Exploring the 'Possibilities' of Traditional Music
MinGaph SeoJeong (Music Critic)
In 2023, ‘Journey to Korean Music’ (hereinafter referred to as ‘Journey’) took place from October 12th to 14th. As the only platform in Korea dedicated to the overseas promotion of Korean traditional music, Journey proudly assumes the role of inviting international world music experts. By introducing them to Korean traditional music and culture, the program aims to provide opportunities for domestic artistic organizations to expand their presence abroad and distribute their works. To achieve this, Journey selectively chooses promising musicians among those gaining prominence in the field of traditional music to showcase their performances.
Creative Artist Support Project Kim Ki Bum, Nong Cheon, Noh Eunsil ⓒHyunwoo Joo
This year, Journey collaborated with the Seoul Namsan Gugakdang's "Creative Artist Support Project" as a showcase, and also conducted performances by traditional musicians as a collaborative program at the Performing Arts Market in Seoul (PAMS) Choice. By doing so, the program was designed to allow domestic and international delegates not only to experience the performances selected through "Journey Choice" but also to encounter as many performances by Korean traditional musicians as possible. Attending this program, which takes place over 2-3 days every fall, provides an opportunity to stay updated on which traditional musicians are currently gaining attention, and to witness their current skills and artistic directions at once.
Seoul Namsan Gugakdang
Traditionally, musicians showcasing various genres in Journey, including instrumental, vocal, and theatrical performances, particularly those from the younger generation, exhibit a keen interest in international exposure. Naturally, they have the ability to present their original compositions for at least 30 minutes, and many of them are proficient in communicating directly in English. While their performances may not be as lengthy as solo performances, the selected pieces are carefully curated, providing ample opportunity to discern their musical direction and individuality. In the "Creative Artist Support Project" event held on October 12th at Seoul Namsan Gugakdang, performances by dancer Kim Ki Bum, a professional arts troupe Nong Cheon, and sound artist Noh Eunsil unfolded sequentially.
'Creative Artist Support Project’: Revealing Transformations and the Future of Traditional Arts
Noh Eunsil ⓒJourney to Korean Music 2023
Noh Eunsil, actively engaged in activities both domestically and internationally, collaborated with guitarist Alvaro Herran, daegeum player Baek Dasom, and sound designer Rémi Klemensiewicz to deliver a 30-minute performance. Titled 'Ambient Pan-Sori,' Noh Eunsil's presentation combined her vocals and instrumental performance with ambient sounds, as the title suggests. During the performance, Noh Eunsil arranged objects, including dolls, on the stage. Her singing deliberately excluded expressions of joy or excitement, creating a drama of sounds that seemed to drift within a realm of tranquility and stillness. Under the dimmed lighting, resembling a meditative ambiance, the density of the music, reminiscent of a prayer, persisted without dispersing until the conclusion of the performance. The connection between songs, instrumental pieces, and overall performance was solid, maintaining a consistent atmosphere throughout the entire 30 minutes. Noh Eunsil's voice revealed the seasoned depth that comes from years of singing. The performance, characterized by its lyrical, dramatic, and spiritual energy, amplified the inherent mystique embraced by traditional music, reaching a pinnacle of primal enchantment.
However, Noh Eunsil's performance was not particularly novel or distinctive. The approach of emphasizing spatial dynamics through the interplay of string and wind instruments, overlaying traditional vocal elements, had been previously showcased in many world music performances. This similarity made it challenging to distinguish Noh Eunsil's music within the realm of comparable musical styles. Despite the skilled performance drawing the audience into the show, the lack of a clear differentiation showcasing the uniqueness of Korean music raised uncertainties about how resonant the performance would be among international delegates.
Kim Ki Bum ⓒJourney to Korean Music 2023
The work of dancer Kim Ki Bum, utilizing the familiar game of neolttwigi (Korean traditional game of jumping over others), was intriguing due to the expansiveness of the narratives that objects could generate. With each movement using simple tools, layers of stories that humanity and society can create continued to overlap. While there is a possibility of not accurately understanding the artist's creative intent and potentially misinterpreting it, the pleasure derived from observing the unstructured technique of continuously connecting non-conventional narratives was significant.
Nong Cheon ⓒJourney to Korean Music 2023
The professional arts troupe, Nong Cheon, showcased a performance dynamic characteristic of traditional Korean entertainment. Despite being young performers, their experience on numerous stages was evident, and their playing demonstrated a natural ease. The skillful execution of connecting various rhythms and "Jinpuri" showcased their proficiency. However, a distinct rustic and robust feeling typically associated with traditional music performances, both in their musical and theatrical elements, was not apparent in their presentation. Despite their excellent playing and seamless coordination, there seemed to be a void that could not be filled by musical skill and synchronization alone. The reason for this absence of the traditional, earthy atmosphere in their music and theatrical presentation remains unclear.
Stages of 'Creative Differences' Raised from the Roots of Traditional Music
Hwang Gina ⓒJourney to Korean Music 2023
In addition to the Seoul Namsan Gugakdang collaborative showcase, there was also the opportunity to experience Hwang Gina's performance through 'Journey Choice' (October 12th at Seoul Namsan Gugakdang). Drawing considerable attention from international delegates, Hwang Gina took the stage alone, skillfully playing the geomungo, yanggeum, and MIDI program while actively utilizing loop stations in each performance. While Hwang Gina’s solo stage effectively showcased her versatility, the strategy of repetitively using the same sound patterns, even when performed skillfully, seemed to diminish the liveliness of the live performance. The efforts to collaborate with a video artist in an attempt to enhance the show were overshadowed by repetitive compositions that failed to create memorable moments. Despite her multifaceted talent, the continuous repetition of similar sounds during the live performance left room for improvement in creating a more dynamic and engaging experience for the audience.
4innori ⓒJourney to Korean Music 2023
On the other hand, as part of 'Performing Arts Market in Seoul (PAMS) Choice,' 4innori (October 13th at the Daloreum Grand Theater) continued their performance with the stability matching the musicians' experience. However, they fell short in creating a different world that other traditional musicians failed to showcase. The performance leaned towards conventional repetition, lacking the vitality that could have made it more engaging.
THE TUNE ⓒJourney to Korean Music 2023
Hilgeum ⓒJourney to Korean Music 2023
On the second day of 'Journey Choice,' October 13th at Seoul Namsan Gugakdang, both THE TUNE and Hilgeum seemed determined to showcase only the most dynamic moments of their performances within the approximately 30-minute time frame. THE TUNE's performance focused on elevating energy levels and emitting a vibrant and boiling atmosphere. Hilgeum, continuing their 'Smoky Sound' sound-making, left a strong impression on the audience. Both performances effectively filled the limited time with a continuous sequence of engaging moments.
Despite the musicians proving their significant experience through their performances and videos, creating a world with truly distinctive sounds was rare. However, the determination and passion were evident. Perhaps, even if they continue with similar narratives now, there may come a time when they lead us to different music, a different world. Until then, I want to remain a diligent audience, always looking forward to new and unique experiences.
* This article was jointly published on the webzine San:Mun by Seoul Namsan Gugakdang and the performance information platform TheApro by the Korea Arts Management Service.
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MinGaph SeoJeong MinGaph SeoJeong is a music critic with a particular focus on the ways in which the beauty of music is realized and its societal role. She has authored several books, including "Can't Stop It That Way," "Music Adoration," "The Best Music for Someone," "Music Bias - Embracing Music," and "Bob Dylan, Not Singing the Same Song." Additionally, she has contributed to works such as "Understanding Popular Music." |
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