Trusting the Universe, Korean Honesty, and My Wallet

Back in 2000, as everyone knows, I met K (my husband), at the Andong International Mask Dance Festival. This is also the festival that made me fall in love with Korean Mask Dance Dramas (in the inaugural year, 1997). And of course both of these things have changed my life.

In 2001 I went to China to see K for the first time (before I knew more than a few words of Chinese, and none of Tibetan). I took the boat from Korea to Qingdao, and without any Chinese managed to buy myself a  ticket (seat, not sleeper) on a train to Xi'an (most of the way to the end of the train line nearest K's home). In Qingdao in the train station waiting for my train, nervous, laden down by a huge camera bag and another bag for clothes and necessities, I desperately needed the bathroom, but had already realized how hard this would be to navigate without setting my bag on a very nasty Chinese train station bathroom floor covered in fluids one does NOT want to identify. Then I met a Korean-- he had seen me on the boat and said something to me. All I needed to know was that he was Korean. "Can you watch my bag? I have to use the bathroom!" and off I went, only realizing once in the bathroom how funny it was that I was willing to trust this fellow based purely on the fact that he was Korean. (As it happens Kenneth as I are still friends, he brought his family to a performance of K's in Vancouver in August-- I don't think we'll ever lose touch of each other).

I have always been convinced of Korean honesty, and a little government and business corruption aside, I maintain that belief.

I did lose my wallet on the bus once. Dang that sucked. And I did have to pay a "finder's fee" to get it back (the finder claimed the cash was already gone when he found it). Actually he wouldn't even deal with me. My friend Yoomi's mom had to go meet him and exchange for my wallet. Ugh. But that guy did not dim my belief in Korean honesty.

Until last Thursday, that is.

I arrived at the Andong International Mask Dance Festival at 2pm, right as the performance of Goseong Ogwangdae was starting. I had left home at 7:10, caught a bus to the bus station in East Seoul (a single bus... but it took forever to get there), but then was stymied when the next two buses to Andong were sold out. As an experienced traveler in Korea, I joined the line of people hoping that not all the ticket holders would show up... allowing me to catch an earlier bus. I missed the first bus by three people. When the second bus hit departure time I was third in line and made it on. Anyway, I arrived in Andong with this big rush rush rush stressed energy. I got in line and bought a ticket for the performance hall (the festival is free, except for that one hall. A single entry is 7,000 won, in order to come and go as I liked I bought a 30,000 won ticket good for the entire duration of the festival). I even managed to find a front row seat in the packed hall. When the funeral procession of the last act entered the stage I stood up and slipped 10,000 won into the rope on the front of the "coffin" for the character of Keun Eomi. This was the last time I saw my wallet.

Hwang Jong-uk Performing in the Role of the Old Monk

After the show I gleefully reunited with my Goseong friends (although in fact I saw them all in July, but still I had a chance to tell them about my job, and I'm still pretty excited to say "I got a job! I'm a professor now!"). Before long the bus took most of them back to Goseong, except Hwang Jong-uk, Minsu, and two K-Arts students who were helping out. I hung around with the four, especially Hwang, walking around, taking photos of them teaching a demo class for kids, and then eating dinner together (Hwang's treat-- I think I owe him about 20 meals at this point). Once they left I had to carry all my stuff again, and decided to go check into a hotel, then return for some night photography.

In the hotel room I couldn't find my wallet. "Don't freak out! Don't freak out!" I kept repeating. But it was really gone. The hotel owners (who couldn't remember me from last time, but that might be good as last time I left with their key and didn't find it in my pocket and send it to them for at least a week) were pissed when I tried to leave with the key but not paying, but I assured them my friends would loan me money.

My friends?!!! My only real Andong friend, Yeong-ae, was in Bali performing at the opening ceremony for APEC. I walked back to the festival in a half panic, looking everywhere I'd been and asking at each official desk, tourist info center, the police station, the ticket office, and finally the main festival office if a wallet had been turned in. In the main festival office Gwon Duhyeon (festival director whom I've met before but barely remember) reached into his wallet and set 50,000 won on the table in front of me. "Give me your name card" I insisted. And eventually he did, although he really would have just given me the money. I went looking more, then returned to the office. "Can I use your computer?" I asked Gwon and checked, finding out that my Chase accounts hadn't had even a whiff of action (my wallet had a Korean cash card, "check" card, two Chase cards, my Islander's Bank card, my driver's license, my university ID that I'd received on Tuesday, my transportation card loaded with more than 40,000 won, 110 in American cash AND over 250,000 in Korean cash). Sitting there I got a text from Hwang Jong-uk "Shall I save you?" he asked. "What does this mean?" I asked Gwon, handing the festival director my phone. "Oh, you're a friend of Hwang Jong-uk?" He asked, laughing, and dialing Hwang who promptly ordered Gwon to give me another 50,000 won.

I couldn't shake the memory of the man who'd wanted a finder's fee to return my wallet, and although I felt that my wallet had to return to me, I tried to accept that all the cash would be gone. And I kept trying to remind myself that I have a job. After spending seven years as an MA and PhD student with only one year in between (on Buddhist pilgrimage) and one year after finishing my doctorate (unemployed), I am very used to being stressed about money. And if someone started using my check card, I'd lose much more than just the cash. Korean "check" cards (kind of like a debit card) don't need even a pin, just a signature. (Gwon and I had tried to cancel my check card, but I couldn't use the automated system because I didn't know the account number). Dejected, but "saved" from embarrassment at the hotel by Gwon's loan, I settled in for a mostly sleepless night tossing and turning as I imagined someone partying with my money.

I was first in line as the door opened at Daegu Bank in the morning. What would you do if a foreigner walked into your bank without any ID? Would you cancel and reissue their "check" card?
Me:      (After summarizing the no money, no ID issue) You need to call my friend at Daegu Bank in Seoul (holding out my phone with her name and number)
Them:    Uh, we can't do that. (But then checking on their computer) Oh, a Jo Suhyeon does work in Seoul!
Them:     (After their phone connects) Do you know a foreigner called 시이달?
Jo SH:     Yes, of course.
Me:        Give me the phone! (Into phone in total Daegu-dialect whine) I lost my wallet. It has this and that and that and that in it! And I'm in Andong! Alone!
Jo SH:     Don't worry, give me back to them.
Them:      (After listening to Jo SH) Here is our form filled out with your ID number and your bank account info, sign here. Okay, here's your new card. And there hasn't been any activity on this account.

Of course I called Jo Suhyeon back to thank her after I had withdrawn some money. At that point I felt much less stressed, because it seemed I wasn't going to have a large amount of money lost, just potentially a lot of hassle to replace all the rest of the cards and ID. Then I had a nice breakfast (at my favorite Andong restaurant).

By the time I got back to the festival I knew my wallet had been found. Arriving at the festival I learned that it had been found by Im Jaeseon, a "friend" of mine whom I've known for about 15 years-- a professional mask dancer with Hahoi Byeolshin'gut Talnoli. Every single thing, including all the cash, was still there. I paid back Gwon, bought a fancy ceramic plate for Im, and had a good rest of the festival, my faith in Korean honesty stronger than ever.

Breakfast on my third day in Andong-- Note the Andong Salted Mackerel and two-type of squash squash savory pancakes

Everything You -EVER- Wanted to Know about Korean Mask Dance Dramas

Ah yes, my favorite subject! I wrote an essay to accompany photos published by the Journal Cross-Currents: East Asian History and Culture Review. If you want to access the article and the photos, here is the link. I wish I had found more time to edit the writing, as it's a bit clunky, but I'm pleased with the article in general. It was also reproduced in the the Vol. 1, No. 2 (November 2012) print version of the same journal.

The photo collage below did not make the cut for inclusion. The photo is of the Bibi Gwajang from Goseong Ogwangdae.

All the Office Managers of the Mask Dance Drama Association Meet (and I get to attend!)

July 19^th, 2011

On Tuesday I met Kathy and 수미 Sumi from 봉산탈춤 Bongsan Talchum class at Seoul Stn and we three caught the bus to 단국대 Dankook University together. Outside campus we found that 허창열 Heo Changyeol, 황민왕 Hwang Minwang and 유세정 Yu Sejeong were running late. We started on lunch first but ordered for them and ended the meal together.

The class went really well, particularly at first. Changyeol is one of the most charismatic people I know, and despite his lack of ability to speak English he did a brilliant job. First he introduced the four basic percussion instruments to the students and taught them to speak the four different parts to 자진모리장단 jajinmori rhythmic pattern. After that he gave them a chance to play each of the instruments in turn. Every single student played every single instrument, although at times this was somewhat painful to the ears, Changyeol kept a giant smile on his face and the students loved the experience. He also tried to communicate the basic idea of Korean dance, having them move in a circle with bended knees and raised arms and feeling and responding to the music. This was not so successful, but everyone had fun anyway. Afterwards Changyeol performed 문둥북춤 Mundung Bukchum from고성오광대 Goseong Ogwangdae. He was brilliant, of course, because he's one of the most talented mask dancers I have ever seen. Yes, Changyeol deserves the superlatives. Next was Hwang Minwang's turn in the spotlight. Minwang is much more quiet and reserved than Changyeol but he's an amazing artist. He's an isuja for Namhaean Byeolshin'gut (shamanic ritual), as a specialist in music, not as a shaman. He talked about folk songs from around Korea and sang selections of folk songs and then sang shamanic ritual songs from different areas as well as demonstrating the 태평소 taepyeongso. It was really great.

Sumi, Kathy and I were heading in a different direction than Changyeol and Minhwang who had to drive Sejeong home before they'd go back to Seoul, so we separated after class. I ended up walking around central Seoul with Kathy, we met up with her fiancé, Tim, who I also know from LA and had a wonderful dinner.

July 20^th, 2011

On my day "off" I was very fortunate to have been asked if I'd like to attend a meeting of all the office managers from all the mask dance groups in Korea—the meeting was happening at 은율탈춤 Eunyul Talchum's office in Incheon—and 김영숙, 탄종원 picked me up so we could go together. I received clear proof that I was widely trusted -- I was worried that although escorted to the meeting by Songpa Sandae Noli's office manager that I would be kicked out at the start or before sensitive discussion, however when we arrived (somewhat late) it was to a flurry of jokes about whether I was the Songpa Sandae Noli American-branch representative or if I represented the interests of all Korean mask dance dramas in America. I stayed for the entire five hour (including excellent lunch) meeting which in addition to painfully choosing the date for an all group inclusive festival also covered financial details pertaining to the association (I even left with photocopies specifying expenditures) and contained frank information sharing and strategizing for future performances and festivals. I was allowed to record the entire meeting, contribute views and fact check.

In the evening I met 정회정 Jung Hoijung for dinner and a work session in a café near her house—we ignored each other most of the time and worked intensively on separate projects. 

A Trip to Goseong

July 6^th, 2011

There is not much time before I leave for the US- just a couple days more than a month- and during most of that time I'll be teaching the intensive class and my time and movements will be restricted by that, hence I'm running around the country this week. Today I've departed Seoul for 고성 Goseong to see all the lovely folks at 고성오광대 Goseong Ogwangdae. The trip down to Goseong is about securing my relationship with the group and group members, demonstrating my relationship/close connection to/with the group.

When I arrived I decided to walk to the training center, but about half way there the rain decided to come down rather fiercely. I arrived a bit wet and bedraggled but the office manager was very sweet and drove me to where the people who were practicing 말뚝이 malddugi were. When I arrived there I found that 동근 Donggeun was teaching—which was a bit of a problem as his motions are not exact nor his knowledge very concrete. I followed along with the three students and around 4:00 동수 Dongsu, one of the isuja showed up but he didn't have any time to teach us, only to monitor. We went back to the training center and I talked to the office manager, hung out, went to eat dinner, came back, took a nap, then practiced from around 8 until 10. The interesting thing in the evening was that there was a young man, 신경환 Shin Gyeonghwan, of obvious performing talent, there practicing as well. He had previously attended one of the schools that had sent participants to the camp, but had now graduated and was working as an elementary school teacher about an hour's drive away from Goseong. Elementary school is still in session, so he had come for the evening's practice. I immediately asked him if he was a jeonsuja because of his obvious talent and depth of knowledge, but he told me that he was already a member of another art: the regionally certified 정읍농악 Jeongeup Nongak. He had been performing with them for quite some time and he explained that he performed on all the instruments and on 소고 sogo. During evening practice (which ended at 10 pm) there were still performers present and working with the students: very impressive.

황종욱 Hwang Jong'uk, the manager of the group, finally showed up and although it had been arranged for me to stay with one of the rooms full of girls in the old dormitory, he invited me back to his house. Actually Koreans do not lightly invite people to their homes, I was very touched. I liked his wife and his daughter (I didn't see the son much as we got there after 11). We shared some makgeolli and fruit and vegetables.

July 7^th, 2011

I woke up when the house started stirring at 7 (which was also before my alarm), and managed to wake my mind up fast enough not to be stumbling around in a haze in someone else's house. Hwang Jong'uk and I went back to the training center, but nothing started until nearly 10 (I was very surprised). During the almost an hour wait I stretched and then fell asleep stretching, stretched some more and fell back asleep and so on until I got tired of waiting and went looking for the teachers. Downstairs I found 전광열 Jeon Gwangyeol, the teacher for 말뚝이 Malddugi but unfortunately he didn't stick around (although he did say that since he'd seen me, it really was a good morning). Instead while the 원양반 Won Yangban crew had their own teacher and 문둥북춤 Mundung Bukchum had their own teacher and of course Act 5 had their own teacher, we ended up with 동수 Dongsu who was split between helping us and helping 승무 Seungmu with assistance from 동근 Donggeun. At last we learned to the end of the dance and I even started to feel like I'd memorized big chunks of it.

At lunch time 이윤석 Yi Yunseok (the National Human Treasure) showed up and we went to lunch (the secretary, Yi, 이재훈, 남진도 and 허종원). I honestly found the food barely palatable. I couldn't even drink the water as the cup smelled very strangely like fish to such an extent that I couldn't raise the cup to my lips. Oh well. It was about be able to see everyone. Dongsu did not go to lunch with us because his wife was due yesterday and home alone, so he went home to see her and brought her back to the center in the afternoon. They went to the hospital and the hospital told her the baby wasn't ready to be born yet. Before they went to the hospital, though, he taught Act 2 and sketched out Act 3 to the students. After that everyone was just practicing for the acts which isn't very interesting to me… so I worked on my computer in the corner of the room and finally decided to go back to Seoul. I left the training center just after 5. 

The Weekend-- Dentist, Giant Ceremony, Seminar, Ahn Eunme

June 11^th, 2011

This is the definition of busy: to meet my really awesome friend 김월덕 Kim Woldeok and her new husband 주원 Juwon we actually went to the dentist. Juwon is getting an implant. This trip to the dentist ended up being very expensive. 750,000 won.

I left and headed home for a couple minutes and grabbed my camera to go to 경복궁 Gyeongbok Palace for a huge ceremony and spectacle. Not an actual performance per se. What happened was that France took these dynastic records 150 years ago and they were finally returning the records to Korea, so the government decided to add some pomp and ceremony, sort of Joseon Dynasty style.  

The important part for me was that 임실필봉농악 Imshil Pilbong Nongak, 고성오광대 Goseong Ogwangdae, 봉산탈춤 Bongsan Talchum and 송파산대놀이 Songpa Sandae Noli all had to parade out and dance around. It was a chance to do a favor by taking photos and bow to a lot of people. Curiously the Pilbong crew was all college kids, or even high school kids like Hyeonseok—I mean they were people I've studied with, not under. I didn't see one person I know to be an isuja even. This is in contrast to the people from Goseong who came even farther, all of them, even the really fairly elderly farmers.

Photos of Bongsan Talchum are ready first because they already asked me why I hadn't given them the photos yet...

Kim Eunju in the front

Sometimes the lion attacks and eats a hapless bystander. This little girl got away. 

June 12^th, 2011

I met this professor, 조경만 Jo Gyeongman, through FB (we have a mutual FB "friend"), and he invited me to a small seminar that he was presiding over. I went to the seminar not because I thought the topic would work well for me, but because I suspected some other members might be good contacts. It was really tough—everyone had read and prepared, and they were discussing very highly theoretical concepts (about eco-anthropology) in Korean. I mean, how well can you discuss the Panopticon in English? Okay, now try to explain it in Korean. No, I didn't do that, but Prof. Jo explained it to the rest of the people. If I wasn't familiar with Foucault, trust me I would have missed the entire point. It was all 75cent vocabulary with the occasional equivalent of "a" "however"  "if" etc. thrown in.  Okay, maybe I exaggerate a tiny bit. But seriously, if I'd done the same reading it still would have been tough for me to keep up (much less add to the discussion). On the other hand there was another member I've arranged to meet next Sunday.

After that I hurried to my neighborhood to watch Ahn Eunme company rehearsing Princess Bari. They'll be doing a 17 minute version later this week via-Skype. They have to do it in the middle of the night because the other side is watching it around noon in Toronto! It was really interesting and fun, especially the mix of 민요 minyo with 판소리pansori that they're using as the major auditory color of the piece. There are four singers- two men and two women, with one singer of each genre a man and one a woman.

Cheonha Jeil Tal Performance

June 10^th, 2011

Today Karjam had his very important day of adding percussion tracks to the CD. 고석진 Go Seokjin, a talented traditional drummer and dancer agreed to take on the task of creating most of the percussion tracks for the CD.  He was, unfortunately, returning from Jeju Island where he'd been performing, and he ended up taking a taxi with only some of his instruments—the recording didn't get finished, in other words. The final decision was that he would add percussion to 7 of the 11 tracks, but they only got through four. Or mostly through four, as there may be a little of some other percussion instruments added next Friday when they finish the recording. The remaining three tracks are the three traditional tracks, mostly those will be a cappella with just a little bit of an intro.

I had to leave before they'd finished up to get to see 천하제일탈 Cheonha Jeil Tal's first piece, which I had not seen before. The piece was very very good.

First 손병만 Son Byeongman performed monk 1's dance, followed by monk 2's monologue and then monk 3's dance, moving into 합동 circling and then he left the stage. Next 허창열 Heo Changyeol performed 문둥북춤 Mundung Bukchum, brilliantly and perhaps just a bit longer than normal, it seemed that there was some extra 소고춤 sogochum at the end but I could be wrong. Finally 이주원 Yi Juwon entered from the back of the audience as 이매 Imae from 하회별신굿탈놀이 Hahoi Byeolshin'gut Talnoli. He did indeed pull an older Korean woman and then a foreign man from the audience, adding the extra moment of amusement when the woman could not be enticed to speak in English to the foreigner and Juwon had to suddenly out of character explain.

           

Next the players donned new masks and acted out a play with two parts, the second humorously about plastic surgery (and its popularity in Korea). I found this second section to be ineffective as it was extremely reliant on dialogue for long stretches, and while it had acting it didn't have much of any dance.

After the show I had dinner with the players and musicians, who were all getting ready to leave for Namwon, where they'd be performing on Saturday.

Seoul to Jinju and Back to Seoul

May 29^th, 2011

I woke up and took a bus to Jinju, where I met Heike, my German friend who is the chair of the poli-sci department at the local university. We had a long talk, watched some performance, wandered, look at Jinju fortress, etc.

A little after 5 the 송파산대놀이 Songpa Sandae Noli team showed up. Everyone was surprised to see me, except perhaps the office manager who knew I'd be going and hadn't invited me to ride down with them. Of course if I had done that I wouldn't have had a nice long talk with Heike. The performance was the standard 1 hour version.  강차욱 was missing to 함완식 introduced the group, the instruments and the art, then they went through the acts with, I noticed, two new 소무 Somu masks. Hmmm. The noses didn't look even a little Korean, are the masks catching up to the plastic surgery craze? (That's a joke since the people in the group are hardly the type to do plastic surgery, I think it was just poor construction). After the show 이영식 led the audience to learn the motions, I got some great photos of everyone in the crowd with their arms up.

The office manager had invited me to ride back, so I did.

May 30^th, 2011

On Monday Karjam had another day of recording in the studio. We recorded until around 4, although he lost his voice around noon, again.

Then I went and met 황종욱 Hwang Jong'uk, the manager of 고성오광대 Goseong Ogwangdae. If I asked him about A he told me about A-F, including tangents. He was an excellent interviewee in the sense that I hardly had to say half a question before he just expounded at length. He's also very opinionated and knowledgeable. I had no idea about his entire background, but now that I know more I'm even more impressed. I also think he puts a bit of an act on to be more brusque and for lack of a better word, more of a hick, than in fact he is. However I pay the amazing woman who transcribes my interviews into written Korean by the hour of material she transcribes, and his interview was long (two hours) and often heading in directions that I didn't really need. Also by the time it ended I was already late for 봉산탈춤 Bongsan Talchum class.

At Bongsan Talchum we were all exhausted. All of us. We looked like asking us to dance was the end of the world. After going through each of the monks once (and I was late so I only went through 6 of them) 김은주 Kim Eunju took us (병호, 하연, 연식, 세준, 수미) to dinner at a nearby restaurant. Only 연식 had already had dinner. 

May 31^st, 2011

I went to meet Professor 전경욱 Jeon Gyeong'uk at Korea University (he's a noted mask dance expert) and talked with him as well as some of his students, sometimes interviewing him and had dinner with him. I was there from around 4 until 8. 상모 sangmo had been cancelled again, so I had that kind of time. 

Lecture and Demonstration at SNU

May 25^th, 2011

Karjam worked in the studio from 10-6. I waited and occasionally helped with translation and what not, but my computer ran out of batteries so I couldn't get as much work done as would have been ideal. Next time I'm taking my cord.

Karjam in the studio

In the evening I kept working, particularly preparing for my presentation on Thursday and skipping the chance to go see an excellent performance at KOUS which Facebook friends later favorably reviewed.

May 26^th, 2011

My day was completely taken over by going to Seoul National University to do a guest lecture for Professor Hilary Finchum-Sung. We agreed to meet for lunch, which was a real bang-up awesome day at the veggie buffet (swoon), had a rollicking conversation (sorry I can't divulge much but part of it was Hilary's advice because a couple of days ago I found an online article, an academic performance review (of two performances of two groups I am close to and –really- close to) by someone who turns out to be an up and coming scholar on exactly my subject, mask dance dramas, who's graduating a year before me and I'll have to compete with her on the job market. But worst, her article was so factually inaccurate, such utter BS that steam was coming out of my ears. Anyway, Hilary had some advice for me and I feel better about it now. Ultimately there will be people who can get away with shoddy scholarship because they do research on a place few know about (hence few can tell them they're wrong). And sometimes it will be partially just because the local language is incredibly tough and they haven't learned it yet (properly). But… time will tell and my scholarship will stand out!

After this discussion and lunch we went to her Intro to Korean Music classroom, I lectured for 1.5 hours, then we took a break and 허창열 Changyeol presented, first he did 문둥북춤 (from 고성오광대 Goseong Ogwangdae) then 이매 from 하회별신굿탈놀이 Hahoi Byeolshin'gut Talnoli, then he led all the students in some rousing dance and last he taught some basic motions from 봉산탈춤 Bongsan Talchum. He has amazing charisma and was able to get all the students up and moving. It was really awesome. I know Hilary was impressed. Then we sat around for awhile and rested.

A photo Hilary took

The Class with Hilary in the center back (Changyeol and I center front)

When I got home I madly prepared my Korean symposium presentation for Friday. 

A Visit to Bukcheong Saja Noleum and Bongsan Talchum Class

May 19^th, 2011

In the morning I finished the edits for the article in KOREA magazine and sent them to Editor Ines. I'd post at least one of the three stand-alone parts of the article here, except that would be before their version came out and I don't think they're paying me to use the articles in my blog. I can say, though, that in finding a way to add more content because Ines had nixed one section of the main article, I was able to add a nice fat section on Goseong Ogwangdae and even quote one of my past interviews with 이윤석 Yi Yunseok.

After finishing those articles and doing a couple other things that were overdue (including finally scheduling an interview with someone who has been beastly hard to reach). Then I left much earlier than usual for the Intangible Cultural Assets Training Center. I went directly to the 북청사자놀음 Bukcheong Saja Noleum office. It turned out it was the National Human Treasure there (이근화선 Yi Geunhwaseon and yes that's a very unusual name for a Korean)'s birthday. I was invited to go to dinner with them, but I really just wanted to have a conversation and practice 봉산탈춤 Bongsan Talchum. So I had a bit of a conversation with 이건홍 Yi Geonhong (이수자 isuja and Yi Geunhwaseon's son-- he has two daughters- one is an isuja, one is a jeonsuja), who is now the director of the new (just instituted in March) 중요무형문화재 총연 합회. I recorded a little of his description of the group and its plans/goals but although I think they're good, the goals seem too focused on communicating Korean traditional culture to foreigners, when honestly the more immediate goal should be to reverse the knowledge drain which is occurring as the older generation slowly but surely dies off. They plan to make a really great center where they can have the people protecting craft arts sit down and work on their arts as an ongoing demonstration, have a gift shop and gallery and have performances. This all really sounds like this building (Intangible Cultural Assets Training Center), why do we need another? How will the new facility be different? The only large difference I could see was that they would be able to offer ongoing performances so that any night (or any night except Monday for example) there would be a traditional performance for the audience (foreigners being the target) to see. It seems to me that there is a lot of desire for an ongoing/permanent/dedicated theatre for a traditional arts show hoping to mirror the success of 미소 Miso (at 청동극장 Chongdong Theatre) or Jump, Nanta and other such shows.

Honestly Miso is crap but it exists, it's already out there in the world, and although I'm not saying it's sold out every night, I am saying I'm not sure that a new show needs to compete with Miso, or more significantly with the Saturday traditional music and dance show (in many ways also focused at foreigners and compared to 40-50 dollar Jump it's quite affordable at less than 10 bucks) at the National Gugak Center It's true that the Gugak Center's show is also not sold out every time, but it's also on a Saturday and competing with everything else that's going on, even at 5 pm, since with transpo time 5 pm would still preclude many other Saturday evening activities. The show at the National Gugak Center, which usually has around 8 parts does include a couple duds sometimes but in general it's pretty good (a million miles away from Miso and its contrived story and orientalism).

Anyway, after a bit of light interviewing I agreed to come back and interview at Bukcheong Saja Noleum's office on another day and I went to Bongsan Talchum's office where 장용일 Jang Yongil was teaching from 중앙대 Jungang University percussion department students 사자춤 Sajachum or lion dance. I secured the right to be a staff member at the full length performance the weekend after next!!!!

In class we had seven people (not that many…), 허세준, 이병우, 현석, 화연, 하연 and 수미. We practiced fairly typically, with 화연 who is new  (4th class?) learning the basics between when the rest of us practice everything. In fact both 병우 and 현석 still make mistakes, but they know it all. After going through the 7 monks (missing monk 1 of course), the four women (including me in spot # 1) went through 사상좌춤 sasangjwachum. Then everyone practiced 소무 Somu. I keep bringing my fan because 김은주 Kim Eunju promised we'd be learning 할미 Halmi (grandmother) but I've been bringing my fan for a month and we haven't started yet. 

K-Arts Students Perform Goseong Ogwangdae

May 7^th, 2011

Finally the day for the K-Arts students to perform 고성오광대 Goseong Ogwangdae arrived. I ordered 15 bouquets of flowers from the florist and picked them up on my way to the show. Because rain had been projected (although then the weather was gorgeous after all), the show had been moved inside, which I am sure was better for attendance. I got special permission to video tape the show, but left the video camera on at the back of the room sitting up front next to 태환 Taehwan's two sisters who said they'd never seen him perform before. It was a little intimidating to be exactly one row in front of the seats reserved for 이윤석 Yi Yunseok (Goseong Ogwangdae national human treasure) and other Goseong Ogwangdae people and K-Arts faculty. 이재훈 Yi Jaehun, the sweet long-haired jeonsu gyoyuk jogyo who normally performs the old wife was there, as was 김성범 Kim Seongbeom, but Daecheon and Changyeol were absent as they had a performance starting at 6 pm at 광화문 Gwanghwamun—quite a distance from K-Arts campus.

The performance was better than I had expected, especially since I'd been pretty sorely disappointed by the students in the Bongsan Talchum group two days previously. The students did have one advantage compared to the Bongsan Talchum students: the mask dance drama is much shorter. Even with a substantial pungmul section at the beginning of the piece (even including some 남사당 namsadang tricks), the performance only took two hours. The students made no perceptible mistakes and some of them were very good. 재윤, 혜미 and 민지 drummed the whole time, which I think was unfortunate. It would have been better if they had been able to do some dancing, too. Personally I was quite impressed by 정우, I think he improved a lot, and 윤만 also really ate up the scene compared to what I had expected. One of the neatest things was how they bowed. They all ran forward in the groups of the soloists from the final act forward, so that for the final act the old wife, young wife (concubine) and old husband bowed, each now in their plain white minbok, but through using a bit of the mannerisms of their character they made it clear to the audience who had just been wearing which mask. It was really cool.

After the show I went to a 막걸리 makgeolli house with the senior K-Arts students and Yi Yunseok, Yi Jaehun, Professor Choi Changju and so on. Eventually the students showed up. After some warm and congratulatory speeches before toasts I left. 

Sangmo and a Performance at KOUS

April 19^th, 2011

We took care of some odds and ends including getting mom's business cards printed. In the evening mom went with me to 상모 sangmo practice. It was an unusual class because 이종휘 Yi Jonghui was out of town for a performance, so it was just 현석 Hyeonseok and me. Except when I arrived 은정 (도령) Eunjeong and 승민 Seungmin were there, along with a guy I don't know and a woman whose named I've never learned, though I've seen her a lot. A little later 유미 Yumi showed up, too. It was really good to see them. The reason they were there was to practice for the 계전연 Gaejeonyeon spring performance that will be held on the 30^th. Seungmin praised my improved sangmo, pointing out just how many people quit long before they get to the point I'm at.

Hyeonseok and I practiced more or less as we'd normally do with Jonghui there—moving through a logical series of motions, I didn’t do anything new, but I got a chance to practice until I was sweating.  

April 20^th, 2011

Karjam and mom went to the National Museum, I stayed home and worked on my computer. After making a nice dinner we all went to KOUS to see a performance.

The performance, another in the current dance series, was particularly attractive because 이윤석 Yi Yunseok, National Human Treasure for Goseong Ogwangdae, was performing 덧배기춤. It was a day when I knew half the audience, the entire regular crew from 봉천놀이마당 Bongcheon Noli Madang (about 10 people), plus 10 of the K-Arts students, plus 김성범 Kim Seongbeom and 허창열 Heo Changyeol as well as (performing a special 꽹과리 ggwaenggwari part during Yi's performance), 고석진 Go Seokjin. I had permission to take photos during Yi's piece (as long as I didn't take too many).

The entire performance was really amazingly good, one of the best I've seen and our front row (literally front row) seats were great for seeing every detail. Unfortunately mom (who always has a hard time sitting still during concerts and such) was falling asleep almost the entire show. That sort of distracted me because I need to feel the energy of the performance but I kept being worried that mom was missing out (and I took her so she could appreciate it, not take a nap). It was a great show, although I got a little pissed when we had to hear the announcing schtick stupid un-funny jokes. The 태평무 taepyeongmu by 강삼숙 was awesome, one of the best I've seen. And 이철진's 승무 seungmu was the best I've ever seen except for 정재만 Jeong Jaeman (who we're seeing next week!). 황지인's 입춤 ipchum  was really good. The 소고춤 sogochum by 임은주 from 봉산탈춤 Bongsan Talchum (she's an이수자 isuja) was exuberant, very fast-paced and fun but somehow I'd been expecting something more. 김선정's 살풀이 salpuri was disappointing, I've seen the dance too many times and it has to be done really well to wow me. There was no special flavor to it. Next was Yi Yunseok's performance, but he was exhausted from the performing trip to Malaysia and it showed. We all screamed really loudly but for someone who didn't know him and have a connection I wonder how it would have seen. I was really pissed when 진옥섭 Jin Okseop came out after his performance and said "I think he forgot the last half of the dance and just repeated the first half." You don't say that, even if it might be true! Next was 양길순's 도살풀이 do salpuri. Karjam and I saw her last year and thought she was great, this time I wasn't quite as impressed. Last was 문근성 who performed 설장구 seoljanggu (dancing with the janggu drum) very very very well. It was a great end to the show.

After the show I talked with Go Seokjin, Changyeol, Yi Yunseok, some of the Bongcheon Noli Madang people and the kids. Finally the performers left and we bowed their van away before dispersing. 

From K-Arts to Bongsan Talchum to the Seoul History Museum

March 23rd, 2011
The research activity of the day was to go see the 한국종합예술학교 K-Arts students practice 고성오광대 Goseong Ogwangdae again. Karjam came with me, expressing his desire not to go basically at every moment. We arrived right at 8, and some students were eating dinner still. However they started before too long. 태환 Taehwan announced the performance date—May 7th.

They did basic motions with 희수, 혜미, 재윤, 준영 playing instruments. Then they did act one, Taehwan felt a big heavier in his motions. As he practiced 윤만 was practicing his own stuff, while 혜미 and 정운 were in the back of the room eating dinner.

Next they practiced act three, but they kept stopping and taking things again. 만희, 준영, 정우, everyone basically was on 희수's case for continually screwing it up. He must have a hard time remembering stage blocking. As for 만희 he got very little correction, but when he did he responded that 창열 had said he was doing it right but 대천 had agreed with the critique, so he was trying to find a middle ground.

Act two was next and 정우 looked a lot more masculine. They went through the act with no interruptions, although at one point 민기 just announced that he'd take his line over again (and did so). Afterwards they had a discussion of what went right and what needs to change. 정우 and 민기 get in a discussion about where (on the stage) to do the dialogue. 민기 says "when the teachers perform, 원양반 does a circle like this right in the center." And acts it out.

Act five was next. 준영 had hurt his leg and couldn’t move very well, but it almost worked better (certainly funnier). They took the parts several times esp. the part with the two songs, trying to get the timing all right. During one of his parts 윤만 tells everyone "don't laugh" because he's having a hard time due to difficulty keeping a straight face.

Last of all they practice act 4, and the two "ladies" are played by 정운 and 재윤(not the normal actors) and they totally goof around making it hard for 경진 to concentrate, but it's all in good fun.

At the end of the practice the students completely confirmed my absolutely positive impression of them. They were so awesome. They all came and sat down in front of Karjam and introduced themselves as a group and asked him to introduce himself and then to sing. And then Karjam asked them to sing (they sang a mourning song from 진도 씻김 굿) and then they asked me to give them feedback on the days rehearsal (my general feedback was that they were getting so much better and that now they were more comfortable with the roles they'd be able to fix the little things). Karjam was happy on the way home. He was definitely impressed.

March 24th, 2011
The research activity of the day was to go to 봉산탈춤 Bongsan Talchum class, but I was a bit late because of the sudden heavy wet snow shower that snarled traffic. In class we had 12 people not including 김은주 Kim Eunju but including 인수 Insu who was there to practice his drumming accompaniment skills (which meant that Eunju was able to move around and teach without drumming). 박용철 Bak Yongcheol had brought another of his troupe people, a huge man, to class. 현석 Hyeonseok was there, too. And I felt guilty I hadn't come earlier, he'd been there waiting since 5:30 without dinner since his family doesn't have the money to spare. I guess I need to feed him every week as well as paying his tuition (to be fair, he doesn't know I do that). We practiced all the way through the monk parts and did lion dance at the end.

March 25th, 2011
On Friday I spent hours with 지수 Jisu again, then rushed home, changed, and went to a meeting of "Pine and Tiger" (a special group for discussion of issues related to tourism/expressing Korean culture to foreigners) which was a bit unsatisfying as Director 엄승용 Eom Seungyong was so late and we just couldn't have the meeting right without him. We did, however, tour the 서울역사박물관 Seoul History Museum. It is devoid of English, but actually has a lot of awesome displays—photos from the late 50s and early 60s, a display of items from daily life, and a great diorama of the city. After touring around we went to dinner, half way through Eom Seungyong finally joined us. The group didn't really jell, although I think I made a great impression on the two Korean members. Karjam and I saw "The King's Speech" in the evening.