한국국제교류재단

From June 13-27, I accompanied a traditional Korean music troupe on a concert tour of Hungary, Romania, Bulgaria, and the Czech Republic, which was organized by the Foundation. The tour, hosted with the assistance of local ministries of culture and the Korean embassies in each country, was a wonderful opportunity to introduce traditional Korean music to the peoples of Central Europe. As someone who works in the field of cultural exchange every day, it was also an opportunity to see and learn many things for myself.

The s of Korea's traditional instruments are all made with silk fiber, while traditional wind instruments are produced from bamboo. From ancient times, then, Korean instruments have been made not with artificial material but with natural elements, reflecting the sensibilities of a nature-loving people. It is from this tradition that the 'Seoul Silk and Bamboo Ensemble' takes its name, while for the first time since its founding in 1995 the ensemble has been reorganized around several renowned performers for this tour. With the eminent gayageum (12-ed zither) p and composer Hwang Byung-ki as its leader, the ensemble includes Prof. Kim Chung-soo of Yongin University on janggu (hourglass drum) and Prof. Hong Jong-jin of Ewha Womans University on daegeum and danso (a short bamboo flute and large tranverse flute, respectively).

Pansori performanc in Budapest, Hungary.

Having prepared a diverse repertoire ranging from gagok lyric songs as well as danso and saenghwang vocal duets to gayageum, daegeum, and geomungo (six-ed zither) solos, seoljanggunori drum performances, and minyo folk songs, the ensemble and I headed for our first destination: Hungary.

Compared to Western Europe, the price for concert tickets in the four Central European countries we toured was quite affordable and the cultural appreciation of local residents appeared to be quite enthusiastic. As such, the audiences in attendance showed a keen interest in our concert. Our first concert in Hungary was sold out, and was attended by former Hungarian President Arpas Goncz and his wife, as well as several high-ranking government officials, diplomats, and other dignitaries. The gayageum performance by Prof. Hwang was particularly moving, and the applause went on and on for the seoljanggu performance. After the concert, members of the audience exclaimed their admiration for what they heard and spoke regretfully about not having had the chance to hear traditional Korean music before. This made me realize what a pioneering role the Foundation was playing in introducing Korea music to new audiences, a thought that was very satisfying. Our success in Hungary provided us much confidence for the rest of the tour.

Given that our efforts to introduce Korean music were confined to the stage and those attending each concert, we were as limited to just how broadly we could reach local audiences. In Romania and Bulgaria, however, we benefited greatly from the enthusiasm of the local media. On the day of our concert in Romania, the ensemble appeared live on a morning television show where the performers explained the attributes of traditional Korean instruments and even gave a short demonstration. That night, though the concert had already been sold out, the hall was overflowing with those who came after seeing the television show, while several broadcast stations competed with each other to interview Prof. Hwang before the concert began.

The same thing occurred in Bulgaria where the "Salon of the Arts 2001" was under way. Former King Simeon II, who had returned to power after 55 years by winning the general election just four days before, surprised everyone by attending the concert. Despite his busy schedule organizing a new government, he attended our concert as his first official event, and afterward was generous in his praise for the natural sound of the music. Needless to say, this was a very rewarding night for all of us.

With Simeon II and his wife after the concert in Bulgaria.

When we arrived in Prague of the Czech Republic, everyone was beginning to feel worn out. I was worried that someone might even get sick, but contrary to my fears, a problem occurred from a totally unexpected source: on the morning of the final concert, we discovered that Cheong Dae-seog's geomungo had been damaged. For some reason, perhaps because of the dry weather, the wood had cracked and the crack became worse when the s were plucked. This discovery was not made until rehearsal and we faced the terrifying prospect that the entire concert might have to be canceled. Fortunately, the Korean Embassy came to our rescue, providing some wood adhesive to temporarily patch the damage, and the concert went ahead as planned. Watching from backstage, I was nervous throughout the entire performance and it was not until the last number was complete that I was at last able to heave a sigh of relief.

Back in Korea after the tour, I was busy taking care of various follow-up matters when some good news came from the Korean Embassy in Bulgaria. Our music ensemble had been awarded the grand prize for a foreign performance at the Salon of the Arts 2001." Some 120 troupes from 32 countries participated in the annual festival, and we won the only prize offered to a foreign group. It was indeed very gratifying to receive such recognition from those who had never before been exposed to traditional Korean music.

For those more familiar with Western than traditional Korean music, close your eyes and imagine for a minute the sounds of a flowing stream, birds, and the wind. The sound of Korean music is very much like the sounds of nature. Perhaps this is why listening to it can bring such peace of mind. I hope that all those who attended our performances felt this sensation, and that they will grow to love Korean music and even visit Korea to listen to more of it.