted

Recently, Dr. Royer has developed an interest in meditative music. In particular, he is much intrigued by the gayageum [12-

with the tongue, but rather, in accordance with the concept of

string zither]. While listening to a gayageum recital in a comfort-

eumyang ohaeng [principle of yin-yang and the five basic ele-

able auditorium, he feels that his concerns are soothed and his

ments: wood, fire, earth, metal, and water]. five tastes are experi-

mind cleansed. And because of this, he plans to have gayageum

enced by the entire body. This view conforms to the principles of

music broadcast throughout the International Clinic so that visi-

Korean oriental medicine, which regard the human body as a

tors can relax in a soothing environment.

microcosmic universe onto itself. As such, the consumption of Korean food creates an energy that can be felt from the taste buds all the way down to the tips of your toes. Proper Korean food calls for only quality ingredients and no chemical additives."

58 Koreana I Spring 2007

Globalization of Oriental Medicine Because he oversees the promotional activities of the Association of Korean Oriental Medicine, Royer regularly visits Europe.

Ko rea n orienta l medicine seeks to attain a bala nce and oneness of the human body. For the treatment of an ail ment , a ta ilor-made medici ne is presc ribed , made with natural ingredie nts suc h as herbs , leaves, and roots , as we ll as se lected animal parts like deer antler.

2 Korea n oriental med icine includes a therapy known as Chunayobeop !chi ropractic] that invo lves applying pressu re to the bone struct ure of pati ents s uffe ring from spi nal disorde rs.

3 Korean he rbal medici nes are usually adm ini ste red in liqu id form . It has thus bee n suggested that altern ative fo rms sho uld be developed , such as ta blets or powdered medicine, in order to ove rco me co nsu mer resistance among fore ig ne rs.

In this regard, what are the perceptions of people in Europe

ular Korean medicine through the develop-

toward Korean oriental medicine? "Europeans are keenly inter-

ment of new tablet or capsule forms.

ested in the effects of acupuncture, which they regard as belonging to Chinese oriental medicine. In reality, a survey of 20,000-

Another Raimund Royer

30,000 doctors in Germany found that one-sixth of them utilizes

A number of foreign ambassadors assigned to Korea visit the

acupuncture. This is a significant number when you consider that

Jaseng Hospital of Oriental Medicine's International Clinic for

there are less than 20,000 doctors of Korean oriental medicine.

medical assistance from Royer. These fans of Korean oriental

Nonetheless, very little is known about Korean oriental medicine

medicine include the Republic of El Salvador Ambassador Alfredo

in Europe."

Unga, who is recognized as the dean of the foreign diplomatic

He regrets that Korean oriental medicine, which he regards

corps in Korea, as well as Republic of Panama Ambassador

as being much more advanced than the Chinese and Japanese

Daniel Abrego and Ambassador of Mexico Leandro Arellano.

varieties, and other forms of alternative medicine available in

When I visited the clinic for this interview, the Republic of Austria

Europe, have yet to gain global acceptance. To this end, he has

Ambassador Wilhelm Danko was there for treatment. Many for-

long endeavored to globalize Korean oriental medicine. "I think

eign workers and students, who might be reluctant to visit a reg-

this unfortunate situation stems from an indifferent attitude

ular clinic of Korean oriental medicine because of the language

toward Korean oriental medicine at the government level and a

barrier, will seek out Dr. Raimund Royer. And because of this,

conspicuous lack of promotional activities. However, I have per-

about

50 percent of his patients are foreign nationals.

sonally seen many cases of people who, like me, have been highly

Royer confesses to having a dream of opening a Korean ori-

impressed by Korean oriental medicine after being exposed to it."

ental medicine clinic in Vienna within the next three years. We

Royer emphasized that thus far acupuncture is the only

should all hope that his dream does come true. A few years from

aspect of oriental medicine that has been widely introduced in the

now someone who has read this article might, after having hurt

West. As such, he believes that if Korea were to pursue a niche-

his ankle while traveling in Austria, seek treatment at Dr. Royer's

market strategy to promote a new field, such as Korean oriental

clinic. Moreover, some individual may decide to come to Korea to

medicine, this could result in a tremendous surge in demand as

learn about Korean oriental medicine after having undergone a

well as an economic windfall. However, this would require finding

"mystifying experience" at his clinic. This may well be the manner

ways to overcome consumer resistance to the liquid form of reg-

in which "another Raimund Royer" might emerge. t.t Sp ri ng 2007 I Koreana 59

ON THE GLOBAL STAGE

he Great Mountains Music International Festi-

Professor

val is annually held in Gangwon-do Province in

Kang Hyo

ly causes me to think of Kang Hyo [b. 1945). the artis-

Helps to Nurture Korea's Young Musicians

August, the hottest time of the year in Korea .

Because of this, any mention of summer automaticaltic director of this endeavor. Every year when I see Kang, I would greet him by saying: 'Your Korean has improved ... In response, Kang , a kind of low-key person, would pause, often for as long as 10 seconds, before saying anything. He contemplates and smiles with a hint of bemusement, and then instead of answering he asks : ¡¡1s that what you think."'

Rewards of Teaching Recently, a series of young musical talents from

The relative slowness of his Korean speech is evi-

Korea-such as violinists Sarah Chang, Gil

dence of just how long he has been away from his

Shaham, and Chee-Yun-has successfully debuted

homeland. He first left for America in 1964, while a

on the international scene. A common thread in

student at Seoul National University, so he has now

the development of their musical careers has

been living abroad for more than 40 years. In the Unit-

been Professor Kang Hyo of the Juilliard School.

Park Yongwan Reporter, Auditorium

I

Kim Yun-bae Photograph er

ed States, he studied at the Juilliard School and the Peabody Conservatory of Music, and then returned to the Juilliard School as a graduate student and later became an instructor at its Pre-College Division. In

1985, the Juilliard School designated him a full professor and he has since taught such renowned violinists as Sarah Chang, Gil Shaham, and Chee-Yun. So, how hard might Kang have been working all this while? Kim Gyeongjun, who won the violin category of the initial GMMFS Concours in 2004, is one of his students. When I asked him how many Korean students Kang was teaching at Juilliard these days, he told me that it was about 15. For the field of music, this is no small number. I then recalled something I had heard a long time ago: When the Korean National University of Arts was being launched, there was a rumor that Kang Hyo would be appointed a professor at Seoul National University. But in the end, he did not return to Korea .

"I have no regrets. It has been very rewarding to teach Korean students overseas. I can do much more for my homeland by being at 60 Koreana I Spring 2007

Juilliard. The biggest advantage is that I can personally support talented students when they come to study in the U.S. I was also able to attract world-class musicians to the GMMFS because I was there in America ."路 The faculty of the GMMFS is truly exceptional.

Moreover, they are all musicians of Kang路s own "'people network."" This is an indication of how ardently he has immersed himself in the world of music during his past four decades in the United States. This is also why Korean corporations and groups, which plan to hold some "'mega-event,"' invariably seek out Kang路s

I

assistance. His close relationship with Samsung, the sponsor of the International Sejong Soloists [host ensemble of the GMMFS), is a good example of this. The apple of Kang路s eye, the International Sejong Soloists has been performing regular concerts in New York since May 2005, when they celebrated their 10th anniversary. Every Thursday, visitors to the ''Samsung Experience"' on the third floor of the Time Warner Center in New York are treated to a free performance by the International Sejong Soloists.

From Performer to Mentor Kang's busy schedule is made more hectic by his need to travel back and forth between Korea and the United States. I inquired about whether he had any regrets for cutting short his career as a performer. To this, he laughed aloud, waved his hands, and said: "'No! "'

"'Of course, at first I was mainly a performer. But with time, I began to teach, then I split my time between performing and teaching, and the amount of time spent teaching gradually"increased. Before I knew it I had become responsible for even the lnternationa l Sejong Soloists. Now I spend all my time and energy on education ...

For 30 years, beginning in 1969, Kang was a member of the Kennedy Center's permanent chamber orchestra in Washington, D.C., performing alongside contempoSpring 2007 I Koreana 61

The International Sejong Soloists, a multinational chamber ensemble, and the Great Mountains International Music Festival have flourished, thanks to the guidance of Kang Hyo. Even today, he dreams about a world in which music can bring great joy to all people.

A multinat ional chamber ense mble that was founded in 1995, the International Sejong Soloists, is comprised mainly of Koreans and second-generation Koreans, as we ll as yo ung musicians from t he United States. Australia, Japan. Taiwan , China . Ge rmany, Canada, and Romania.

2

Th e Great Mounta in s Mu sic Festiva l & Sc hool, an annua l event hosted by the Sejong Solo ists, features a new theme each year that is intended to offer a variety of music for fest iva l- goers, which in clude casua l listeners and mus ic afic ionados.

ture, and musical appreciation and developmentthese elements have already been incorporated into the leading music festivals worldwide. Summer and the Great Mountains (Daegwallyeong mountain range of Gangwon-do Province] were ideal choices for not only the musicians but the general public as well.

The Great Mountains Music Festival & School comes up with a new theme each year and organizes a related program. As a result, audiences can enjoy a

rary masters. The artistic director at the time was the

wide variety of music that is not dominated by any

pianist Leon Fleisher who, due to a numbness in his

particular genre or period . Huge outdoor screens are

right hand, had begun to focus on conducting. "I really

set up at Yongpyong Resort, the site of the music fes-

learned a lot when Leon Fleisher was the artistic di-

tival, to attract guests of the resort and neighborhood

rector," Kang recalled, reminiscing about those earli-

residents to the performances, where even ragged T-

er days. Kang said that when he was in his twenties,

shirts and flip-flops are suitable attire.

he rapidly gained musical knowledge with every per-

'When I was young, I used to love when it snowed .

formance, and for this reason he truly values the ex-

I found delight in the smallest of things. As time goes

periences of his youth.

by we become less sensitive to things like that. Life

"The things we feel when young last a lifetime. I

becomes gradually darker and we lose that joy. But

have not forgotten a single thing from my past. When I

when we hear beautiful music and our hearts open

chat with friends it all seems to come to life again.

up, we believe that the world has changed. The sky

Once, as we were passing the Daehan Theater, one of

seems bluer, the air seems clearer, and people seem

my friends said: 'Didn't you have a concert here?' I

kinder. It feels like we can do anything . You've felt

replied: 'It was summer then, too.' When the Juilliard

that, haven't you?"

String Quartet first performed at the auditorium of Ewha Womans University, the time that I traveled from .

Of course, because music has a mysterious power to turn the world around 180 degrees. Yet this

Daegu to Busan because I heard the legendary black

power is a fleeting illusion. So what if it is only an illu-

alto Marian Anderson was having a performance-all

sion? What does it matter as long as we are happy?

these memories are still fresh in my mind."

Whether it is summer or winter, the Great Mountains of Gangwon-do or Seoul or New York, we can be hap-

Great Mountains Music Festival & School

py, because the magic of music is everywhere. 1.;t

It was natural for Kang, who treasures the memories of his youth so much, to become the artistic director of the Great Mountains Music Festival & School. Learning music amid nature, relaxing in naSp ri ng 2007 I Koreana 63

66 Koreana I Spring 2007

maritime reserve along the peninsula's southern coast. The island boasts the "12 sights of Namhaedo," highlighted by Mt. Geumsan, a popular subject and setting of Korean literature, along with delightful coastal scenery, ancient temples, quaint villages, and forest areas that have been designated cultural treasures. As such, Namhaedo well deserves its nickname of "Bomulseom," or "Treasure Island."

Vibrant Energy of Daraengi Namhae Bridge, which can be reached after a four-hour drive from Seoul, resembles the Golden Gate Bridge of San Francisco . Built some 30 years ago, it is said to be the most beautiful suspension bridge in Korea, which looks like a "flower floating on the water." After crossing over the bridge and leisurely driving along a coastal road , you come to the village of Daraengi of Gacheon.

The name of Daraengi is derived from the terraced rice fields on the steep slopes of Mt. Seolheulsan, standing behind the village, which descend to the shoreline at a 45-degree incline. The rice paddies Korea 's most beautiful suspension bridge, the

range in area from tiny satgat baemi to large-size

Namhae Bridge, was built in 1973 to connect

fields of over 1,000 square meters, creating an im-

Namhaedo, Korea 's fourth-largest island, to the

pressive landscape resembling a patchwork quilt.

mainland (left) . At sunset, the 3.4-kilometer-long

The local residents built the fields by cutting into the

Changseon-Samcheonpo Bridge is illuminated by an array of colorful hues (above).

mountain slopes and surrounding the cultivation areas with stone walls. Countless stones were somehow hauled up the slopes to build the embankments, which were sealed with clay so that water could be retained. The human toil that went into this remarkable feat can be fully appreciated only by an on-site visit.

Of Korea's many islands, Namhae is one of the most mountainous, with mountain terrain covering

0

ne day after finishing work, when a farmer

some two-thirds of its land area . In order to survive,

counted his fields, he found that one of them

the islanders had to cultivate whatever patches of

was missing. He looked everywhere, but the

land they came across, no matter how small in area.

missing field was nowhere in sight. Puzzled, he even-

The terraced fields of Daraengi are a prime example

tually decided to return home. Then, after picking up

of the resolute survival instinct of the Namhaedo peo-

his satgat, a cone-shaped bamboo hat, he discovered

ple, who managed to carve out a livelihood despite

the missing field was hidden under his hat. How tiny

the island's lack of natural resources. To maximize

would a field have to be to fit under a hat? In Korea, a

the yield of their limited arable land, they seek to re-

miniscule field or plot, known as satgat baemi [baemi

alize two annual harvests of rice and garlic.

is a unit for describing the area of a rice field]. is typi-

Lying well to the south, Daraengi village rarely

cally found on a steep slope. Only the most tenacious

sees snow in winter, while spring greens, such as

farmer would make the effort to cultivate such a tiny

spinach and mugwort, will sprout earlier than any-

plot of land.

where on the mainland. Water flowing in the furrows

Indeed, the people of Namhaedo, Korea's fourth-

between the fields of garlic and sesame takes on an

largest island, have earned a reputation for this kind

appearance of silk streamers. Dogtooth violets, au-

of tenacity. The waters surrounding Namhaedo lie

tumn bellflowers, and cormorants complete this nat-

within the Hallyeohaesang Marine National Park, a

ural scene. Here, a variety of events are organized for Sp ri ng 2007

I Koreana 67

2.5 meters around. The legend about their origin dates back to the mid-18th century.

In 1751, during the mid-Joseon Dynasty [13921910). the local governor dreamed that an old man came to him and said: "I've been buried in the seas off Gacheon, but cows and horses pass by so often that I can't get out to see the world as much as I would like.

Good fortune will come to you if you can help to elevate me." The dream weighed on the governor's mind, so the next day he went with one of his men to the site mentioned by the old man in the dream. After digging around, two large rocks were found. The female rock was left lying on the ground, while the male rock was raised upright. Thereafter, to mark this day, an annual rite, known as Mireukje, has been conducted to pray for a good harvest and fertility.

Supposedly, from that day onward , the village has

From Boriamsa Temple, located on the slopes of Mt. Geumsan, you can enjoy spectacular views of the islands of the southern sea.

been blessed with exceptionally good luck. As far as legends go, this story has remained popular, with the site being a well-known attraction, where an endless stream of women will visit to pray in earnest for a newborn, especially a son . So, it can be said that the rocks continue to contribute to "good fortune," even today.

A historical and cultural landmark of Namhae is Boriamsa Heritage, situated on the 681-meter-high

visitors, with the most popular activities being those

Mt. Geumsan , which rises from the middle of the is-

that give city dwellers a chance to plow the fields with

land. Geumsan is the only mountain of note within the

a till-laden ox, and to spend a day on the fishing boat

Hallyeohaesang Marine National Park, which consists

of local fishermen. Visitors can also trek about the

primarily of various islands and waterways. Geumsan

mountain behind the village, where people can catch

features the "38 sights" of uniquely shaped rock for-

a ride on a truck to a mid-point level and then pro-

mations. The mountain was previously named Bo-

ceed to the peak, or enjoy fishing from the coastline

gwangsan, when the renowned Buddhist monk Won-

or simply relaxing on the sandy beaches.

hyo, of the Silla Kingdom [57 B.C.-A.D. 935). built Bogwangsa Temple there. It was renamed Geum-

Steeped in Legend

san, or "Silk Mountain," when Taejo Yi

There are two large rock forma-

Seong-gye, the founder of the Joseon

tions, found to the south of the vil-

Dynasty [1392-1910). became king af-

lage, which are the subject of a well-

ter he had prayed there for 100 days.

known legend. Called Amsubawi [male and female rocks) because they resemble male and female genitals, they were also called Mireukbawi [stone Buddha) because women would pray at this site in the hope of becoming pregnant. The male rock is an upright column, measuring about 4.5 meters

"silk-covered mountain."

Boriamsa Heritage is one of the three most revered prayer centers in Korea, along with Bomunsa Temple on Ganghwado Island and the Hongnyeonam [Buddhist Hermitage) of Naksansa Temple. It is an exquisitely crafted temple that

in height and 1.5 meters

offers a spectacular panora-

in circumference, while

ma of the island's coastline

the female rock lying alongside is about 3.9 meters high and

and the blue seas beyond, which makes it a favorite spot for viewSpring 2007 I Koreana 69

Nearby Jijok Strait, where the water is deep and the current flows swiftly,

makers and filmmakers in need of an exotic backdrop

some 300 oak-wood supports, of 10-meter lengths, have been installed

use the area . Leisurely sipping a cup of tea while lis-

with bamboo screens to form a V-shaped fish trap. Fish caught in the

tening to music at Sunrise Art Village [Haeoreum

incoming tide get trapped at the narrow "V" end, which are then retrieved

Yesulchon). a converted school building, is guaran-

with a net.

teed to leave you with a pleasurable memory of Namhaedo.

Just beyond this village is Changseondo, another island that is part of Namhae, while the waters of Jijok Strait, which run swiftly below Changseon Bridge, provide an unusual sight of traditional bamboo fishing traps, known as jukbangnyeom. Along the tidal flats, where the water is deep and the current flows swiftly, some 300 oak-wood supports, of 10-meter lengths, are positioned with bamboo screens to form Vshaped traps. Fish caught in the incoming tide get trapped at the narrow

¡v-- end, which are then re-

trieved with a scoop net. Because the surrounding waters are clean and the currents swift, the fisheries products from this area are prized for their exceptional quality. The anchovies caught here are among the most highly sought in Korea . But the local fishermen always take care not to over-fish . This kind of respect for the environment is a reflection of the way that the Namhae people go about everyday life in harmony with nature. ing the sunrise. I spent my youth at the hermitage at-

Visitor Diversions

tached to the temple and gained much literary inspi-

The Changseon-Samcheonpo Bridge, which links

ration from my experiences there . Namhaedo is also

Changseondo to the city of Sacheon on the mainland,

the setting for my first poetry anthology Neutgeon

over the Jijok Strait, is another impressive structure .

sopo (Delayed Parcell.

Stretching out over 3.4 kilometers, it consists of five

Preserving Age- old Traditions

roadway built over the sea. Other attractions of

bridge sections and is known as Korea 's only national Boriamsa Heritage looks out onto the white sands

Namhae include: Mt. Mangunsan, whose peak is of-

of Sangju Beach, the most popular holiday resort on

ten shrouded by clouds; the ancient Hwabangsa Tem-

the Namhae coast. Beyond the beach is the pic-

ple; Noda, the desolate island where the Joseon

turesque Mulmi coastal road, which winds its way to

scholar Kim Man-jung [1637-1692) spent his years in

Mijohang harbor and Mulgeon village.

exile and wrote his classic novel Sassinamjeonggi;

Nearby Mulgeon village is Mulgeonbangjo-

historic sites related to Admiral Yi Sun-sin, who de-

eoburim, an enduring forest that has been designated

feated Japan's naval forces during the Hideyoshi inva-

a natural monument. The forest area protects the vil-

sions [1592-1598); and popular sites such as Mt .

lage from typhoon winds and high waves, along with

Hogusan and Yongmunsa Temple .

attracting fish to the area. The lush, crescent-shaped .

In addition, the Hwajeon Cultural Festival, featur-

forest, with a width of 30 meters, extends over a

ing a variety of arts events and the unique folk games

length of 1.5 kilometers. It is home to more than 40

of Namhaedo, is annually held during the last week of

tree species, including Chinese hackberry trees and

October. In mid-November, a large-scale event is

sawtooth oak trees more than 300 years old.

To the rear is a village with German-style archi-

presented at Namhae Bridge and Noryang Strait to commemorate the achievements of Admiral Yi Sun-

tecture, which has been developed by Korean retirees

sin. For gourmands, Namhaedo offers a diversity of

who had been dispatched to Germany to work as con-

fresh seafood for their indulgence; favorite local spe-

tract miners and nurses, during the period immedi-

cialties include citron, gardenia seeds, and nutmeg,

ately following the Korean War. Nowadays, TV drama

as well as various garlic-based health foods.

t,;t

Sp ri ng 2007 I Koreana 71

CUISINE

Ssuk Basic yet Versatile Herb With a somewhat bitter taste and aromatic fragrance, ssuk [mugwortl can help to revitalize your appetite at the time of spring¡s arrival. Ssuk might be a commonplace herb, but it is nonetheless valued for its versatile uses and rich nutrients.

Chun Hui-jung Professor, Korea n Food Institute, Sookmyung Women's University I Bae Jae-hyung Photograph er

suk [mugwort) [Artemisia princeps var. orientalis). which

and C, farming households have long depended on ssuk whenev-

sprouts in the early spring, is a perennial herb of the

er food was scarce. Eighty grams of ssuk provide the daily rec-

chrysanthemum family. It is a commonplace herb that can

ommended intake of vitamin A, and a significant amount of vita-

be found practically anywhere in Korea: by the roadside, in paddy

min C as well, which makes it effective for preventing and treat-

fields, on the ridges of terraced fields, and along foothills,

ing a cold . And, thanks to its antiseptic quality, ssuk is used to

embankments, and riverbanks. As evidence of the fact that Kore-

purify indoor air. In addition, the liquid extracted from ssuk was

ans have known about ssuk since ancient times, ssuk and garlic

used for bathing because of its antidermatophyte immunological

are mentioned in Korea 's founding myth. According to the found-

effect, while a clump of mashed ssuk leaves was said to be a

ing myth of Gojoseon, Dangun, the founder of Gojoseon [2333 B.C.-

remedy for the removal of wart¡s.

108 B.C.) who is also regarded as the progenitor of the Korean

A wide variety of dishes is made with ssuk. These include rice

nation, was the son of Hwanung, the son of Hwanin, the God of

cakes, such as jeolpyeon, gaepitteok, and ssukbeomuri, bever-

Heaven. When a bear and tiger begged him to make them human,

ages such as ssukcha, and ssukguk, a soup that people enjoy

he gave them ssuk and garlic. After living on only ssuk and garlic

especially in the spring . Traditionally, ssuk leaves were fried with

for 100 days, the bear [the tiger gave up) was transformed into

various kinds of vegetables, and also used as an ingredient in

human form, which ultimately resulted in the birth of Dangun.

Jeon, pan-fried delicacies.

Rich in Nutrients

made by mixing ssuk, which has been parboiled and minced, with

Basically, there are two types of ssukguk : aetang, which is Ssuk is used in a number of ways. The young leaves that

ch are boiled in soup. For an ground meat to form meatballs, whi_

sprout in March are a favorite ingredient for various foods, while

even simpler dish, you can make the common type of ssukguk

the more mature leaves are dried and used as moxa for tteum

found on a family dinner table by boiling ssuk leaves, coated with

[moxacautery) to treat a variety of physical ailments, or as an

soybean flour, in a meat broth or soybean paste soup.

ingredient for making herbal medicine. In the summer, ssuk would be burned to repel mosquitoes.

Variety of Ssukteok

The fragrance of ssuk is delightful and distinctive. The face of

Thanks to its richness of vitamins and minerals, combining

its leaves is green while the back is covered with milky-white

ssuk with acidic foods, such as grains, helps to create foods with

tomentum. Since it is a rich source of minerals and vitamins A

more vibrant color and flavor, in addition to boosting their nutri-

72 Koreana I Sp ri ng 2007

For aetang, a nutritious soup, minced ssuk is combined with ground meat to form meatballs, which are boiled in broth.

Ingredients

Ssu kg Uk [Serves 4-5 people]

100 grams ssuk 100 grams ground beef Seasoning for meat balls [112 teaspoon salt, 1 teaspoon minced garlic, 2 teaspoons finely chopped green onion, pinch of pepper, 1 teaspoon sesame oil] 2 tablespoons flour 1-2 eggs 8 cups water Light soy sauce [gukganjang) 50-100 grams beef for meat broth Seasoning for meat broth [2 teaspoons light soy sauce, 1 teaspoon minced garlic, 1 teaspoon sesa[)1e oil, pinch of pepper]

Preparation

Slice and season the beef and boil in 8 cups of water to make the meat broth.

2 Parboil the ssuk and rinse in cold water. Squeeze dry and chop finely.

3 Mix the ground beef with the finely-chopped ssuk and the seasoning. Form 1.5centimeter-round meatballs.

4 Coat the meatballs with flour and egg and place into the boiling meat broth.

When the meatballs rise to the surface, the soup is ready to serve. Top with a garnish of chopped ssuk leaves and green onion.

74 Koreana I Spri ng 2007

Ssuk jeolpyeon is a representative type of rice cake, or tteok, made with ssuk. For Koreans, proper preparation of tteok calls for it to be visually pleasing as well as tasteful and nutritious.

tional value. Jeolpyeon is a representative type of tteok, or rice

and shaped into a half-moon, is also known as baramtteok,

cake. When jeolpyeon is made with ssuk, it will not dry out as

because the air trapped within the tteok when it was shaped

quickly, and thus can be kept longer. The inclusion of ssuk in

would be released when bitten into. Other kinds of ssukteok

jeolpyeon is a reflection of the wisdom of ancient Koreans, who

include ssukbeomuri, which is made by steaming rice flour and

valued ssuk for its flavorful taste, nutritional value, and jade-

ssuk leaves, without forming any particular shape, and

agreen color.

ssukgule, that is often favored for its enhanced taste and visual

To make ssuk jeolpyeon , rice flour is steamed in a large

appeal. The fact that ssuk has long been regarded as a benefi-

quantity of water and then combined with parboiled ssuk. It is

cial herbal ingredient by Koreans is confirmed by the mention of

then kneaded with a jeolgu, a kind of mortar for grinding or

these various kinds of tteok and soups in ancient books and

milling grain, or an anban, a wooden board used to pound tteok,

documents.

until it becomes glutinous. Then, the glutinous tteok is placed on

In Korea, the family tteoksal is a precious heirloom that

a wooden board and decorative patterns are imprinted onto its

would be handed down from one generation to another. A tteok-

surface. Thereafter, the tteok is made into bite-size pieces and

sal was typically made of wood, or sometimes clay. Since individ-

coated with sesame oil. To make pieces of tteok, it should not be

ual households tended to have tteoksal with distinctive patterns,

cut with a knife; instead, it should be pinched with the fingers and

in the olden days, people could identify the maker of a particular

pulled apart. This forms a "tail, " or kkori, from which the kkori-

tteok from its decorative pattern. In this way, even though tteok

teok name is derived. Finally, a tteoksa/, a special kind of mold, is

was made for people to eat, its careful preparation would be

used to imprint the tteok pieces with decorative patterns.

undertaken in accordance with long-standing tradition . Indeed,

Gaepitteok, which consists of adzuki bean filling that is covered with a thin, round jeolpyeon wrapper and then folded over

Ingredients

Ssuk jeolpyeon

for Koreans, this attention to the visual appeal of foods only added to the enjoyment of their delectable tastes. i.t

10 cups rice 1 tablespoon salt 1DO grams parboiled ssuk Sesame oil For ma king flowe r jeolpyeon, yellow and red extracts have to be prepared from soaking ye llow gardenia seeds in water and red cactus fru it extract [or cherry flo ur mixture).

Preparation

Rinse rice and leave to soak_in water for six hours. Grind the rice with salt using a mortar or mill. Strain through a sieve. Cover the bottom of a steamer with cloth, sprinkle .it with water, and place the ground rice into the steamer. Steam the ground rice until thoroughly cooked.

2 Place the steamed tteok in a jeolgu or anban, along with the parboiled ssuk.

Pound until the tteok becomes a jade-green color.

3 Place the glutinous tteok on a board and coat with sesame oil. Use a tteoksal to imprint decorative patterns onto the tteok, and make into bite-size pieces.

4 To prepare flower jeolpyeon, mix white tteok with the yellow and red extracts to make yellow and red tteok. Combine the yellow and red tteok to the white tteok and imprint decorative patterns with the tteoksal.

Sp ring 2007 I Ko reana

75

the oldest was 67-year-old Chung Jae-un, honorary chairman of Shinsegae Co. Ltd., who failed to make the grade. An overall physical examination, conducted over 5 days at the Air Force Aerospace Medical Center, further reduced the number of candidates to 245.

On October 22, the remaining 245 candidates gathered at the Korea Institute of Science and Technology [KAIST] for two days of interviews, in Korean and English , and evaluation of their physical and psychological soundness. The standards for the physical tests were quite a challenge, even for the 20-something candidates. Candidates had to pass two of three physical tests: running, sit-ups, and push-ups. Professor Park Young-chun of Handong Global University, who had dislocated his foot and was in danger of failing the physical testing, managed to pass the pushup and sit-up tests, while doing 30 more repetitions than the required minimum.

Rigorous Selection Process

By October 27, the number of candidates had been trimmed to 30. The oldest of this group was 49-year-old Professor Cho Sung-wook of Chung-Ang University, and the youngest, Park Jiyoung, a 23-year-old female graduate student at KAIST. An Hyoung-joon, a journalist for the Donga Science magazine said : "I was working on a cartoon series about the process of becoming an astronaut, when I decided that I wanted to participate as an applicant. The ability to judge a situation and to react quickly, which I developed from my work as a journalist, are helpful qualities for an astronaut. " Baek Youn-hyeong , an employee of the Defense Agency for Technology and Quality, noted: "It was tough to lose 7 kilograms to pass the physical examination, but I was proud of living up to the requirements of a jetfighter pilot."

The remaining 30 candidates included 5 women, of whom 4 were from science-related fields, and the other an animal caretaker. In the third phase of the selection process, the 30 aspirants spent 4 days at the Air Force Aerospace Medical Center, where they underwent a battery of tests to evaluate their adaptability to conditions in outer space. This included the so-called G-test, which assesses an individual's ability to withstand the tremendous G-forces associated with space flight. When subjected to Gforces of fives times normal, your field of vision narrows and disorientation occurs, while reduced blood flow to the brain can cause people to black out. Candidates who experienced a loss of consciousness were automatically disqualified.

Selecting Korea's first astronauts involved a nine-month process, which included a total of 36,206 applicants. To identify the most qualified candidates, applicants had to undergo a series of tests, which included a 3.5-kilometer run, written comprehension test, physical examination, and ability to withstand outer-space conditions, like weightlessness.

78 Korea na I Spring 2007

Training in Russia When 10 finalists [7 men, 3 women) were announced on November 24, the workplaces of these individuals were brimming with joyous pride. Upon learning that one of its researchers, Kim Young-min, was included in this select group, the Korea Basic Science Institute prepared and distributed a press release. Most of the 10 came from a science-related background. "I took up the challenge with a ¡venture¡ spirit," said Ryu Jeong-won, a technology advisor at a high-tech venture enterprise. "I think my background in physics, electrical engineering, and medicine really helped."

After being tested for their ability to consume a basic Korean meal of rice, kimchi, and seasoned dubu [tofu) in a simulated space environment, the candidates practiced flying in an air force training plane. They also had to endure 4-G forces and deal with the nausea that can result from sudden changes in direction when flying at high speeds. The sole military person, jetfighter

Astronaut Selection Process Apr. 21-July 14 Applications received; total of 36,206 applicants

Aug.8 Preliminary review of applicants; 10,058 candidates accepted

Sep.2 Physical-fitness test 13.5-kilometer run]; 3,176 passed

Sep. 17 Written examination (general knowledge, English]; 500 passed

Sep. 28-0ct. 2 Overall physical examination; 245 passed

Oct. 31-Nov. 19 Extensive physical examination (test for adaptability to space, psychological evaluation, test for situational responses]; 10 passed

flight leader and wing commander, Lee Jin-young, noted : "It was

Nov. 23-25

exciting, because I'd never been in a KT-1 before. I did my best,

Space training evaluation (ability to operate equipment, spirit of teamwork, simulator/G-force testing]; 8 passed

like my first time ever in a plane."

After another two candidates were eliminated, the remaining eight finalists departed for the Yu . A. Gagarin Scientific and Research Center for Cosmonaut Training in Russia. The training regimen there included wearing a special suit equipped with a

Dec. 3-8 Astronaut training in Russia (zero-weight flight, adaptability to weightlessness] ; 6 passed

Dec. 25 Top two finalists announced; Ko San, Yi So-yeon

breathing apparatus and being suspended in a 12-meter-deep water tank, to experience a state of weightlessness. They also

Sp rin g 2007

I

Korean a

79

On December 25, 2006, the two finalists were announced: Lee So-yeon and Koh San. From March 2007, the two would-be astronauts will be traveling between Russia, Korea, and the United States for a variety of specialized training so that they can conduct research projects in outer space.

rode a "zero-gravity" aircraft, in which they learned to somersault

Ph .D. in the field of bio-systems at KAIST. Aside from their

and maneuver about a weightless environment.

superb physical fitness and overall ability, the selection of these

On December 11, six finalists were announced: Ko San [30). a researcher at the Samsung Advanced Institute of Technology

two has in large part been attributed to their unwavering selfconfidence.

[SAIT]; Park Ji-young [23]. a graduate student at KAIST; Yun

From March 2007, the two would-be astronauts will be trav-

Seok-oh [29). a staff member of Hanyang University; Yi So-yeon

eling between Russia, Korea, and the United States for a variety

[28). a Ph.D. candidate at KAIST; Lee Jin-young [36). an air force

of specialized training so that they can conduct research projects

wing commander; and Jang Joan-sung [25). a police lieutenant

in outer space. Based on the training results and their state of

from the Nambu Police Station in Bucheon . Interestingly, these

physical and mental preparedness, one of the two will be chosen

individuals were pleased but not overjoyed with their selection .

to join the crew of Russia 's Soyuz spacecraft, which is scheduled for launch in April 2008. So, there is still a long way to go. And as

35th Country to Send Humans into Space Ko San and Yi So-yeon have been deemed the most qualified

for Korea 's " No. 2 astronaut," although not selected for this landmark mission, this individual will undoubtedly assume a promi-

to become Korea 's first astronaut, out of a total of more than

nent role in Korea's further development of aerospace technolo-

36,000 applicants. Ko received his master's degree in cognitive

gy. When the first Korean astronaut safely returns to earth, Korea

science from Seoul National University and currently works as an

will become the 35th nation to have placed one of its citizens¡ into

artificial-intelligence researcher at SAIT. Yi is studying for her

space, thereby joining the global race for space in earnest.

80 Koreana I Spring 2007

t,;t

Journeys in Korean Literature

Lee Hye-kyung

As an author, Lee Hye- kyung is adept at delving into the suffering of those who have been wounded as well as the stories of perpetrators who inflict pain upon others.

She is gifted with a sharpness that can pierce through the realm of darkness, along with demonstrating a genuine appreciation for the human experience.

CRITIQUE

Mending the Cracks Between Islands Adrift in the City Hwang Do-kyung Literary Critic

ee Hye-kyung (b. 1960) made her literary debut in 1982 with "Urideuri Tteolkyeo" (Our Abscission

she can penetrate the darkness and oppression of society, while also showing a deep appreciation and understanding

Layer), which was published in World Literature. But while working as a Korean-language instructor and magazine. journalist, she was left with little time to continue her writing. Thus, her career as a novelist really began in 1995, when she received a literary award for the novel The House on the Road. Compared to the number of years that she has been writing, Lee has hardly been prolific, with only three novels in all: In Front of that House ( Geujibap, 1998), Beneath a Shade of Flowers (Kkotgeuneurarae, 2002) and Cracks (Teumsae, 2006).

of people.

In her early years, the home and family were Lee's pri-

L

This long and winding path, with extended periods of absence between works, seems to reflect Lee's inclination toward obstinacy and fastidiousness. Over the years, Lee has emerged as a prominent figure in Korean ¡ literature, winning a variety of literature awards, including the Lee Hyo-seok Literature Prize, Hankook Ilbo Literature Prize, Isu Literature Prize, and Dongin Literature Award. Her stories are careful observations of everyday joys and sorrows as well as the darker side oflife. She takes a close look at the wounds and shadows that can be found in the crooks and crannies of daily life, and at times unleashes outrage at society's underlying oppression and violence.

But rather than being coolly reproachful or harshly critical, her observations are of a lyrical nature, based on a fundamental belief in the good of people and affection for life.

Lee delves into the stories that lie beneath the pain of the lonely and wounded, along with relating the accounts of those who are prone to create shadows and inflict harm on others. In the tears of daily life, she reveals the joy and pleasure of human existence. Thanks to her keen insight, 82 Koreana I Spring 2007

mary subjects. The family is grounded in love and affection, but at the same time it is a basic social institution that is capable of rendering injury and oppression. The families in Lee's works have long abandoned traditional morals and values, while engaging in oppressive and harmful behavior for the sake of authority or duty. Lee's debut work, The House on the Road, is a tragic portrayal of a modern-day family depicted through the stories of its individual members, who are intent on inflicting pain upon each other. It presents a critical view of the existing family system, which is rooted in a male-centered structure. Dominated by the father and sons who perpetuate the oppression of a maleoriented culture, the mother, who suffers from dementia, repeatedly runs away from home. The female heroine of the story, after having long suffered in silence, eventually ends up venting her resentment at her father and brothers.

However, Lee is not judgmental in acknowledging the matters that the men have to bear in their lives. Hence, though she takes issue with the male chauvinism of the traditional family structure, she does not render any one-sided criticism or inflammatory narrative of the male-female conflict, but instead allows the story to unfold with a keen understanding and warm compassion. An objective view of people is complemented by a depth of human emotion, which serves to arouse in readers a unique insight into the individuals of today's society.

Lee 's empathy for the life and pain of the fragile human beings of today's world has become more pro-

,.

I

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nounced in recent times. The oppression and alienation within the family, and the difficulties of individuals, have been broadened to include the problems of society in general, along with her themes and characters becoming more diversified. For example, her varied cast of characters includes a small-town electrician, illegal foreign worker, tour guide, cashier at a discount mart, and network operator who provides emergency medical assistance over the phone. Cracks features the stories of these individuals and the barriers they encounter in their relations with others. In the name of "us," people will commit violence, consciously and unconsciously, on "others," while those who are alienated and wounded due to such violence tend to drift about the city, as if wandering aimlessly in a vast desert. In the face of the countless cracks in our lives and the exclusivity of "us," the "others" find themselves forced to flee. These individuals end up becoming "islands" by distancing themselves from people, so as not to be like the dog: "which is like a lamb with us but has the faithfulness that makes it bare its teeth at anytime to anyone who crosses the boundaries of home and bite and tear away at the flesh" (from "Geurimja" (Shadow)) . Related to this, for the people of Northern Ireland who have been discriminated against by the Protestant majority, their banal conversations are limited to the weather, while avoiding normal interaction with other people, like asking about their hometowns, schools, or their favorite colors. Ireland is the home to these pathetic souls, like lonely islands separated from the mainland by the open seas.

"Shadow" delves into the lonely isolation of people living in this age, like the minority people of Ireland. The

heroine of this story is a network operator who connects patients with doctors. She listens to the personal problems of the people who call in and remembers to send them birthday cards. But the moment she feels that they might be getting too close or personal, she takes a step backward, reminding herself: "Think oflreland." When her colleague Kim Jin-suk calls up at night to encourage her to open up her heart, she tells herself: "Don't let down your barriers," and then "growls, baring her teeth." When she sees a woman who has been bedridden for eight years after a car accident, she says to herself "Stop, don't get involved," while recalling the "warning bell at a railroad crossing."

Then, when Daniel calls to ask her to visit Gyeongju, she again hears the warning bell that tells her: "Don't cross the line. It's against the rules."

This way of living, by keeping a safe distance from others and not crossing the line, is a defensive and passive means of maintaining relationships formed through pain.

The wounds no longer show or can even be felt, but deep underneath the scars, the root cause of the pain remains intact. The repeated scratching of her itchy scalp is meant to symbolize her search for the source of her anguish. Lee is not simply seeking to depict the desolate lives of city people but to also reveal the source of their pain and suffering. In this way, tl1e island is a metaphor for the isolated state of contemporary persons who have become alienated and separated from others. At the same time, it is a miniscule space in which the "others" are forced to take refuge from the violence and oppression perpetrated by "us." Lee Hyekyung strives to mend the cracks between the islands adrift in the city so that these people can be reconnected with the mainstream of society. t:.t Spring 2007 I Korea na

83

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

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