Korea and Death

This is a very brief account, and reflects my limited experience. If I learn more anytime soon I'll come back to edit this post.

My friend Son Byeongman died at the end of last week. We're the same age. I met Son in 2005 through Bongsan Talchum, where he became an isuja not long after I'd first met him. He was extremely dedicated, very serious about mask dance drama and the Korean arts, a graduate of the Korean National University of the Arts (K-Arts), and a full time performer. Everyone knew the story about Son-- that he'd gotten an amazing job at the most prestigious Korean company after graduating college, and then had realized that he didn't want to be a cog in the Korean corporate machine. He quit and went back to college, studying mask dance drama and devoting his life to the performing arts. Since most Korean performers either were tracked into performing arts from an early age, or were not academically gifted/dedicated enough to get a job with a major company, everyone was very impressed by Son's story.

I liked Son Byeongman most because when I would interview him (and he was someone I interviewed repeatedly) he was completely forthright and not afraid to say things that other people hedged around, hinting at the issue but not wanting to seem so critical. Son was willing to say it like it was, and I loved that. Interviews with him were very helpful. He had a reputation as a "무서운 선생님" or scary teacher. He got this reputation because he was so dedicated to his student's success (he often trained students who were auditioning for entry to K-Arts). Although they called him scary (I even saw someone cry once), they loved him for trying so hard, and everyone I know who was trained by him was accepted.

He was in a three man group called Cheonha Jeil Tal with my little brother Heo Changyeol and another man I don't know as well. I wrote about this group for my first published article.

Son Byeongman performing with Cheonha Jeil Tal

After a performance by Cheonha Jeil Tal. Son Byeongman is seated in the center. 

He died. How and why are a bit vague, it seems that he collapsed (no evidence of slipping on a wet floor or anything like that) while home alone. He was discovered 2-3 days after when his students got worried that he wasn't answering his phone. He had never been particularly robust, in fact he was very thin and weak, but even Changyeol did not know if he was actually diagnosed with any particular illness. He may have known and not wanted to burden others. He may have just figured that in our early 40s we don't need to worry that much. When I saw him in July he seemed thinner than usual, but no less energetic-- Son was driven from within by the force of his will.

After I found Son had died, I talked to Changyeol-- everyone had gathered at the funeral home.

In general one spends three days (two nights) in a funeral home (not in the same room as the body), grieving, praying, and saying good-bye. Friends and relatives stop by the funeral home (located within the grounds of a hospital) at any time and they stay as long as they want, depending on their feeling of closeness to the deceased. Changyeol spent the night. So did some of Son's former students.

I arrived at the funeral home, the entrance way lined with giant displays of white chrysanthemums with ribbons proclaiming the giver's name or organization. Son was having a low-key affair as his mother (and father?), grandparents, and siblings were all still alive-- larger and more elaborate ceremonies are held when the younger generation remains but a member of the older generation has passed on. One room was dedicated to Son. Inside there was an altar with his photo, his name, fruit, incense, and candles. Visitors came in, and slipped money into an envelope at the door (I gave 50,000 won, if I was closer it would have been more). The visitor's name (not Son's name and nothing else, no message of condolence) was written on the envelope and each visitor signed the guestbook (with their name and perhaps organization, but no message). Then they proceeded to the altar, and bowed (big bows, head touching the floor) two times (not more, not less, two is for the dead) to Son, followed by a bow from the waist. As I bowed two men were at the side of the mat/altar area. I believe this was a brother and maybe an uncle, or maybe his father. After I bowed to Son I should have bowed deeply to them once, then from my waist once. However, I messed this up and only bowed from the waist. I was unsure of the protocol, but watching the only other new guest who arrived after me I felt pretty embarrassed. Still, I presume they were not offended because I had come all the way to be there, and obviously I am not Korean.

After I bowed I was ushered to a table (a low table, so I was sitting on the floor). Interestingly the funeral home staff member was a woman I know, as well, she is also a performer of Bongsan Talchum. Since she had an official uniform and name tag, I think she is actually a regular employee, and this probably explains why he was taken to that funeral home, instead of another. She offered me drinks and fruit, and we talked for a few minutes. About fifteen family members were occupying the back corner of the room, many of them half asleep, none approached me, and I didn't know if I should approach and talk to any of them. The male blood relatives were all wearing hemp arm band stripes on their sleeves. Most of the men had double stripes. I think that a single stripe would be reserved for a son, and three for a grandson, but I might have that wrong. I'd spend more time researching that but I really have other stuff to do besides writing blogs!

While I was having my drink and wondering what I should be doing, Changyeol came into the room looking very sleepy. He'd been napping next door. We talked for a bit, and other people and friends also filed in and out, although they did not bow because they had already done that when they first arrived. Many were there because they were waiting to carry Son's body (or ashes?) out, formally, at noon when the three days would be over. Changyeol and some others ate instant noodles, kimchi, and rice, in the hushed atmosphere of the hall. Although funerals can be quite loud, full of screaming and crying, on the last day everyone seemed quite exhausted. Until an older couple arrived. The elderly woman, probably in her 70s, came to the altar with some large photos of Son performing, and after she bowed, she yelled at him, shaking a photo and crying. "See, here you are. Doing what you love. You have more performances to do, why did you leave so soon?" she wailed. Her husband tried to calm her. After forty minutes in the hushed environment I bowed and left, retracing my nearly three hour route back home.

I wish I had read this before going to the funeral, this is a very thorough blog entry on Seoul Site.
Here is a blog post I wrote in about 2000 or 2001 about another funeral I went to with some photos.

Society for Ethnomusicology, Northwest Chapter Annual Conference

I went to a conference over the weekend. I did not send in a proposal to present because of the two presentations I have March 1st and March 15th, but I went in hopes of academic stimulation.

I am so glad I decided to go. The conference was well organized and inspiring. The UW staff, faculty, and graduate students who organized the conference deserve accolades for their efforts to not only host the yearly event but also the way they seamlessly combined it with a celebration of 50 years of Ethnomusicology at the University of Washington.

On Friday evening the festivities began with a reception at Jack Straw Studios. When I arrived, I was immediately excited to see Professor Lee Byong-won of the University of Hawai'i, whom I had not expected to see as he was not presenting a paper (and indeed Hawai'i is part of the same chapter of SEM as UCLA). Moments later I noticed Katherine Lee, a scholar working at UC Davis whom I got to know at previous conferences. While I was talking with her Nathan Hesselink arrived. I was overjoyed to see him because Nathan was not on the program, although as a professor of Ethnomusicology in the Northwest Chapter I should have guessed he might attend. Nathan's research on Korean music is brilliant, but more than that he is always ready to give me solid advice via email, and I am quite indebted to him. I must admit I spent much of the reception talking with Nathan. If that had been the only thing to happen in the evening I would have been excited, but as I left the reception Robert Garfias was also leaving and we had a really sweet one-on-one discussion of Korean mask dance dramas and the job market-- the upshot was that he is giving me access to his marvelous archival footage of Bongsan Talchum and Yangju Byeolsandae from the 1960s. Just that was worth the drive to Seattle!

If I described the entire conference, you might get bored. But here are a few highlights.

- Katherine Lee was the only Koreanist presenting. Her paper discussed nation branding and the former brand image "Dynamic Korea." She demonstrated how Dynamic Korea was connected to the Dynamic music of samulnori and how this connection actually contributed to the change in slogan/brand image because the government remains nervous about the connection of drumming with protests.

- Sean Williams (Evergreen) managed to sing Kentucky murder ballads, Irish folk songs, and Javanese song from the Bandung area all during one highly engaging presentation explaining the value of having visiting artists in a program of ethnomusicology based on her own experiences at the UW as a graduate student (MA and Ph.D.) Yes, she sings very well.

- Robert Garfias (UCI) presented life lessons that I really needed to hear. The former UW professor extolled us to record everyone's stories, understand that things are not what they seem, don't allow others to discourage us, and much more. He also explained a lot of the history of Ethnomusicology along the way.

- The evening concert on Saturday night was two groupings of mbira ensembles and a marimba ensemble with the fastest hands I've ever seen. Although mbira always puts me to sleep, no matter how skilled or famous the players, the marimba had me dancing in my seat until we finally got up to dance in the aisle (which was not easy as it was a ramp and I was in heels).

A book honoring Garfias (as a young man on this cover)

A book Sean wrote with her friend-- a writing process she discussed in her talk

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.

Miyal Performance at Pungryu Theatre

July 28^th, 2011

We had class with a little extra Bongsan Talchum practice for the students.

July 29^th, 2011

My friend from K-Arts, 기영 Giyeong, helped me find someone to teach the students Korean court dance, the very nice이은솔 Yi Eunsol. The students were sort of amazed how difficult what looked like simple motions actually was to do.

The last performance in the series of mask dance drama performances was on "Miyal" (the old grandmother). I went directly to Pungryu Theatre after class, talking with the Bongsan Talchum performers a bit (although the focus for the evening was Eunyul Talchum). The show was good, but again, it was awkward to be combining the different dramas (Eunyul, Gangnyeong, Bongsan) into one show. I was surprised that Abigail and Amada came. After the show I took them and Sumi out for jeon and makgeolli. I think I'm converting my students to a big love of Korean arts! 

Bongsan Talchum Milestone

July 23^rd, 2011

I had a relaxing day—the big action was to meet Tommy (a UCLA grad friend) for coffee as he was visiting Seoul. Otherwise I worked on my computer all day.

July 24^th, 2011

I didn't do much on Sunday except work on the computer, but I went to 정회정 Jung Hoijung's favorite coffee shop near her house and we worked there.

July 25^th, 2011

At Dankook University today we had a good class. I decided to just lecture (no PPT) based off a section of the background (discussing heritage protection systems) of my dissertation- then students led a short discussion of the articles and we practiced 봉산탈춤 Bongsan Talchum. I went straight from class to 선릉 Seolleung where I met Jisoo. We had dinner and she walked me to the training center where I had Bongsan Talchum class. Today class was awesome AGAIN. I will miss practicing Bongsan Talchum more than almost anything when I get back to LA. First it was awesome because again we had a large number of people- 18- including two brand new people. We did the 8 dark-faced monks as solo dances, and I did the 3^rd monk as usual and I made NO MISTAKES in my dance or in the monologue, a day I have been waiting and waiting for. Yes! I felt like I had vanquished a personal mountain, but many of the long term friends in the class knew how I felt about it and were happy for me. We have a college student in class and his mom is also attending (she's really sweet) and she invited us ALL out after class. We went to a restaurant and everyone (except me) had beer and various meaty dishes. The energy amongst everyone was just terrific. 

Everyone Watched a Mask Dance Drama Performance

July 21^st, 2011

At Dankook University the lesson plan for the day included showing the students the movie Seopyeonje which everyone should watch as it's fabulous, so I started out with a lecture orienting them to types of vocal music with extra emphasis on pansori (the subject of the movie). I think they really enjoyed it.

In the evening I met up with Kathy and Tim again and we went to the Dragon Hill Spa (찜질방) which was awesome, of course. They were quite impressed and really appreciative of the awesomeness that is Korean bathhouse culture.

July 22^nd, 2011

Prof. Hilary Finchum-Sung came to guest lecture to the class. Not knowing the route to Dankook University I met her at 강남 Gangnam Station and we took the bus together. This meant we had lots of time to chat, yay! She's far enough into her career to have great advice, but new enough to not have outdated information or have forgotten what you really need to know when you're at my stage. She gave a great lecture to the students—her focus was globalization in Korean music, talking about whether fusion is Korean music, for example, but she gave a good solid overview of Korean music before she got to the point of the lecture. Although I had taught the students lots of the same stuff, the reality is that they are being hit with tons of brand new words, an entire world of things they knew nothing about two weeks ago, so a solid well-organized review was great for them. Also she brought her 해금 haegeum with her and demonstrated different types of music on the instrument.  

For the end of class we discussed one out of two planned articles, then practiced 봉산탈춤 Bongsan Talchum motions. The students are getting better and better. I rode back to Seoul with Hilary and went straight to 선릉역. I drank coffee and worked on my computer until it was time to meet Kathy. We briefly walked through the park at the royal tombs, then met Tim and ate dinner before the mask dance drama performance for the evening.

Not the best cell phone photo of Kathy

The performance was the third in this series where they are combining different arts on themes. The theme was 노장, the old monk. Oddly 북청사자놀음 Bukcheong Saja Noleum showed their monk dance, then we saw the 은율탈춤 Eunyul Talchum old monk scene, or the start of it anyway. It felt very choppy and artificial and honestly the other two were not displayed well in comparison... Last there was about an hour of 봉산탈춤 Bongsan Talchum. The performance included the 8목중 8 dark-faced monks plus the entire old monk scene all the way through the shoe seller and 취발이 Chuibali. 8 students from Dankook had come (6 of mine and 2 others) and they all enjoyed it. After they show they took photos with some of the performers, then I said bye to my friends who were there and Tim, Kathy and I had a drink before saying good-bye until who knows when. 

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. 

Gyeongbok Palace and Patbingsu

July 17^th, 2011

I worked on the computer in the morning then went to meet 박연식 Bak Yeonshik (from Bongsan Talchum) and his friend Haeri. She knows a ton about 경복궁 Gyeongbok Palace and palace architecture etc in general and she gave us a personalized awesome tour. There were so many things she explained I wish I had known when Aimee, Hengyi Shr and my mom were visiting. Unfortunately the sun was baking (okay, at least it was sunny!) and I was in a tank top and I became horribly sunburned.

We went to a really great 팟빙수 (shaved ice) place and I had one made with Omija, which is my absolute favorite flavor, but I've never seen it offered for shaved ice before!

I had a date with 세정 Sejeong at 5:30 but showed up at Namsan Hanok Village early, allowing me thirty minutes of happy dancing and photography with my Gaejeonyeon and other 임실필봉농악 Imshil Pilbong Nongak people. Sweaty I joined Sejeong, who was feeling very physically exhausted, and we decided to have dinner and then watched the latest Harry Potter film. Afterwards we had a long discussion of her problems with finding the proper focus for her studies.

July 18^th, 2011

I went to teach at Dankook University, and it was a fairly good day except that it was the day to introduce both mask dance dramas and pungmul music to the students, plus go over two readings and have a discussion related to teaching and learning traditional arts. Of course we also had to have our time to practice 봉산탈춤 Bongsan Talchum but most of the group was complaining that they hurt all weekend after practice on Friday. That's cause we're at the point in the basic motions routine where we squat and jump into the air repeatedly. It is both exhausting and for people with lame squat muscles, painful the next day.

After class I took the bus to 강남 Gangnam instead of near home and just went straight to the training center. I asked 장용일 Jang Yongil a few questions related to research and talked with him and the office manager and then headed to class. Today 김은주 Kim Eunju was back. It was so much easier to have class with her that all night the students kept calling out loudly "you're so great!" and "what an excellent teacher" etc. when she didn't make us repeat motions to the end of the routine (when they're all the same anyway). We had 16 students. 17 or 16 every class while Jang was teaching, too, even though every time someone or the other is absent. But my sunburn had me exhausted and weak and I did a terrible job all night. 

Yeonshik Guest Teaches Class

July 15^th, 2011

Class went really well today. First we had reading presentations, the readings were really tough but the students who were presenting did a great job and I feel like everyone ended up understanding the important points.

Then 박연식 Bak Yeonshik, my friend from 봉산탈춤 Bongsan Talchum evening class came to present. First he gave a short lecture on the difference between singing styles from Namdo, Gyeonggi and Seodo and then he taught them to mouth the rhythmic pattern Jungmori Jangdan. After that he had them learn to sing Ganggang Sulrae. Then they sat down to the four janggu he'd brought and learned to drum and sing the song. They had a lot of fun. Yeonshik presented his own drumming skills to them (impressive) and last of all he drummed so they could practice Bongsan Talchum with a drum for once. It was really good, I think they all enjoyed it.

In the evening I wanted to go see the performance at 풍류극장 Pungryu Geukjang but I had been convinced by 최해리 Choi Haeri to see a show with her instead. It was basically horrible! All dance, including two modernish dance and one new traditional dance plus classics, the best performance was definitely the 태평무 Taepyeongmu which I've seen so darn many times it was also kind of boring. Not the best dancer, just the best in the show.

July 16^th, 2011

I stayed home and worked on the computer, went to Chans Bros and did the same, then came home and did more work. That's all. Laundry. Cooking. Cleaning. Okay NOW that's all. 

Dankook University Class Begins

July 10^th, 2011

I had a big staff meeting, meet the students, lunch event thing at Dankook University. Nothing much of any research related interest.

July 11^th, 2011

I was really worried about how many students I'd get and also worried some of them might be just shopping around. We talked about the class, did an exercise to create a cultural literacy test for Korea, I gave a short lecture and we had our first practice of Bongsan Talchum. It seems I have seven students (two more were just checking out the class).

July 12^th, 2011

The second day of class went much more smoothly as I wasn't worrying about who or how many would show up and just focused on teaching my lesson. I hadn't assigned anyone to present on the reading so I had prepared to foster a discussion myself—but only a couple of them had read it. I promptly assigned the rest of the readings to different students. At the end of class Abigail brought a friend in from another classroom and the girl, Jessica, asked to join my class as she'd fallen asleep in her other class. Abigail assured her it wouldn't happen in my class. The frustration for the day was finding out that they still hadn't made my reader, because they'd given me the originals the previous day—why did you give them back to me when I took them to you over a week ago, you could have just kept them! 

In the evening I went to a lecture on Buddhism by Robert Buswell, an amazing UCLA Buddhist studies professor who I really like. I just wanted to see him, fortunately since the talk didn't have much new (to me) information in it. He is an excellent speaker, though. 

Lion Dance

July 8^th, 2011

On Friday, back in Seoul, my most important activity was to go to a performance at 풍류극장 Pungryu Theatre. Before that, however, I went to the first hour of 봉산탈춤 Bongsan Talchum class. I love it when 장용일 teaches because, I realized, he's much harder on me and on all of us, so my skills progress faster when he's teaching than the rest of the time. He had ordered (on Monday) that all the new people  needed to show up early and that 병호 Byeongho had to show up early and teach them. But then as they mostly were doing pretty well, another guy showed up who didn't know anything. I taught him, which was good practice for my upcoming class. He learned super super fast, too, as he's a theatre major with some movement background. We ran through the first several monks (in order with monologue) and then I had to leave for the Pungryu Theatre downstairs.

They're currently staging a mask dance drama series, organized around themes. The theme for Friday was lion dance, and the main performance was by 북청사자놀음 Bukcheong Saja Noleum's preservation association. Eunyul Talchum and Bongsan Talchum also joined them on stage a little. As the Bukcheong Saja Noleum friends were performing they kept noticing me in my center front seat and nodding or giving me a grin. I really have gotten to know quite a lot of them. After the show I went to their office and congratulated everyone. 

A Visit to the Cultural Heritage Administration

July 4^th, 2011

It was an intense day; a day when I used all my energy and was on my toes the WHOLE time. I got up and shortly afterwards headed to the bus station and took a bus to 대전천사 the government complex in Daejeon where some of the Korean gov't ministries, etc. are located, including the Cultural Heritage Administration. I timed my visit to arrive directly after lunchtime, and that part was successful. I managed to get ALL the info I knew to get, but the problem was I wanted them to just brainstorm what else might be useful and pile it on me—I mean, if I don't know if it exists how can I ask for it? So either I already know everything (doubtful) or… I came away without something that I'll find out about in 2 years and be pissed I didn’t know when I was writing the dissertation. The guy who helped me, Kim Sam-ki, was nice, though, and accommodating in regards to the stuff I knew to ask for… now I have to re-read the Cultural Property Protection Law's section on Intangible Culture, though. I feel a headache coming on, already. So I talked to Mr. Kim and got some good info from him in regards to the government's position on this and that, but then he ran out of time. I had to at least briefly talk to 엄승용 Eum Seungyong, my friend who is also the Director General of Cultural Heritage Policy at the Cultural Heritage Administration, before leaving, and waited outside his office for at least 40 minutes (knowing I was going to be later and later for the rest of my day). This chat yielded something unexpected- he asked me to serve as an outside adviser on a new government task force he's setting up called "Korean Cultural Heritage 2020"- designed to think about the future issues with cultural heritage in Korea (and head off problems in advance). I feel very honored, though later when I need to be articulate and substantive I might feel a little less excited.

Finally I left and by din of jaywalking I managed to make the next bus heading to Seoul (without even 2 minutes wait). Yes! But since I'd forgotten my exercise pants I had to run home, then run to Bongsan Talchum 봉산탈춤 class, arriving 10 minutes late (I did stop to have a 5 minute dinner—two minutes to wait while she made kimbap and 3 minutes to wolf it down- I had only had a snack at lunch time so I really needed it.) Usually 10 minutes late is no problem as 김은주 Kim Eunju comes to class at 7:15 every time, but she's in Russia or Uzbekistan teaching Bongsan Talchum and so 장용일 Jang Yongil was filling in. Everyone's afraid of him and once I was, too. But now I think he's awesome and I even have a little crush on him (when he's dancing, when he's not dancing it's too obvious that he was born in 1946, but when he's dancing he's still so amazing and lithe and powerful~!).  He's a slave driver. We had 17 people in class today, and fully 7 of them were beginners in their first two weeks—but he didn't teach them. He just told them to follow along (which meant everything was rather chaotic at the back of the room (I am at the front in the center as is the responsibility of the senior class members) and I had to be careful not to look in the wrong direction or I'd get thrown off and screw up). Actually I did great. But we worked HARD. There was almost no break time as usually the advanced students rest while Kim Eunju teaches the new students, but today we just would stop to breathe for 3 minutes and then go on. Instead of grandmother or any other parts we have been practicing after the monks, today we did 사자춤 lion dance and then did 취발이 Chuibali, which is the first time I've ever learned his dance. Cool! Jang explained a lot about Chuibali, who he is, his motivations and what his dialogue means at the beginning of the scene (he taught about 1/3 of the scene I think). The whole class was so intense, we didn't even get to meet the new people, and we had to do ALL the monologues for all the monks. We've never done that before. I don't know 5 at all. I know a tad of 6, parts of 4 (I can fake 4 if others are doing it with me) and 7 was short and I almost learned it before we did it during the 3 minute breather. (I already know 2, 3 and 8 perfectly). Oh, and this guy who did Bongsan Talchum with me in 2006 came back from the military yesterday and showed up for class today. 

Karjam Gets Ready to Go

June 29^th, 2011

I worked on the computer and Karjam and I went out for a really good dinner then we browsed Kyobo Bookstore (and came home with a heavier bag).

June 30^th, 2011

I packed a box to send to the US and Karjam packed his bags for the airplane. Sad he's leaving. Karjam also finished up some "making of" videos to thank his collaborators and as little advertising pieces for the upcoming CD. Here they are!

Making of "Counting Song" featuring Kim Yuna

Making of "Song for Tsemphel" featuring Hilary Finchum-Sung

Please visit the videos, comment and "like" them on Youtube. Thank you!

In the evening I went to Bongsan Talchum. Class was a little odd, we had three new people (one who came last week, one who came on Monday (I was absent) and one who was new today. We also had an observer who is a dance instructor at a university in Texas. Class went pretty well, we ran through the monk parts and proceeded to practice the part of the old grandmother and the 사상좌 sasangjwa. I was a little distracted though, as lots of people I don't know makes me nervous and because the really good 이수자 isuja for 적벽가 Jeokbyeokga (one of the pansori epics) was rehearsing and I love sneaking down the hall to hear him.

Catching Up

June 25^th, 2011

We went to the studio but really had nothing to do except talk a bit and take some commemorative photos.  In the afternoon I went to 송파산대놀이 Songpa Sandae Noli it was only 함Sr. and 함 Jr. who showed up (it was raining cats and dogs). However, it was still good, esp. because FINALLY I got Ham Wanshik (Sr.) to give me a nice long interview.

June 26^th, 2011

On Sunday after lots of computer time Karjam and I roamed the city with a video camera.

June 27^th, 2011

I did a lot of work on the computer and reading.

June 28^th, 2011

I went to Dankook University this morning and dropped off my reader pages.

I did some work on the computer and in the evening went to a dance performance because 박연식 and 손병만 were in one of the groups. To tell the truth I had not been looking forward to the performance. It was a big omnibus performance with four different teachers, 한혜경, 김은희, 진유림 and 이정희. I have seen one of them do a big show before and it was quite a waste of time, but this time the other three were okay, pretty good, and really good, so it was not a bad show overall.  The really good was 이정희, who was also the teacher and leader of the performance that Son Byeongman and Bak Yeonshik were in (each teacher did two performances, one solo and one group).

But what made the show for me was that I had the best seats I've ever had. Which is a bit of a story. Yeonshik had asked me (three times) how many (free) tickets I needed, and I'd told him two. I was a little chagrined when Karjam decided not to go, but he's been to a lot of Korean dance performances, and some haven't been so good, so I understood. I didn't have time for dinner, so I quickly found a 삼각김밥 when I got off the bus and ate it as a I walked to the hall. I got in about 10 minutes before the show. And Yeonshik had not gotten my ticket to the counter and processed, which meant that –after- I met up with him (you should have seen the make-up he had on! And the fake eyelashes so long they must have tickled his eyebrows.) I had to try to redeem a 초대권 invitation ticket for a real ticket, but the show was sold out… so no chance of that, except a bunch of people were mobbing the desk trying to be let in to sit on the floor in the aisles. I couldn't handle pushing, and was standing back and suddenly a woman I know from 봉천놀이마당 Bongcheon Noli Madang but had only met once ran over (everyone was already entering the theatre, since it was now 2 minutes to showtime) and asked if I was alone and gave me a ticket. It was a 30,000 won ticket in the center section 3 rows back from the stage!!! And she refused to take any money for it.

I would have stayed very happy if only after the show it hadn't been raining (and I had no umbrella) so I jumped on the first bus that came, but it was heading the opposite direction of what I thought and I ended up taking the LONG LONG LONG way home. 

Karjam and I Spend a lot of Time in the Studio

June 19^th, 2011

After working on my conference paper for several hours I headed to the 국악원 Gugakwon to meet up with 최해리 Choi Haeri, a dance researcher that professor 조경만 had introduced me to. The conversation was very fruitful and rewarding. Both because Haeri is really knowledgeable and intelligent and gave me great new information and shook loose some ideas that have been percolating in my skull, and also because I think we could become friends, certainly she's quick thinking, critical and intelligent, just the way I like my friends.

During our conversation even there was a constant stream of other people coming through because a performance was beginning at 5. I had tickets, as it was 진옥섭 Jin Okseop's big deal annual performance, and there were a lot of people I knew there, including 엄승용, 고석진, 손병만, 이병옥, 이수환 and many many more. After the bell had already started ringing to tell everyone to go in and find their seats Karjam finally arrived. I need to start telling him things start 30 minutes before they actually do. It really stresses me out when he's late.

The 30,000 won seats had been sold out when I got around to buying tickets (the entire show sold out!), and I decided 40 or 50,000 per seat was too much for me to justify, so we were in the 20,000 won seats on the third floor. Karjam was frustrated that he couldn’t see well enough. That's true, we couldn't. The show was interesting. I studiously recorded all of Jin Okseop's emceeing for later analysis. I need to go visit him and take a photo of him. His name will definitely be sprinkled throughout my dissertation. After the show a friend of Haeri's introduced me to one of the performers, but it wasn't the performer who had wowed me… not quite sure why Haeri thought I should meet her. Mid show 장사익 Jang Sa'ik had come up on stage and sung two songs. Karjam was even more blown away live than when we listen to Jang's music at home, so he insisted that I introduce him to Jang afterwards. Mind you, I've met Jang before and I'm a total fan, but that doesn't mean Jang knows me. Whatever, I'm ballsy enough to walk up to the most famous person in the lobby and say "my husband, a Tibetan singer, really wants to meet you." They took a photo together, exchanged cards and Jang invited Karjam to stop by for tea and Chinese noodles. Hmmm…. Should we really?

June 20^th, 2011

During the day Karjam and I hung out with 영훈 Yeonghun at the studio as he mixed some of Karjam's songs. Then I went to 봉산탈춤 Bongsan Talchum. Class was interesting. We had two new students, both students majoring in 연극 drama, both at Bongsan Talchum because they strategically believed that learning a Korean way of moving (what the man said) and more about traditional theatre (what both said) would be useful for them in their future. Also this graduate student, 김현철 came back. He was in class in August and September, but was back now after the school year ended. He majored in 국악 Korean music for his undergrad and is now majoring in Music Education. I like him, but he looks like he's in high school. Speaking of, 현석's friend 동호,  attended his second class. And 미행 Mihaeng is back. She gave me some nice handmade soap. She's so negative I really wish she wasn't back, but she likes me, so… I'm torn. Oh and 윤희 Yunhee, the dancer, came back. It was a lively day. We practiced 7 monks and did 할미 Halmi (grandmother) only.

June 21^st, 2011 Summer Solstice

We had recording again today, with Hilary Finchum-Sung coming in the morning to record a violin track for "A Song for Tsemphel" (this title might change). The song is so sad, because Karjam's friend is serving a 15 year prison sentence for political reasons and Karjam misses him so much (and worries about Tsemphel's family). The song had already been quite good, but it didn't feel as sad as the lyrics. With the addition of Hilary's violin track the song really came alive. When we listened to the song after she was done both Karjam and I cried.

We had lunch with Hilary and then it was time to meet 김유나Kim Yuna. Originally we were going to have a special student of Hilary's Bitna do the 아쟁 ajaeng, but her grandmother got seriously sick, so Bitna introduced another ajaeng player. I've been emailing with Yuna but this was the first meeting. She was so cute in her black high heels, ruffled white blouse and black skirt. Her hair even was quite stylish. She had taken my injunction to be ready for the camera quite seriously. She needed more of Yeonghun's explanation than any other of the musicians so far, as it was her first time in the studio, but her expression of nervous delight to be putting on the headphones for the first time was just delightfully cute. Karjam and I stayed at the studio integrating Samkuchet's singing into the two songs (she sent files from Gannan) until nearly 8 pm.

Most of a Week

June 13^th, 2011

I went to Yonsei to get ready for my class I'll be teaching at Dankook University—I had to print a bunch of things and also find some books and copy certain chapters, all in preparation for making a kick ass reader. I estimate I should get it to the university by the beginning of July, so I still have a tad bit of time. That is good because the library is even lamer than I expected and I could not find some extremely key books—however I was able to use credit that had been on my card since 2006 (!!!) to do the copying in the library.

I barely had time to get home and get back out the door with my stuff for 봉산탈춤 Bongsan Talchum.

At class we had a small turn out, a new high school student, 동호,  plus 윤식, 하연, 세준, 수미. We practiced the 7 of 8 monks in order, then did 애사당, 소무, 할미 and 사상좌.

June 14^th, 2011

I got odds and ends done, but no real writing again. Argh.

Karjam and I went to an amazing 판소리 pansori performance in the evening at 풍류극장. The performance featured one senior singer, 송순섭 and two of his students (one an 이수자, one a 전수자), as well as two 고수 (accompanists for pansori), one for the master and one for the students. The show was really great, and Karjam loved it, too.

June 15^th, 2011

I honestly am so far behind on updating this. I cannot remember anything special happening, I think I just worked on my conference paper the entire day.

June 16^th, 2011

I worked on my paper for most of the day then at 8 we had to go to the studio to add the last of 고석진 Go Seokjin's percussion tracks to the CD. It was sort of frustrating. Karjam was in a poor mood and that impacted his decisiveness and also made him dislike almost everything. It was actually more than sort of frustrating. And since he was irritated at me, I couldn't (as I normally do) make some choices when he was being indecisive. I'm a very good tie-breaker. At 1 (in the morning) we were all exhausted and Karjam still wasn't happy, but we called it quits. Then Seokjin, Karjam and I went to a GS25 and had instant noodles, instant ddeokbokgi and kimchi from a vacuum-packed bag. No this was not my idea.

June 17^th, 2011

I think I spent the entire day writing on my conference paper, increasingly freaked out that I wouldn't get it done.

In the evening I had 상모 sangmo class at Sogang University. It was awesome! Even though I haven't been able to have a class in a long time, today I was amazing! And I learned a whole routine to enter the stage (or the center stage for a solo) which will come in handy later on. Yay!

June 18^th, 2011

I took the bus to near Songpa Sandae Noli and then sat in a coffee shop and worked on the paper until time to practice. Class was very sparse, just 함완식 Ham Wanshik, 이수환 Yi Suhwan, 함승헌 Ham Seungheon and me. Yi Suhwan was teaching the motions and since he and I had a falling out over him repeatedly changing the English on the 송파산대놀이 facebook page (please visit it and "like" it), even though I'm the native English speaker who writes about Songpa Sandae Noli in English, he ignored me and taught Ham Jr. while Ham Sr. drummed and I just followed along. He was teaching him the part of 노장 Nojang, the old monk, so that was actually kind of interesting. This is one of the two parts that Yi Suhwan jealously maintains control of and almost always performs. From a dance perspective it's the most difficult solo in the entire drama. The most interesting part of class was a debate between Ham Sr. and Yi about changing motions in the dance. The debate may go in the dissertation word for word (I wrote as fast as I could).

After class I went back near home, but stopped at Chan's Bros and wrote for at least a couple more hours there before I went home.

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.