춤 Ch'um 춤

Balletic Breakin'

2012-01-16T11:32:00.001-10:00

The wildly popular “Lil Buck and Yo-Yo Ma” video on YouTube features a strange and lovely fusion of romantic music and urban dancing (see “25 to Watch,” page 36). Rather than the clichéd juxtaposition of opposites (fashion model in construction rubble), Ma and Lil Buck are a carefully crafted couple put together by Damian Woetzel. Instead of city streets or cipher we see a garden. Rather than slammin’ beats, hard-core raps, and posses, Ma plays Saint-Saëns’ cello solo Le Cygne while Lil Buck (Charles Riley) performs his jookin’ interpretation of Anna Pavlova’s The Dying Swan, choreographed by Michel Fokine in 1905. The director Spike Jonze just happened to video this benefit performance for public school arts programs and posted it on YouTube, where it has gotten more than one and a half million hits since April.

Riley matches the cello’s notes with unhurried grace, flowing from one point to another, echoing Pavlova with his birdlike toe perches, rippling arms, and, finally, the way he gently melts into the floor. However, because Riley is a well-known Memphis jooker who learned largely on the streets, a question is circulating in the dance world: “Is hip hop going classical?” The answer is: “Sure. Hip hoppers and ballet dancers have been getting it on for a long time.”

Ballet and hip hop (used here as an umbrella term covering myriad forms from breaking to uprock, toprock, popping, locking to newer forms like jookin’ and turf dancing) have co-existed onstage since the late 1970s. In a recent phone conversation, Jorge “PopMaster Fabel” Pabon of the legendary Rock Steady Crew pointed out that the most famous early alliance occurred in 1978 on Saturday Night Live. That’s when Toni Basil paired four of The Lockers (including Don Campbell, father of locking) with four ballet dancers (including New York City Ballet’s Stephanie Saland) in the Four Little Swans variation from Swan Lake. Dressed in white from pimp hats to shoes, four guys locked and popped alongside four women on pointe, transforming the cygnets’ quartet into a witty octet. Basil repeated the concept, mixing the street-dance style to include locking and boogaloo with classical dancers in another Swan Lake on The New Smothers Brothers Comedy Hour, which was nominated for an Emmy in 1988.

2012 25 to Watch

2012-01-16T10:50:00.001-10:00

Eun Jung Choi’s restless appetite to learn more and experience the new has kept her moving around the globe. Diving into evolving dance forms and media, she makes work that’s conceptually smart, physically exploratory, and virtuosically performed. Fresh out of the North Carolina School of the Arts, with a background in traditional dance from her native Korea, Choi’s lithe elegance and gutsiness landed her a spot in the Limón Dance Company. But visa troubles intervened and she wound up immersed in downtown New York dance and earned a master’s in interactive telecommunications.

Now based in Philadelphia, Choi integrates technology with dance in organic ways. She goes for the visceral, the animalistic. With her Mexican husband, Guillermo Ortega Tanus, she performs goofy and ever-so-human duets, strong on intricate partnering and playful visual surrounds. We’ll see how these interests collide in her newest work for five of Philly’s most intriguing dancers, which she’ll show in progress in March at the Second Thursdays series of the Live Arts Brewery, where she’s a Fellow for the 2011–12 season. —Lisa Kraus

Innovative Choreographers

2012-01-14T21:41:00.003-10:00

In 2012, the U.S. Postal Service pays tribute to four influential choreographers who changed the art of dance: Isadora Duncan, José Limón, Katherine Dunham, and Bob Fosse. Designed to look like posters advertising a performance, the stamp art captures the luminosity and mystery of a live dance performance.

The stamp design for Isadora Duncan reflects her interest in classical Greek dance forms and shows the seemingly effortless style that she developed. Radical for its time, her linking of movement and expressiveness garnered her worldwide critical acclaim.

José Limón is shown in a performance pose. He frequently drew inspiration from history, literature, and religion, and used natural movement and gesture in his choreography. His virile, powerful works elevated the importance of the male dancer in modern dance. Many of Limón’s works are considered classics and continue to be performed today.

Founder of one of the first African-American dance companies in the United States, Katherine Dunham was the first choreographer to develop a formal dance technique that combined Caribbean and African dance elements with aspects of ballet. She is shown in a pose from her critically acclaimed ballet L’Ag’Ya.

Bob Fosse, celebrated for directing and choreographing musicals on both stage and screen, is shown on the set of Sweet Charity (1969). Fosse received one Oscar, three Emmys, and nine Tony awards during his career. Yet perhaps his greatest contribution was in making dance accessible to millions.

Art director Ethel Kessler designed the stamps using illustrations by James McMullan, widely known for his work for Lincoln Center Theater in New York City.

The Innovative Choreographers stamps are being issued as Forever® stamps. Forever stamps are always equal in value to the current First-Class Mail one-ounce rate.

"인간의 춤을 추라”시던 선생님의 음성 귓가에 생생

2012-01-06T21:20:00.001-10:00

한 사람의 생을 결정짓는 데 어느 것 하나 중요하지 않은 것이 없지만, 나는 그중에서도 훌륭한 스승과의 만남이 전 생애의 가치를 결정짓는 데 가장 중요한 역할을 한다는 생각을 갖고 있다. 훌륭한 스승과의 만남은 정신과의 만남이다. 돌이켜보면 내게 스승인 마사 그레이엄과의 만남은 그 정신과의 만남이었다. 나는 아직도 “인간의 춤을 추라”시던 그레이엄 선생님의 음성을 기억하고 있다. 인간의 춤은 오늘을 살아가는 우리 시대의 춤, 현대무용의 이상이 아닐까.

Dreaming Clown: Kim Myung-gon’s Autobiography

2012-01-06T21:13:00.001-10:00

Former culture minister Kim Myung-gon has published an autobiography, elaborating on his various experiences with the arts and government. His most recent artistic endeavor was producing “Endless Voyage,” an upcoming performance mixing ballet and traditional Korean dance.

Kim is a renowned ‘pansori’ (traditional Korean opera) performer, actor and producer as well as former president of the National Theater of Korea. The late former President Roh Moo-hyun appointed him culture minister in 2006.

But Kim is still mostly known for his role in the film “Seopyeonje” by filmmaker Im Kwon-taek in the early 1990s. Kim also wrote the scenario for the film.

“I have done a lot of work in theater and in film since then, but they are mostly overshadowed by the role I played in ’Seopyeonje.’ The character of Yu-bong and I shared the same sense of alienation, pain and failures as pansori artists, so it was a role that I could completely sympathize with,” he said.

He recollects his ties with the administrations of Roh and the late Kim Dae-jung, both of whom were ardent patrons of the arts with a keen in interest in traditional Korean culture.

During Kim Dae-jung’s presidency, Kim led the National Theater of Korea and the former President and his wife Lee Hee-ho attended performances there. Kim calls the 2000 Nobel Peace Prize recipient “a president with astonishing cultural knowledge and the best audience member I have ever met.”

Impact of English on late Joseon

2012-01-06T20:54:00.002-10:00

By Do Je-hae

Korea is a nation obsessed with English. It is an important tool for promotion at workplaces and some universities such as Pohang University of Science and Technology (POSTECH) are adopting it as the official language in the office and on campus.

There has also been some public debate about whether this country, which has no colonial experience with an English-speaking country, should adopt English as a second official language to promote globalization.

“English Awakens Joseon,” a two-part series by journalist Kim Young-cheol, provides a detailed historical reference on how English entered the country during the late Joseon Kingdom (1392-1897) and how it has impacted Korean society.

Kim writes for the city desk of one of Korea’s major news dailies. He majored in diplomacy at Seoul National University.

This book is particularly useful for diplomats, students and professors in international relations because they are very informative about how the Joseon elite used English in dealing with foreign powers.

“The book is intriguing in that it takes a look at Korea’s modern history through its relationship with English and English-speaking countries. It would be enlightening for Koreans working in the international stage,” Lee Yong-joon, Korea’s ambassador to Malaysia, said in the introduction of the book.

Japan Returns Looted Documents after 100 Years

2012-01-06T20:35:00.001-10:00

It`s easy to get robbed but trying to reclaim lost items is quite a different matter, not to mention it may take ages for them to be returned. On December 6, however, a pile of books did return. On this day, Japan gave back 1,200 ancient Korean books.

These books had been stored at Japan`s Imperial Household Agency after they were taken away during the Japanese colonial period. They include 167 volumes of 81 royal protocols, called uigwe, of the Joseon Dynasty; 938 volumes of 66 titles taken by then Resident-General Ito Hirobumi; 99 volumes of two editions of “Jeungbo munheon bigo” (Expanded Reference Compilation of Documents); and one volume of “Daejeon hoetong” (Comprehensive Collection of National Codes).

In October, on the occasion of Prime Minister Yoshihiko Noda`s visit, Japan returned “Daerye uigwe” (The Royal Protocol on Grand Wedding, 1 volume), “Wangseja garye dogam uigwe” (The Royal Protocol on the Wedding of Crown Prince, 2 volumes) and “Jeongmyo eoje” (Handwritten Texts by King Jeongjo, 2 volumes).

Making It Happen: Dance Majors Speak Up

2012-01-05T15:18:00.001-10:00

In 2009, six years into teaching her “Critical Issues in Dance” course at University of California, Irvine, professor Jennifer Fisher felt a nagging frustration. While all of her students loved to perform, she struggled to convince them that they could also find joy and self-expression in writing about dance. “I kept asking myself how I could get them interested in analysis,” she reflects, “when they’d rather be in the studio perfecting their pirouettes.” Prior to pursuing careers in journalism and academia, Fisher had been a dancer herself, and experience had taught her the importance of being able to discuss dance intelligently and outside of the studio. She wanted to empower her students with this ability, but was hard-pressed to find a point of entry.

One day, she asked a simple question: “What kind of a reaction do you get when you tell people you’re a dance major?”

“The temperature in the room went up,” she remembers, and “the floodgates opened.” Animated students were eager to share their stories, and responses followed a similar tune. Students had heard, “What are you going to do with that?” or “That must be fun,” or “Hmmm, you must be very flexible.” Such comments, they felt, belittled their commitment to their daily mental and physical work. However, when Fisher asked how they had cleared up these misconceptions, the room fell quiet. Few had spoken up for themselves at the moment of being criticized. Few knew what to say. Realizing she had struck a nerve, Fisher gave her first assignment: “How do you make people understand why dance is worth studying at university?”

쟁강춤

2012-01-04T20:07:00.000-10:00

춤꾼 넷, 한국 춤과 발레 경계를 허물다

2012-01-04T19:45:00.001-10:00

"이제 나이가 됐으니까요." 서른넷 발레리나는 '끝없는 항해'를 시작하게 된 이유로 나이를 들었다. 국립발레단에서 수석무용수로 춤춘 지 13년, 김주원은 "감정을 어느 정도 표현할 수 있게 된 지금 나이에, 발레뿐 아니라 한국 무용으로도 도전 영역을 넓혀보고 싶었다"고 말했다.

김주원이 서는 무대는 국립무용단 수석무용수 이정윤(35)이 안무를 맡은 '4색(色)여정-Endless Voyage'. 유니버설발레단 수석무용수인 황혜민(34)과 엄재용(33)까지 함께 오른다. 국내 대표 무용수인 네 사람은 지난해 공연한 '이정윤&에투왈' 등 갈라(gala:여러 작품의 주요 장면을 모은 공연) 공연에 같이 나온 적은 있으나 한 작품에 출연하는 것은 이번이 처음이다.

프랑스 현대무용가 '셀린 바케'를 매료시킨 한국 전통 춤은?

2012-01-04T19:38:00.001-10:00

[윤혜영 인턴기자] 최근 케이팝, 한식 등의 세계화가 결실을 맺으며 한국 문화에 대한 관심이 크게 높아진 가운데, 젊은 프랑스 무용가의 눈으로 바라본 우리 고유의 춤이 방송을 통해 집중 조명된다.

tvN 스페셜 '코리아 랩소디' 2부 ‘셀린의 무전(舞傳)여행’에서 10년 째 살풀이를 배워 온 프랑스 현대 무용가, ‘셀린 바케’를 통해 한국 전통 춤의 멋과 의미를 다루는 것.

셀린 바케(Celine Bacque)는 파리 국립고등무용원 현대 무용 과정을 밟고 뉴욕 트리사 브라운 무용단에서 활동한 바 있는 박사 출신 무용가. 유럽, 미국, 아프리카, 아시아 등 세계 각지를 돌며 독립 아티스트들과 공연을 하는 등 활발한 활동을 펼치고 있다.

셀린 바케가 살풀이, 승무 등 한국 전통 춤과 인연을 맺고 이 땅에 정착한지는 벌써 10년째. 예인들의 넘치는 열정과 한없이 인간적인 우리의 춤을 좀 더 면밀히 들여다보기 위해 각 지역 무형문화재를 찾아 나섰다.

당대 양반들의 부패를 풍자하고 서민의 애환을 담은 ‘통영오광대’를 비롯해, 장쾌한 ‘진주검무’, 새의 움직임을 율동으로 표현해낸 ‘동래학춤’ 등 우리 고유의 춤과 만나, 한국 춤의 정신을 전할 예정이다.

셀린 바케는 “한국의 전통 춤과 악기는 큰 에너지를 느끼게 한다. 한국 전통 예술이 21세기를 사는 외국인에게 어떻게 이런 감정을 줄 수 있는지 의문일 정도”라며 “장엄하면서도 우아하고 고귀함을 느낄 수 있다”고 평가했다.

한편 tvN 스페셜 '코리아 랩소디'는 지난 12월31일 방송된 1편 '한혜진의 서울, 걷다’를 비롯해, 1월7일에 방송되는 2편 '셀린바케의 무전여행', 1월14일에 방송되는 3편 '하림의 굿 아일랜드'까지 총 3부작으로 구성된다.

연기, 노래, 춤 등에서 실력을 인정 받은 셀럽 3인이 여행을 통해 우리나라 고유의 정서와 가치를 현대적으로 재해석하며 한국의 멋을 담아낼 예정이다. (사진제공: CJ E&M)

한경닷컴 bnt뉴스 기사 제보 star@bntnews.co.kr

Director's Notes: Dancing for the Punk Ballerina

2012-01-04T12:13:00.001-10:00

By Rachel F. Elson
Published in the December 2011/January 2012 issue.

This may come as a bit of a surprise: The woman who choreographed Madonna’s music video for “Vogue” says she doesn’t care about poses.

For choreographer Karole Armitage, single silhouettes are just points on a line. “I’m not interested in positions, I’m interested in the path between them,” explains Armitage, who is known as much for her eclectic movement style as for her collaborations with artists ranging from Jeff Koons to Jean-Paul Gaultier.

The onetime “punk ballerina” has spent the last seven years developing her own contemporary ballet company, Armitage Gone! Dance, in New York City. Her 10 highly distinctive dancers represent six nationalities and eight languages, and range from just over five feet to close to seven. But as diverse as they are, ballet is both their common vocabulary and point of departure.

Teacher's Wisdom: Betty Jones

2012-01-03T23:50:00.000-10:00

In 1947, Betty Jones became a founding member and principal dancer of the José Limón Dance Company, creating roles such as Desdemona opposite Limón’s Moor in his classic work, The Moor’s Pavane. She danced in the company for 20 years. And for another 20 she served on the faculties of the Juilliard School and the American Dance Festival. She is artistic co-director of Dances We Dance Company and has taught and restaged Humphrey/Limón repertoire throughout the U.S., Europe, Russia and Asia. When at home in Honolulu, she teaches at Moiliili Community Center. —Carol Egan

What were classes with José Limón like? José was incredible for creating movement phrases, but often didn’t pay as much attention to their preparation. Pauline Lawrence, his wife, played the piano for class and would make asides, correcting the students. He would do pliés, tendus, and some swings, and then get on with movement combinations, which was his real interest. He worked with isolations, calling them the “voices of the body.” He talked about the body as an “orchestra.” He and Doris Humphrey, his mentor, spoke constantly about the contrast between Apollonian and Dionysian qualities.

Did you follow his style when you first started teaching? For about 10 years I taught pretty much the same way because I was assisting him at Juilliard. But then I met Lulu Sweigard (a kinesiologist who also taught at Juilliard). At first I thought, what does anatomy have to do with dance? To me dancing was of the spirit. But I soon realized I was teaching very poorly and ended up becoming her assistant for 13 years.

April 2005 Issue

Nikolais Louise Foundation for Dance

2012-01-03T23:42:00.002-10:00

UNESCO to Mark Chosun Scholar's Anniversary

2012-01-03T23:01:00.001-10:00

The year 2012 marks the 250th birthday of one of the greatest scholars of the late Chosun Dynasty, Jeong Yak-yong (1762-1836), also known by his pen name Dasan, and the new year will be filled with events celebrating this renaissance man.

Since 2004, UNESCO has been designating associated anniversaries of global event or great figures that are in line with the values and spirits of the organization, and this is the first time a Korean has been picked. Jeong's 250th anniversary was added to the list in October last year along with next year's 400th anniversary of the publication of traditional medical encyclopedia "Donguibogam."

In Korea, a committee will organize various events, international conferences, exhibitions and music festivals celebrating Jeong's anniversary.

Searching for a spouse: potential vs. perfection

2012-01-03T22:42:00.000-10:00

By James Lee

I recently visited one of my company’s offices and witnessed a match consultant on the phone having a very difficult time. I found out that the person that had called was a female client’s mother. The mother had called to complain that the man the matchmaker had introduced to her daughter was not suitable. The matchmaker told me that the mother had already rejected many of the men previously selected as prospective mates, including highly educated and accomplished doctors and Ph. D holders.

I wondered how amazing her daughter must be for her to be so demanding. I found out that she was just from an ordinary family and went to a regular college.

The current situation for single men is often similar. There was a case of one man who always claimed that he would be satisfied with an average woman, but when he actually met a woman he became very picky and critical, complaining about minor flaws and focusing on the areas that did not match his standards. This man’s father was even pickier than his son. I thought it may be impossible to find this man a suitable spouse.

It is a common occurrence, and this is a problem. It is difficult for most people to view themselves objectively and they are quick to judge and find fault with others while overlooking their own shortcomings or less desirable qualities. As a result, people tend to think that they are superior to others or that someone doesn’t measure up to them or doesn’t deserve them.

2012 what a wonderful

2012-01-02T10:36:00.000-10:00

As the clock struck 12 at midnight, Ludhiana sprung into life as residents burst crackers and hollered New Year wishes at the top of their voices to welcome 2012. Parties, get-togethers and cultural events were held across the city but the one that hogged limelight was the South Korean dance groups 'matkas' and 'jhatkas' that shook Ludhianivis, setting a precedence of sorts.

The traditional dance performance of South Korean Traditional Art Performance group Hata at a local mall along Ferozepur Road was appreciated so much by people that they couldn't stop raving about the group. They grooved and gushed, got pictures clicked and took videos of the performance.

Hata was in city as part of the cultural exchange programme and performed at the Punjab International Folk Festival presented by Punjab Cultural Promotion Council and Ghungroo Musical Club.

Chinese Ethnic Dance: A Window Into China’s Diversity (4 of 9)

2012-01-02T10:30:00.000-10:00

NEW YORK—Contrary to a common misconception, the Chinese are not one uniform ethnicity. There are actually 55 officially recognized ethnic groups in China, and the distinct traits of each are shaped by the local climate, natural environment, and spiritual traditions.

These traits, in turn, are embedded into each group’s unique styles of dance, which are very rich and diverse. Therefore, the ethnic dances of the vast Chinese minorities are distinct from the systematic school of classical Chinese dance and the Chinese folk dance of the ethnic Han majority.

Presenting the ethnic dances of Chinese minorities on stage is one of the hallmarks of New York-based Shen Yun Performing Arts. Founded in 2006, Shen Yun’s mission is to revive 5,000 years of Chinese culture, which was believed to be divinely inspired.

SAC ignites fine arts 'hallyu' via ballet

2012-01-02T10:06:00.001-10:00

‘Endless Voyage’ to showcase Lee’s original choreography

By Lee Hyo-won

Many arts and culture experts point out how narrow-sighted it is to think that K-pop and TV dramas are all there is to “hallyu” (Korean wave) content, and an arts center is stepping forward to explore the possibilities of fine art genres such as dance.

With this is mind, Seoul Arts Center (SAC) will open the New Year by inviting stars of top Korean dance troupes to perform together this week.

“Endless Voyage,” to be staged Wednesday and Thursday at the Opera Theater, will not only provide a rare opportunity to see principal dancers of the National Dance Company of Korea, Korea National Ballet Company (KNBC) and Universal Ballet Company (UBC) on the same stage, but also premiere original choreography, sets and music by some of the country’s iconic artists.

During the past couple of years the local arts scene witnessed an unprecedented “ballet fever”: local productions enjoyed sell-out performances for the first time and also garnered mainstream appeal through popular TV programs featuring dance, while budding young Korean talent triumphed in international competitions and forayed into top-tier companies.

There have been many gala shows featuring highlights of popular ballet productions or local premieres of modern imports catering to the growing number of fans — but rarely has there been such an ambitious project showcasing something altogether new.

Inauguration: Poet Kealoha

2011-12-28T21:15:00.000-10:00

Kim Jung-il's Death

2011-12-28T12:09:00.002-10:00

South Koreans celebrate Kim death

North Koreans in Pyongyang mourn death of leader Kim Jong-il

Dance Advantage

2011-12-28T11:56:00.001-10:00

When It's Over

2011-12-28T11:53:00.000-10:00

After the applause subsides and the curtain closes on the last show, dancers take a deep sigh of relief. For members of a secure company, their hard-earned vacation time has finally arrived. But for freelance dancers, this marks the beginning of a period of uncertainty. Either way, dancers often wonder, “What do I do now?” Dance Magazine spoke with Melissa Rector of Koresh Dance Company, James Ihde of Pennsylvania Ballet, and Karine Plantadit, most recently of Come Fly Away, to find out how they cope with the sudden lack of work.

[공연리뷰] 현대무용 '말들의 눈에는 피가'

2011-12-27T12:59:00.002-10:00

연극 '에쿠우스'의 내용을 몸짓으로 풀어내
연극적 요소가 많고 기량·표정연기 돋보여

현대무용치고는 꽤 친절한 작품이다.
국립현대무용단이 8일부터 용산구 서계동의 국립극단 내 백성희장민호극장에서 선보인 무용은 작품의 내용이 우선 익숙한 것이다. 제목이 '말들의 눈에는 피가'라고 되어 있을 뿐 작품의 내용은 피터 셰퍼가 쓴 연극 '에쿠우스'에서 가져온 것이다.

연극적 요소가 많다. 실제로 연극배우 2명이 출연한다. '테러리스트 햄릿'에서 햄릿 역을 맡아 열연했던 예전 국립극단의 간판급 배우 서상원과 최근 고연옥 작·김광보 연출의 '주인이 오셨다'에서 좋은 연기를 보여주었던 이기돈이다. 서상원 배우는 내레이터로서 작품의 내용과 의미를 관객들에게 전하며 무대를 여닫는 역할을 한다. 이기돈 배우는 무대에 설치된 벽 위에서 움직임을 바꿔가며 앨런 역을 한다.

무용수들도 종종 '에쿠우스'의 핵심 내용을 대사로 치며 몸짓이 어떤 이야기를 하고 있는지를 드러낸다. 움직임을 통해 말의 이미지를 선명하게 만들어내기도 한다. 무용수들의 몸짓과 대사, 표정 연기가 좋은 것이 작품을 이해하고 즐기는 데 많은 도움이 된다.

7인7색 몸짓… 우리는 무용수다

2011-12-27T12:57:00.002-10:00

오는 16~17일 서울 역삼동 LIG아트홀 무대에 오르는 ‘춤, 신 프로젝트’는 이를 뒤집기 위한 작업이다. 제목에 ‘춤’과 ‘신’이 들어간 이유는 춤의 신이 아니라 ‘춤의 정신’이라는 의미에서 넣은 표현이다.

전체 기획은 LIG의 교류(레지던시) 프로그램에 참여한 현대무용가 밝넝쿨이 맡았고, 김선미(창무회 예술감독), 남영호(남영호무용단 안무가), 송주원(11댄스프로젝트그룹 대표), 류장현(류장현과 친구들 리더), 정이수(오 마이 라이프 무브먼트 씨어터 멤버), 심재호(한림연예예술고 재학) 등 모두 7명의 무용수가 이야기를 풀어낸다.

주제는 ‘춤춘다는 것이 내 인생에서 무엇인가’. 왜 나는 춤을 추게 되었고, 왜 이런 춤 저런 춤 가운데서 바로 이 춤에 이끌렸는가를 몸짓으로 형상화했다. 10대부터 50대까지 연령층도 다양하다. 참가자들 면면을 살펴보면 흥미가 더욱 배가된다

Finding anew what 'Koreanness' is

2011-12-26T13:31:00.001-10:00

It is not easy to concisely define what Korean studies is as it deals with a wide variety of genres ranging from language, economics, politics, culture and history to religion. To define the core meaning, a question of what is the most Korean thing should be answered first.

Twenty-two experts in diverse fields collaborated on a new book titled "The Pleasure of Korean Studies" published by Humanist, which traces "Koreanness".

The book approaches various topics within Korean studies in both traditional and modern contexts encompassing philosophy, religion, science, medicine, economics and pop culture, which are closely related to what matters in modern Korean society.

As the meaning of Koreanness changes in accordance with time, the book offers a key clue to painting a portrait of Korea of the past, present and future.

Poet Jang Seok-ju delves into "han" (Korean sentiment of grievance or grudge) through such literary works as "Azalea" by Kim So-wol that portrays Koreans' passive desire for redemption after enduring pain. In "Arirang", the passive sadness and tenderness of Koreans and their grudges, yearnings, betrayals, despair and revenge are intensively expressed. Also, poet Baek Sok's poems and a popular song "Dongbaek Agassi" (Dongbaek Lady) by Lee Mi-ja represent the nation's dark history and sentiment.

Homegrown musicals advance with diversity

2011-12-26T13:00:00.001-10:00

The year 2011 has been another prosperous one for Korea’s musical industry.

New works from Broadway and the West End, such as “Next to Normal” and “Zorro,” were staged here, while local creators presented a wide range of shows.

According to Interpark, the largest local ticket reservation site, the size of Korea’s musical market was around 250 billion won this year, a 20 percent jump from 2010.

“Mamma Mia!” was the most watched musical of the year, closely followed by “Zorro” and “Jekyll and Hyde.” “Mamma Mia!” is one of the best loved musicals by Koreans and currently on stage at the D-Cube Arts Center. “Zorro” is the hottest new work combining the Gypsy Kings’ music and fabulous swordsmanship and magic by such celebrated actors as Cho Seung-woo and Park Geon-hyeong. The West End hit is currently onstage at the Samsung Electronics Musical Hall. "Jekyll and Hyde" set a new record by drawing 350,000 audience members during its nine-month run, the highest number ever achieved in that time period.

Kim Myo Seon, Japan's First Korean Head Priest Part 1.avi

2011-12-26T12:37:00.002-10:00

Japan, a land of Buddhism, where three-quarters of the population is Buddhist.
In the Tokushima Prefecture in Shikoku, one of the four major islands, several thousand temples can be found.
Among them are the 88 temples that make up the pilgrimage course.
Among these, Dainichiji Temple, which is number 13, has a history of 1-thousand-200 years.
Each year, up to half a million pilgrims make their way to the Dainichiji Temple.
The person in charge of this temple is Kim Myo-seon, a Korean.
Among her tasks, one is to keep record of the pilgrims.
Once a renowned Korean traditional dancer, her life changed since she married her husband, the late Koie Oguri.
She married at 40, and gave birth to a son at the age of 42.
However, her husband passed away at the age of 68, leaving behind Kim Myo-seon and her infant son.
According to Japanese Buddhist tradition, which allows the inheriting of temples, she decided to take charge of the Dainichiji Temple until her son came of age.
A typical morning at the Dainichiji Temple, which is crowded with visitors despite the early hour.
An official ceremony to recognize Kim Myo-seon has been planned.
Until now, she has endured much discrimination as a woman and as a foreigner.
The devotees of the Dainichiji Temple have prepared this event for Kim Myo-seon, to encourage her in her struggle.
And the Japanese media have also faithfully reported efforts to start anew in a foreign land.
As a result, she has received much publicity.
Kim Myo-seon is hereby appointed the 16th Head Priest of Dainichiji Temple.
She is reborn as both a priest and the guardian of Dainichiji Temple.
Kim Myo-seon's success was possible through the support and love of those who believed in her.

Kim Myo-seon, Japan's first Korean Head Priest.
Perhaps this is her destiny.
From the moment she first started dancing the traditional Buddhist dances, the forces of nature may have conspired to bring her here.

Kim Myo Seon, Japan's First Korean Head Priest Part 2.avi

Asian rapper set to roar across L.A.

2011-12-26T12:33:00.001-10:00

Tiger JK's life has been defined by his sense of never quite belonging. He came of age in 1980s and '90s Los Angeles listening to the traditional Korean folk ballads his grandmother played around the apartment, while outside he was drawn in by the city's bustling hip-hop culture. As one of the few Korean American kids at Beverly Hills High, Tiger (who lived on the outskirts of Beverly Hills) never quite felt a kinship with the 90210 lifestyle. And when it came to being taken seriously as an Asian rapper? He wasn't.

"It was rare to see an Asian dude rapping then, so I got a pass — when I was mediocre, they said I was a lot better than they'd thought," said the artist, who now lives in Uijeongbu, South Korea, near Seoul. "But when I got good, they couldn't admit it."

Now, there's no denying his talent. As MC Tiger JK (he declines to confirm his given name or age, though most fan sites refer to him as Seo Jung-Kwon), he's perhaps the most popular Korean rapper in America, Asia and the world. By reinterpreting the brash appeal of L.A. gangsta rap for Korean audiences, he and his Drunken Tiger crew have alternately scandalized and intrigued their audience for nearly two decades.

Drunken Tiger's Friday show at the Wiltern, "The Jungle Concert in L.A." (featuring an extended bill of Korean hip-hop peers including his wife, Korean American R&B artist Yoon Mi Rae, rap acts Lee Ssang, Bizzy and vocalist Jung In), might codify a scene that thrives at a difficult flashpoint between many different cultures. They want to represent Korea and their genre without pandering to stereotypes about Asian pop, and they want to be taken seriously as rappers in America without relying on their outsider status.

Tiger's cultural background and connections with Los Angeles have given him a unique perspective — and an opportunity to bridge some gaps.

Shin's Groove: Jeju dance studio offers fun, affordable classes

2011-12-25T13:39:00.002-10:00

I had wanted to take a dance class since I moved to Jeju, but had held back from enrolling after learning that most studios would require me to attend classes five days a week. I wanted to dance, but not that much.

So, when I saw the posting for dance classes twice a week on the Yahoo! group RhymesWithJeju, I was in. My friend and I first tried the 6 p.m. K-pop (dancing to Korean pop music) class. Though we had a lot of fun, and the teacher was great, the class was populated entirely by elementary school students and didn’t give us the exercise we were craving.

We then switched to the 7 p.m. Tae Bo class, which, though not exactly dance, is still accompanied by loud music and heavy beats. Tae Bo is a combination of taekwondo, boxing, and aerobics that involves rapid punching and kicking sequences. Though I felt a bit like I was in an infomercial from the ’90s, I enjoyed the high energy and left feeling tired and satisfied.

In addition to Tae Bo and K-pop, the studio offers classes in bellydance and hip-hop/jazz. In January, they will begin offering a “club dance” class.

NK silent on heir's biological mother

2011-12-23T20:57:00.001-10:00

The biological mother of North Korean heir Kim Jong-un is Ko Yong-hee, the third wife of the late leader Kim Jong-il.

After announcing Kim Jong-il’s death, the North’s authorities have been worshipping and idolizing the successor, but they are not mentioning Ko.

The silence is very unusual because the communist state highly values the family line of high-ranking officials. It is also contrary to the idolization of Kim Jong-il’s mother who was promoted as “a female general of Mt. Baekdu from a family that fought for Korea’s independence from Japan.”

In North Korea, when assuming a position of power the origins of that person are publicized to emphasize the legitimacy, such as when they joined the Workers’ Party and who their parents are.

한국 무용가, 일본 천년 고찰 주지 김묘선의 두 가지 인생

2011-12-22T12:56:00.001-10:00

섬나라인 일본에서도 섬인 ‘시코쿠’를 찾아간 것은 1천2백 년이 넘은 일본 고찰의 주지인 한국 무용가 김묘선씨(54)를 만나기 위해서였다. 독도 영유권 문제로 시끄러운 8월14일 오사카의 간사이 공항은 더위로 이글거렸다. 폭염을 뚫고 마중 나온 김씨는 삼단 같은 머리를 이고 있었다. 일본에서는 머리도 안 깎고 스님을 하나?

묘선은 김씨의 법명이기도 하다. 일본의 절은 개인 소유고 일본 스님은 결혼해 자녀를 낳고 술과 고기를 먹는 것으로 알고 있지만, 여성이 속세에서 쓰던 이름을 갖고 주지가 된 경우는 듣지 못했다. 아닌 게 아니라 그는 많은 논란을 일으키며 시코쿠 도쿠시마(德島)의 대일사(大日寺, 일본 발음 다이니치지) 주지가 됐다.

주지였던 남편이 타계하자 뒤를 이은 것. 한국 무용가가 일본 절의 주지와 결혼한 것도 이례적이었기에 결혼 직후 일본 NHK 방송은 그를 주인공으로 한 다큐멘터리를 찍어 방영했다. 기자가 대일사를 방문했을 때도 도쿠시마의 NHK 팀이 또 다른 다큐멘터리를 촬영하고 있었다. 이번 주제는 ‘머리도 깎지 않고 천년 고찰의 주지가 된 한국 여성’이었다.

김묘선 교수 승무·살풀이춤 특별강습

2011-12-22T12:30:00.002-10:00

‘춤추는 스님’ 김묘선 교수가 UCLA 한국음악과 기금모금을 위한 전통무용 강습회를 10일과 11일 이틀간 개최한다.

이번 강습회에서는 승무와 살풀이춤을 특별강습하며 수강료(1인당 400달러)는 전액 한국음악과에 기증한다.

김묘선 교수는 “중요무형문화제 제97호로 지정된 이매방류 살풀이춤은 추는 사람에 따라서 달라질 수 있는 즉흥무로 인생의 모든 희로애락을 표현하는 춤”이라고 소개하고 “정중동의 절제된 곡선미 속에서 한과 신명을 동시에 지닌 신비한 느낌을 주는 춤”이라며 “특히 대삼소삼, 강약의 호흡이 분명하며 맺고 풀어내는 춤사위 하나하나 손끝에서 발끝까지 내공의 에너지가 표출되는 정적미의 단아한 멋과 정과 한이 서린 비장미가 몸에 스며있는 품격이 있는 춤”이라고 설명했다.

강습 시간은 오전 10시부터 오후 5시까지.

Maurice Béjart - Kabuki

2011-12-17T13:24:00.001-10:00

Tokyo Ballet's top principal readies a final dance

2011-12-17T13:09:00.002-10:00

By KRIS KOSAKA
Special to The Japan Times
On his second-ever professional tour in Europe, dancer Naoki Takagishi fought through injuries as he worked with modern-dance choreographer Maurice Bejart for the first time.

"I was only 22 years old," Takagishi tells The Japan Times. "Mr. Bejart first saw me dance before the performance in a rehearsal. I was not yet accustomed to his style, and it is quite different in many ways to classical ballet. I dislocated my bones in three places."

Remembering the experience now, Takagishi chuckles — even while describing his "battle against pain." He successfully made it through all the performances, however, and by the time the tour ended in Italy, young ballet fans were chanting his name.

This weekend, the 45-year-old assistant artistic director and principal dancer at Tokyo Ballet reprises the lead role of Yuranosuke in Bejart's "The Kabuki" at the Tokyo Bunka Kaikan. It's a character Takagishi is familiar with because, since his debut as Yuranosuke at 21, he has performed the role more than 60 times throughout his 25-year career.

"When I first danced Yuranosuke, I was young and had no experience or knowledge," Takagishi says. "I only did the choreography as I was instructed. As time passed, I watched movies about the 47 rōnin (masterless samurai) and "Chushingura," which was the basis for "The Kabuki." I read books about acting methods and was able to broaden my knowledge of the piece with each performance."

This weekend's performance of "The Kabuki" is special for other reasons as well. It will be the first time in Japan that Takagishi performs opposite his new bride, fellow Tokyo Ballet principal dancer, Mizuka Ueno. It will also be the last time he dances the role of Yuranosuke for a Japanese audience. In a career filled with accomplishments, taking lead roles and partnering with the world's best ballerinas, Takagishi says he feels no added pressure.

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Especially now, in Japan, Takagishi sees a need to answer the call for strength, determination and a striving to help others.

"Now, I believe more than ever, we should act more for other people than for just ourselves," he says. "Although I am only performing for a small number of people, I hope to give courage and pride in Japan through my performance."

Donald C.W. Kim named chairman of Ohana Pacific Bank board

2011-12-17T12:32:00.002-10:00

Donald C.W. Kim has been elected chairman of Ohana Pacific Bank ..’s board of directors, the bank said Monday.

Kim, who was born and raised in South Korea, is currently chairman and CEO of AMKOR A&E, Inc., an architectural and engineering firm. He also sits on the board of trustees for KAIST, the Korea Advanced Institute of Science and Technology.

“We are extremely pleased that Donald Kim, who is one of the founders of our bank, has graciously accepted to be chairman,” James Hong, president and CEO of Ohana Pacific Bank, said in a statement.

Kim said in a statement that he looks forward to working with the bank management and directors to serve the financial needs of the growing Korean market in Hawaii.

Honolulu-based Ohana Pacific Bank has been operating since June 2006.

Looted Korean Ancient Texts Return after a Century

2011-12-17T10:19:00.001-10:00

We begin this half hour with exciting news for Koreans.
Just this Tuesday, Korea welcomed home priceless, ancient texts that Japan had looted during its colonial rule over the Korean Peninsula.

That's right. A total of 12-hundred ancient texts were returned from Japan, fulfilling a pledge made at a meeting between Korean President Lee Myung-bak and then Japanese Prime Minister Naoto Kan in November of last year.

Arirang News correspondent Kim Yeon-ji reported on the arrival of these ancient texts in Korea on Tuesday, and she joins us in the studio today to tell us about the day's event and the significance it holds in contemporary Korean history.
Hello, Yeon-ji.

[Reporter : yeonji] Hello, Conn-young. Hello, Sean.
December 6th was indeed an exciting day for Korea, as more than a thousand Korean ancient texts returned safely to their home country nearly 100 years after they were illegally taken to Japan.
One-hundred-and-seven of the returned books are believed to be one-of-a-kind artifacts, the only ones to exist in Korea, meaning Koreans would not have had a chance to learn about their existence or their value had they not been returned.

And I heard that many non-governmental organizations and South Korean lawmakers worked tirelessly over the years to make this possible.

Dance meets literature, theater

2011-12-16T12:14:00.002-10:00

Nat’l Contemporary Dance Company showcases ‘Equus’

By Lee Hyo-won

The Korea National Contemporary Dance Company (KNCDC) will revive its critically acclaimed interpretation of Peter Shaffer’s play “Equus” starting tonight in Seoul, offering a unique combination of dance with literary and theatrical elements.

The modern dance piece is inspired by the British playwright’s 1973 work, which caused a sensation for featuring explicit themes and nudity. The Tony Award-winning play having been staged more than 1,000 times on Broadway was introduced in Korea in the form of dance by the KNCDC in 1999 to rave reviews from both critics and fans.

The play was inspired by the true case of a stableboy that blinded six horses with a pick. In the theatrical piece, Dysart is a psychiatrist who attempts to treat the 17-year-old stableboy, Alan, who has a pathological obsession with horses. Having been raised by a religious fanatic mother and stern atheist father, he develops a sexual fascination with horses. He constructs a personal theology involving the animals with the supreme godhead “Equus,” and becomes torn when he becomes sexually involved with a young woman, which ultimately leads him to commit the violent act against the horses.

The theatrical piece ran on Broadway for a prolonged period and stirred mild controversy when “Harry Potter” star Daniel Radcliffe played the lead role that required him to appear naked. The story was also recently staged as a play here in 2009 as the opener of Cho Jae-hyun’s popular Best Play Series.

Unlike the play that usually showcases strong, male performers to play the horses the dance spinoff will feature female dancers for the part. As demonstrated in last week’s open rehearsal, the local dance spinoff deconstructs conventional meanings of time and space to take the viewer straight into the inner workings of Alan’s autistic mind. Shifting psychological states and core themes about the conflict between personal desire and social mores are expressed in jerking rhythmic movements, subtle gestures, and moreover, words.

Review: DHT celebrates with ‘Cinderella’

2011-12-10T11:43:00.003-10:00

Anemone Jones is beautiful, sweet and charming in the title role, but once again its the comic antics of the three villains and the well-meaning king that takes the story over the top as Diamond Head Theatre celebrates the holiday season with Rodgers & Hammerstein’s made-for-television musical, “Cinderella.” This is third time in recent memory that DHT has presented this child-friendly musical, and it is once again perfect family entertainment.

Dance Matters: Earth, Air, Water

2011-12-10T10:25:00.001-10:00

Cloud Gate Dance Theatre tours the U.S. this month with Water Stains on the Wall, a work that is bound to conjure something like a dream state. The dancers perform on a tilted stage, looking like they are floating.

How do the Cloud Gate dancers maintain their serene and impossibly fluid style? At the Dublin Dance Festival, where the company appeared in May, director Lin Hwai-min had an answer: “In our floating balances, we get energy from the earth.” Part of the centering process involves putting your internal attention on a spot three fingers below the navel. In this way, says Hwai-min, you draw the audience in. The director also pointed out that his choreography has an affinity with other Asian forms: “In tai chi, martial arts, and calligraphy, everything is circular, just as the earth spirals around the sun.”

Despite Hwai-min’s lofty ideas, he can be charmingly self-effacing. When asked if his dancers do ballet, he said, “We can never do it. Our legs are too short!” Good thing, because Cloud Gate has a whole other kind of elegance. The dancers can go from ominous to ethereal in a flourish of the hand or a circle of the ankle. The effect is one of sheer celestial beauty.

In Taiwan, where the group is based, they are wildly popular, commanding sold-out houses and having streets named after them. Now Cloud Gate returns to the U.S., where they are not a household name. See them at Carolina Performing Arts, Oct. 6–7; BAM’s Next Wave Festival, Oct. 12–15; Ann Arbor’s Power Center, Oct. 21–22; the Harris Theater in Chicago, Oct. 28–29; and San Antonio’s Lila Cockrell Theatre, Nov. 1.

Centerwork: Campus Connections

2011-12-10T10:20:00.002-10:00

Enroll in modern dance course? Check. Study composition and improvisation? Check. Attend Random Dance concert, hear Wayne McGregor talk about his work, and take a master class with one of his company members? Check, check, check.

The first two items on this list are standard for most college dancers. But the chance to see the work of professional artists and spend time with them in the studio is harder to come by. Some colleges, however, not only offer the typical courses required for a dance degree but are also major presenters of dance, hosting performances by some of today’s leading companies and giving students the opportunity to interact with visiting artists. Dance Magazine looked into three such institutions and how, through their role as presenters, they’re bringing students closer to the “real world” of dance.

Paige Cunningham Caldarella is assistant professor at the Dance Center of Columbia College Chicago. A former Merce Cunningham dancer, she says that in addition to the school curriculum, students get unparalleled opportunities in their chosen field through the Dance Center’s presenting series. “It allows students to interact with a diverse range of artists both in the studio and lecture-based courses. They’re not just getting to dance with them, but they hear their research methodologies, inspirations, and thoughts on everything in between.

“What’s intriguing,” adds Cunningham, “is students see the dancers behind the scenes. It gives them a more realistic vision, because it’s not just the big performance moments.” This season the troupes scheduled to perform and teach master classes include artists from Bill T. Jones’ company, David Gordon’s company, Cloud Gate Dance Theatre, and Merce Cunningham Dance Company.

Philip Elson, a recent CCC graduate, says he saw about 30 different professional companies during his time there, which kept him in the know about “what’s happening currently and what new ideas are changing the face of contemporary dance. Being at Columbia,” adds Elson, “was the first time I was exposed to Wayne McGregor. To hear Wayne speak about Entity, and also hear the dancers talk about how challenging the work was, was wonderful.”

All-American Dream

2011-12-10T10:17:00.002-10:00

During the first 54 years of its history, Kansas City Ballet has resided in a carriage house, a college dormitory, a firehouse (complete with pole), a warehouse under a Missouri River bridge, an elementary school, a National Cash Register building, and a former ladies’ apparel wholesaler. Even worse, for many of those years the company had to perform in Kansas City’s dispiriting Lyric Theatre—a former Masonic lodge with no fly space, paltry dressing rooms, and dry-as-dust acoustics.

Now all that has changed. In August KCB moved into its new $32 million renovated home, the Todd Bolender Center for Dance and Creativity. And the company is set to begin performing at the city’s new $326 million Kauffman Center for the Performing Arts—an iconic two-hall complex that will also house the Kansas City Symphony, the Lyric Opera of Kansas City, and a bevy of other groups.

Both of these new facilities will be put to the test this month when the company premieres its daring new Tom Sawyer, with choreography by artistic director William Whitener and music by Tony Award–winning composer Maury Yeston (Grand Hotel, Nine, Titanic). It is a big moment for the company, and for ballet—it’s quite possibly the first full-length ballet on an American subject produced by an entirely American creative team. “There are many stories that can be drawn from our own culture, rather than from Europe,” says Whitener, who has worked closely with Robert Joffrey, Twyla Tharp, and Jerome Robbins. “We have our stories to tell, and I think that these haven’t been mined fully.”

It’s hard to imagine just how these developments will change the company that was founded in 1957 by former Ballet Russe and American Ballet Theatre dancer Tatiana Dokoudovska, brought to the next level by Balanchine dancer (and choreographer) Todd Bolender, and, starting in 1996, led by Whitener. But these days the small, 25-member company is thinking big. The seven-studio, 52,000-square-foot Bolender Center, rebuilt from a massive 1914 structure that was originally the Power House for the city’s Union Station, will provide the company with its first real home. In addition, it will also house an expanded Kansas City Ballet School, which plans to nearly double its offerings. And architect Moshe Safdie’s state-of-the-art Kauffman Center, with its 1,800-seat opera/ballet theater, is already drawing attention in architectural circles.

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How is one to explain such auspicious times for a modest Midwestern ballet company, when others around the nation are struggling? Partly it’s to be understood in terms of a sort of civic pride in “ownership” of a local company, says Whitener. “There’s a given here that a reputable city will have a symphony, a ballet, an opera, and at least one major art museum, so that they can stand tall amongst other cities in the country.” But the uptick in the company’s fortunes can also be viewed within the fabric of a larger local phenomenon: the belated coming-of-age of the city’s downtown. The last decade has seen some $5 billion in downtown investments, resulting in a boom of activity the city hasn’t seen in years.

The Bolender Center, it is hoped, will become a part of that thriving downtown, with classes for young and old, from modern to Zumba, jazz to flamenco, Pilates to tap—both in the community-based Studio program and the pre-professional Academy. “Going from four studios to seven just naturally lends itself to enhanced programming,” says school director Peter Pawlyshyn, who hopes to increase enrollment from the current 600 to 1,000 or so.

For now, the launching of two new facilities with a new evening-length ballet—with lavish music scored for a 53-piece orchestra—seems a big boost already. “I don’t think a company like ours can completely fulfill its commitment to the community and its donor base without also having a national profile,” Bentley says. The company’s mission, he says, is no less than “to make Kansas City a destination for dance.”

Still Taking Chances

2011-12-10T10:15:00.002-10:00

For Too Beaucoup, the fiendishly difficult work she created for Hubbard Street Dance Chicago last winter, Israeli choreographer Sharon Eyal costumed the dancers in identical flesh-colored body suits, platinum wigs, and face-altering white contact lenses. The idea was to give them a seamlessly uniform, robotic look. But the irony was that the more they were made to look the same, and, in certain sequences move like a contingent of zombies, the more clearly the distinctive personalities and modes of physical attack of the dancers began to emerge.

This intriguing duality—the flawless ensemble spirit wedded to fierce individuality—has been one of the defining qualities of Hubbard Street Dance Chicago since its founding in 1977 by Lou Conte, the former Broadway dancer and teacher with a quietly visionary sensibility. And it has remained a constant even as the company has evolved in the ensuing 34 years—first under Conte himself, then under his successor, Jim Vincent (at Hubbard Street from 2000–09, and now artistic director of the Nederlands Dans Theater), and, for the past two years, under the leadership of Glenn Edgerton (a former Joffrey Ballet dancer who served as artistic director of the Nederlands troupe for a decade).

Along with that sense of being both “the many and the one,” Hubbard Street’s dancers have continually demonstrated an ability to morph brilliantly through the whole gamut of contemporary styles, with a repertoire that includes demanding work by Ohad Naharin, Jirí Kylián, Nacho Duato, William Forsythe, Jorma Elo, Daniel Ezralow, Twyla Tharp, Aszure Barton, and company member Alejandro Cerrudo, who does double duty as resident choreographer. Like gifted linguists who can pick up any language almost on first hearing, they have a sponge-like ability to absorb a choreographer’s movement vocabulary, not simply imitating it, but making it fully their own.

Kokdu Museum - 꼭두 박물관

2011-12-08T12:11:00.001-10:00

Korea 2011- See

2011-12-06T13:06:00.000-10:00

Korea 2011- See

2011-12-06T12:14:00.000-10:00

Sungshin holds concert in Hawaii

2011-12-06T12:11:00.001-10:00

By Yun Suh-young

A group of Sungshin Women’s University students and professors held a concert in Honolulu, Hawaii, Sunday to celebrate the opening of the Asia Pacific Economic Cooperation meeting. The concert was also to provide a cultural experience to Korean-American immigrants in Hawaii.

The 180-member group held a traditional Korean clothing fashion show, traditional Korean dance performance and the Sungshin Philharmonic Orchestra performed at Honolulu’s Neal S. Blaisdell Concert Hall.

At the fashion show, the school presented 80 types of traditional Korean dress from the Joseon Dynasty.

The orchestral concert was led by three Sungshin Women’s University music department professors and Hawaii University’s dean of the music department Laurence Paxton.

An audience of about 2,000 filled the concert hall.

Participants included Mayor of Hawaii Peter Carlisle and the South Korean Consul General to Hawaii Suh Young-kil. Top Korean actor Jung Joon-ho emceed.

“Through this event we were able to promote the excellence of Korean culture and deliver a sense of pride about the Korean people to the Korean immigrants living on the island,” said Shim Hwa-jin, president of Sungshin Women’s University.

Korea 2011- Taste

2011-11-30T23:52:00.001-10:00

Korea 2011- Taste

2011-11-30T23:47:00.001-10:00

Korea 2011- Taste

2011-11-30T23:43:00.001-10:00

Korea 2011- See

2011-11-30T23:38:00.001-10:00

Korea 2011- See

2011-11-30T23:34:00.001-10:00

Korea 2011- See

2011-11-30T23:29:00.001-10:00

Taekkyeon, tightrope walking and ramie weaving join UNESCO list

2011-11-30T22:07:00.001-10:00

Korea’s traditional martial arts taekkyeon, tightrope walking and ramie fabric weaving of the Hansan region have joined UNESCO’s intangible heritage list.

UNESCO delegates, who are meeting Nov. 22-29 in Bali, Indonesia, gave the green light Monday to taekkyon, jultagi (tightrope walking) and Hansan mosijjagi (ramie fabric weaving). The three were among the six Korean traditions of the 49 submitted from across the world.

UNESCO holds regular meetings to discuss which local traditions should be protected and nurtured for future generations under the list of practices with world cultural importance. Korea now has 14 cultural traditions listed.

Taekkyeon is a traditional Korean martial art in which one uses dance-like movements to strike at an opponent. It is the first martial arts in the world to be listed by UNESCO.

Korea 2011 - See

2011-11-30T12:52:00.001-10:00

[포토] 성균관 석전대제 죽간춤 공연

2011-11-30T12:40:00.002-10:00

31일 서울 종로구 성균관 명륜당에서 성균관대학교 무용학과 학생들이 \'석전대제 악무공연\' 중 학문을 상징하는 죽간(竹簡)춤을 선보이고 있다. 이 악무공연은 12월 19일까지 매주 월요일 오후 2시에 열리며 일반에 공개된다.

Related

국립극장_화선_김홍도_2011_07_국가브랜드공연_단원_김홍도.wmv

2011-11-30T12:28:00.001-10:00

K-pop translation on smartphone app

2011-11-30T12:21:00.001-10:00

Responding to the demand for more information on K-pop, Pop!gasa, a website with translations of K-pop song lyrics, has released a mobile application.

It is one of the fastest sources for English translations of K-pop lyrics, having already posted a version of IU’s new album “Last Fantasy.”

The site is operated by two young college graduates who love K-pop — Sung-eun Grace Lee, 23, and Jenny Kim, 23. Lee went to Syracuse University in the United States and met second-generation Korean-American Kim there.

“Kim was interested in Korean culture, especially K-pop. She suggested establishing a site translating lyrics of K-pop songs to English, as the demand for K-pop was rising, and I thought it was a good idea. There are a few blogs providing the Romanization of K-pop songs, but there was a shortage of English lyrics translation,” Lee said in an interview with The Korea Times.

After having opened on June 17, the website already has an archive of more than 1,000 K-pop lyrics translated to English.

Lee majored in biophysics and Kim now works at an IT company, so they are not even close to the Korean entertainment industry. However, they are just glad to share what they could with K-pop fans all over the world.

“We both have full time jobs and translate the lyrics in spare moments. As most new songs are released at midnight in Korea, we try to translate them as soon as possible,” Lee said. “Kim and I are bilingual and understand both cultures, making our translations more accurate and credible.”

엽서속의 기생읽기 - Understanding of Gisaeng in Postcards

2011-11-29T22:44:00.001-10:00

따뜻한 밥한끼

2011-11-28T23:34:00.000-10:00

Korea 2011 - See

2011-11-28T23:06:00.000-10:00

Korea 2011 - See

2011-11-28T23:01:00.001-10:00

Korea 2011 - taste

2011-11-28T22:55:00.001-10:00

Korea 2011 - See

2011-11-28T22:51:00.002-10:00

Korea 2011 - taste

2011-11-28T22:45:00.002-10:00

Korea 2011 - See

2011-11-28T22:39:00.002-10:00

Korea 2011 - taste

2011-11-28T22:27:00.004-10:00

부모님 문자 웃긴 문자 모음

2011-11-28T22:16:00.001-10:00

‘Garden of peace’ at Chelsea Flower Show

2011-11-25T10:35:00.002-10:00

Korean environmental artist Hwang to reproduce wildlife of DMZ in Britain

The Demilitarized Zone separating the South and North Korea may be the most scarred, but at the same time, the one of the most untouched places in the world.

Hwang Ji-hae, the winner of the Artisan Garden section at the 2011 Chelsea Flower Show, this time wanted to show the place and tell “our story” badly because she knew the stage will be spotlighted by the media from all over the world and be visited by VIPs like the Queen of England.

Luckily her work “Quiet Time: DMZ Forbidden Garden” was selected along with 17 other contestants to be showcased at the Show Garden section of the Chelsea Flower Show which will be held from May 22-26. Hwang is the first Korean to enter the competition in that section.

An Open Letter From a Dancer Who Refused to Participate in Marina Abramovic’s MOCA Performance

2011-11-25T10:30:00.002-10:00

I participated in an audition on November 7th for performance artist Marina Abramovic’s production for the annual gala of the Museum of Contemporary Art, Los Angeles. I auditioned because I wanted to participate in the project of an artist whose work I have followed with interest for many years and because it was affiliated with MOCA, an institution that I have a connection with as a Los Angeles-based artist. Out of approximately 800 applicants, I was one of two hundred selected to audition. Ultimately, I was offered the role of one of six nude females to re-enact Abramovic's signature work, "Nude with Skeleton" (2002), at the center of tables with seats priced at up to $100,000 each. For reasons I detail here — reasons that I strongly believe need to be made public — I turned it down.

국립예술자료원 KNAA

2011-11-17T20:41:00.001-10:00

명무부 김옥성씨 ‘대통령상’ 영예

2011-10-31T18:13:00.001-10:00

제12회 대통령상 한밭국악전국대회에서 명무부 김옥성씨(김옥성무용연구원·50)가 대통령상(명무대상)을 차지했다.한밭국악회 주최로 29일부터 30일까지 대전연정국악문화회관에서 열린 이번 대회에는 무용, 판소리, 기악, 풍물개인 등 4개부문에 국내는 물론 중국·일본 등지에서 250여명의 국악인 몰려 열띤 경연을 펼쳤다.각 부문별 대상을 비롯해 모두 52명이 수상의 영광을 안았다.대통령상을 받은 김 씨는 살풀이춤의 한과 흥을 제대로 표현해 냈다는 평을 받았다. 부상으로 상금 500만원과 도자기가 수여됐다.특히, 30일 시상식 특별공연으로 ‘한국의 국보공연전’이 마련돼 관심을 모았다. 태평무 보유자인 강선영 선생(국가중요무형문화재 92호), 적벽가 보유자인 송순섭 선생(국가중요무형문화재 5호) 등이 무대에 올라 전통춤과 소리를 선보였다.

<사람들> "반 무당, 반 학자" 양종승 박사

2011-10-31T18:11:00.000-10:00

샤머니즘박물관 준비, "무속연구는 우리 정체성 찾기" (서울=연합뉴스) 김용래 기자 = "우리 무속이 그 동안 너무 천대받았어요. 무속연구는 우리의 얼굴을 그리는 정체성 찾기 작업인데, 자꾸 부정하려고만 들어 안타깝습니다." 한국 무속연구에 평생을 바쳐온 국립민속박물관 양종승(54) 학예연구관은 '무당'이다. 정식으로 신내림을 받은 적은 없지만, 무당만이 할 수 있다는 작두를 탄 경험도 있다. 승무와 판소리에 능하며, 무형문화재 강령탈춤은 정식으로 이수했다. 더구나 미국 인디애나대학교에서 문화인류학 박사 학위까지 받았다. 양 연구관은 무속인들 사이에서는 존경하는 '후원자'로 통한다. 무속 신앙을 긍정적으로 조명하는 학자로서 반 무속인으로 살았던 그가 무속인의 애환을 잘 공감해주기 때문.

정동극장 미소 - Jeong Dong Theater: Miso

2011-10-31T18:08:00.001-10:00

Hanseong Baekjae Cultural Festival

2011-10-24T20:51:00.001-10:00

2011 전주소리축제 - 2011 Jeonju International Sori Festival

2011-09-28T22:30:00.000-10:00

안동국제탈춤페스티발 - Andong Mask Dance Festival

2011-09-28T21:50:00.001-10:00

Seoul Performaing Arts Festival

2011-09-27T03:10:00.000-10:00

다이나믹 연희페스티벌 <원>

2011-09-21T18:01:00.001-10:00

윤이상을 만나다

2011-09-18T05:02:00.001-10:00

<윤이상을 만나다>의 음악선정과 인터뷰

윤이상의 대표작품들 중 세 곡을 선정하여 아래와 같이 총 4개의 챕터로 구성되어 있다. 관객에게 조금은 난해하게 해석될 수 있는 윤이상의 음악은 적합한 편곡작업을 통해 편안하게 접근할 예정이다.
* 목소리, 기타, 그리고 타악기를 위한 <가곡>(1972)
* 플롯, 오보에, 바이올린, 첼로를 위한 <이마주>(1968)
* 바이올린 독주를 위한 다섯 개의 소품 <니나와 정원에서>(1984/85) 外

part 1. 환란의 시대
정치적으로 혼돈을 겪은 윤이상의 삶 조명
part 2 음악세계
윤이상의 평화와 화합을 궁극적 목표로 삼은 순수한 음악세계
part 3 고국을 그리다
고국, 고향을 그리워하며 어린 시절을 회상
part 4 경계를 넘어서
“평화와 화합은 내 음악의 궁극적인 목표입니다”

명성황후 - (Musical - Myeong Sung Hwang Hu - Queen Min)

2011-09-18T04:50:00.001-10:00

16살, 민자영은 황후가 되었고, 명성황후는 명작이 되었다. 뮤지컬 <영웅>으로 뉴욕 브로드웨이에서 호평을 받은 (주)에이콤인터내셔날이 오는 10월 29일(토)부터 11월 20일(일)까지 서울 중구에 위치한 충무아트홀에서 한국뮤지컬의 대표작으로 손꼽히는 뮤지컬 <명성황후>를 공연한다. 총 관객 약 130만 명을 동원하고 1,040회 공연을 마친 국내 대형 창작뮤지컬 <명성황후>는 명성황후 탄생 116주년을 맞는 2011년의 가을을 감동으로 수놓을 전망이다. 1995년 초연되어 숱한 화제를 모았던 뮤지컬 <명성황후>는 국내 최초로 1997년-1998년 뉴..

놀이와 유머로 담아낸 21세기형 처용

2011-09-18T04:45:00.000-10:00

[작품소개(줄거리)]

“놀이와 유머로 담아낸 21세기형 처용”
“웃음을 아는 안무가 홍혜전이 풀어내는 해학과 풍자”

무형문화재 39호로 지정되어 있는 우리의 소중한 전통자산인 <처용무>에 등장하는 캐릭터간의 갈등구조를 블랙유머를 바탕으로 한 연극적 상상력과 컨템퍼러리 무용의 결합을 통해 만들어진 댄스드라마이다.
놀이와 유머 감각은 예술의 혼이다.
<댄스드라마_新 처용>은 지혜와 유머, 놀이를 가지고 단순한 장르 복합이나 매체적 접근이라기보다, 세대와 성별을 동시대를 살아가는 사회구성원으로서 함께 공유할 수 있는 컨템퍼러리 작업이다.
이번 작품은 무형문화재 39호로 지정되어 있는 우리의 소중한 전통자산인 처용무가 지니고 있는 이야기 속 캐릭터간의 갈등구조와 전통 이미지 요소의 현대적 재해석에 주안점을 두고, 컨템퍼러리 무용과 결합시켜 댄스드라마라는 현대적인 소통양식으로 풀어낸다.

National Museum of Dance

2011-09-14T02:44:00.000-10:00

Medical Tours Korea

2011-09-01T19:28:00.001-10:00

Seoul Drum Festival 2011

2011-08-30T22:39:00.001-10:00

Seoul Drum Festival 2011

As an internationally renowned festival representing the capital city of South Korea, “Seoul Drum Festival” has embarked on its 13th anniversary this year since its initial opening in 1999. The festival provides a venue for communicating percussive cultural-art to citizens, as well as offering them a wide range of opportunities
for hands-on experience. The festival has also established its festive completeness by making a place where both professional and amateur percussionists can enjoy performance and exchange information together.

VENUE: Seoul Plaza Seoul Stage and other venues
PERIOD: Sep 3—24
ADMISSION: Free
MORE INFO: (02) 757-2122, www.seouldrum.go.kr
GETTING THERE: City Hall Station, Lines 1 & 2, Exits 5 & 6

Traditional Korean Lion Dance

2011-08-29T23:55:00.000-10:00

This is a traditional lion ("saja") dance from Korea. Location: outside of Gwangju, Jeollanamdo, South Korea

은율탈춤 보존회 / 은율탈춤 중 사자춤

2011-08-29T23:48:00.000-10:00

Korean Lion Dance

Lion Dance Journey

2011-08-29T23:43:00.001-10:00

vogue battle: house dance international, NYC

2011-08-29T23:20:00.001-10:00

Vogue (dance)

2011-08-29T22:33:00.001-10:00

Vogue or voguing is a highly stylized, modern house dance that evolved out of the Harlem ballroom scene in the 1960s.[1][2] It gained mainstream exposure when it was featured in Madonna's song and video Vogue,[3] and when showcased in the 1990 documentary Paris is Burning (which went on to win the Grand Jury Prize at the 1991 Sundance Film Festival).[2] After the new millennium, Vogue returned to mainstream attention when the dance group Vogue Evolution competed on the fourth season of America's Best Dance Crew.[4]

Contemporary-dance.org

2011-08-29T14:20:00.001-10:00

Are you a contemporary dance student, dancer, choreographer, teacher, researcher, producer, lover, curious…?

Do you want to know, understand or find out something about this art?

Is there any related topic you’d like to discuss?

WELCOME DEAR COLLEAGUE ! THIS IS OUR SITE !

'태권무무 달하' 미국 진출 전에 미리볼까

2011-08-25T20:11:00.001-10:00

[유니온프레스=최진영 기자] 태권도를 무용으로 승화시킨 창작무용극 <태권무무 달하>가 올 10월 미국 순회공연을 앞두고 경기도에서 공연을 펼친다.

우리의 전통문화유산 태권도를 소재로 경기도립무용단 조흥동 예술감독이 탄생시킨 <태권무무 달하>(이하 <달하>)가 오는 27일 남한산성 야외공연장(성남시 중원구)과 오는 9월 30일, 10월 1일 경기도문화의전당(수원시 팔달구) 행복한대극장에서 잇따라 대단원의 막을 올린다.

‘달하’는 ‘달님이시여’라는 뜻의 고어(古語)로 작품은 태초 이전의 무(無)의 세계에서 두 남녀가 탄생해 사랑을 나누게 되고, 둘을 갈라 놓는 악과 맞서 싸우며 새로운 기운과 생명을 탄생시킨다는 이야기를 담고 있다. 90분 동안 격렬하면서도 때로는 서정적인 무대를 펼친다.

2008년 초연 당시 1만 명에 이르는 관객을 모았던 <달하>는 2009년 세계국립극장 페스티벌 특별작으로 선정돼 전석 매진을 기록하며 국립극장 무대를 달궜고 2010년에는 일본 동경 주일한국문화원 신청사 건립 1주년 기념으로 첫 해외공연을 성공적으로 이뤄냈다.

올 10월에는 미 중서부 유타주의 솔트레이크시, 아이다호주의 보이즈시, 캘리포니아주의 샌프란시스코시에서 순회공연이 예정돼 있다.

<달하>는 유수 무용계 평론가들을 매료시킨 작품이기도 하다. “세계를 겨냥한 한국 대표 브랜드 춤 작품으로 내새워도 손색이 없을 것”(성기숙), “무예와 춤이 어느 한 쪽에 치우치지 않고 공존하는 탁월한 조화를 연출”(문애령), “작품의 규모뿐만 아니라 무용으로 대극장 장기공연을 객석으로 가득 채울 수 있다는 저력을 보여줬다”(김경애) 등의 극찬을 받았다.

3회 공연 중 특히 남한산성 야외공연장에서 이뤄지는 공연이 어떤 모습이 될지 기대가 된다. 기존 공연장을 탈피한 남한산성 야외공연은 장소 특성상 대형 무대세트를 대신해 최용석 영상감독이 감각적이고 경이로운 영상으로 시선을 사로잡을 예정이다.

전통무용에 현대 안무 접목 ‘한국 사계’ 창작무로 구현

2011-08-25T20:01:00.001-10:00

임관규 무용단 26일 앰피디어터 공연

입력일자: 2011-08-24 (수)

임관규 무용단이 26일 오후 8시30분 포드 앰피디어터(Ford Amphitheatre) 야외무대에서 공연을 갖는다.

한국 전통무용과 함께 다이내믹한 현대 음악과 안무를 곁들인 작품들로 호평받고 있는 임관규 무용단은 이번 공연에서 ‘겨울, 봄, 여름 그리고 가을’이란 제목으로 LA와는 달리 뚜렷한 사계절을 가진 한국의 아름다움과 감성을 새롭게 창작한 무용작품으로 선보이게 된다.

차갑고 고독한 겨울, 아름다운 꽃들과 나비들이 춤추는 봄, 뜨거운 여름 그리
고 왕의 뜰 앞에서 태평성대를 춤추는 가을 등 성격과 모습이 판이하게 다른 사계절의 느낌을 각기 다른 춤과 음악, 의상으로 표현한다.

무용단의 총 감독인 임관규 단장은 중요무형문화재 제92호 태평무 이수자로 40년 이상 우리의 전통무용에 현대적인 감각을 더하며 한국무용을 발전시키기 위해 끊임없이 연구해왔다.

2000년 미국에 온 이후 임관규 무용단과 선교무용단을 창설하고 활발하게 활동하면서 특히 젊은 세대에게 어필하기 위한 새롭고 독창적인 안무로 호응을 얻고 있으며 역동적인 현대음악에 우리의 전통악기 소리가 더해진 특별한 작품으로 다양한 인종과 세대를 아우르는 관객들의 관심을 끌어내고 있다.

공연 티켓은 12∼30달러. 박스오피스 (323)461-3673.

공연문의 (323)819-5001 Ford Theatres 2580 Cahuenga Blvd, East, Hollywood, CA 90068www.limdancecompany.com

Naver.com - News Library

2011-08-25T19:53:00.002-10:00

C:
This is way too cool. C: C: C:

Korean 'Tempest' wins Herald Angels award at Edinburgh

2011-08-25T19:49:00.001-10:00

Mohkwa Repertory Company’s “The Tempest” won the Herald Angels award given by the Herald, a British newspaper, during the Edinburgh Festival, according to the Korean Cultural Center U.K.

Directed by veteran theater director Oh Tae-suk and staged from Aug. 13 to 16 at the King’s Theatre Edinburgh, Shakespeare’s “The Tempest,” is re-created in the 5th century Korea setting as a clever dramatic adaptation.

Inspired by a true story from the Korean Chronicles of the Three Kingdoms, Oh’s stage blends aspects of historical and traditional Korean culture as well as folklore with Shakespearean fiction.

Unquestionably one of the most accomplished Korean playwrights and directors, Oh has written and directed over sixty works. He has led the Korean theatrical art scene by adopting traditional Korean sources and theatrical methods to create his own methodology of experimental and creative theatrical art. Oh has reinterpreted various theatrical elements besides Shakespeare, such as ancient Greek theatre art, Brecht, traditional Korean theater, and even traditional Asian theatrical elements, into a new artistic genre.

Recognized previously “The Tempest” was under the spotlight before going on stage at the festival for its unique interpretation. The Guardian and The Financial Times gave Oh’s work four out of five stars.

The Angels has been awarded to the most extraordinary works participating in the international and fringe sectors during the festival every week since 1995.

The award ceremony will be held Saturday at the Edinburgh festival hall.

The festival has invited three Korean troupes to perform during the three-week event running until Sept. 4.

`Korean performing arts need bigger PR for global audience`

2011-08-25T19:44:00.000-10:00

“Korean performance arts have become world class. Now is the time for Korea to consider how to introduce its performances to the world, not how to increase their quality.”

Jonathan Mills, director of the world famous Edinburgh International Festival, said this in an exclusive interview with The Dong-A Ilbo on Wednesday in his office at the top of a renovated Gothic church near Edinburgh Castle, the hub of the festival.

He added, “Certain Korean performing arts are the best in the world.”

The Edinburgh Festival Fringe, the world’s largest festival with around 2,000 performing arts events every year, is derived from the Edinburgh International Festival that started in 1947. The international festival and France’s Festival d’ Avignon are considered the world`s top two major performing arts festivals.

An Australian composer-turned-director, Mills has led the festival since 2007. He focused on Asian performing arts this year, officially inviting three Korean performances: “The Tempest” by the theater group Mokhwa, “Princess Bari” by Ahn Eun-me Ballet Company, and the Seoul Philharmonic Orchestra led by Chung Myung-whun. This was the first time for Korea to be invited to the Edinburgh Festival.

“I barely knew about Korean culture three or four years ago. When I watched Korean movies at the Melbourne Film Festival, I got totally into them. After visiting Korea at the invitation of the Korean government, I got to know that Korea makes the most interesting attempts in all arts ranging from movies and visual arts to performance, art and music,” he said.

Explore Daegu

2011-08-25T19:37:00.000-10:00

DAEGU — Twenty-one-year-old Daegu native Lee Sang-hyeon is proud to serve as a guard at the Athletes’ Village for the 13th IAAF World Championships, which opens Saturday here in Korea’s third largest city.

The Kyungpook National University student, who is serving out his mandatory military service with the Daegu Central Police, was excited to assist athletes and visitors from all over the world, particularly with sightseeing.

When asked to list Daegu’s foremost attractions, his first choice was Gukchae Bosang Memorial Park, the starting and finishing point of the marathon course of the championships, and one of the city’s central establishments. It is one of several scenic parks in the vibrant city of 2.5 million.

“It is a trademark of our city and a good place to start a day of sightseeing here,” Lee said. “To get a taste of traditional Korea, visitors should consider Yakjeon-golmok, the oldest market for Korean medicinal herbs in the country with a history of 350 years.”
With its origins dating back to the Joseon Kingdom (1392-1910), the entire alley is lined with herbal medicine shops, acupuncturists and all manner of traditional Oriental medicine.

“We have hosted several important international events in the past, but this is the largest. I’m hoping that the Daegu World Championships in Athletics will benefit our city’s economy,” Lee added.

도담 삼봉과 사인암

2011-08-25T18:46:00.000-10:00

단원 김홍도

Folk Art Museum Considers Closing

2011-08-19T20:07:00.001-10:00

The financial picture has grown so bleak at the American Folk Art Museum that its trustees are considering whether to shut it down and donate its collections to another institution, said a person involved in the discussions, who requested anonymity because the talks are confidential.

No final decision has been made, and members of the folk museum’s staff are said to be lobbying to keep it going in some form. But the museum’s leadership has been in talks with the Smithsonian Institution for several months about possibly acquiring the collection in conjunction with the Brooklyn Museum.

A decision to dissolve the museum and transfer its collection would require the approval of both the New York State attorney general’s office and the State Department of Education. The attorney general’s office would consider, among other things, whether the transfer would put New York State residents at a disadvantage.

Is b-boying past its pinnacle?

2011-08-19T19:29:00.001-10:00

Lack of new b-boy generation, fewer shows signal uncertain future for break-dancing

Break-dancing has pretty much infiltrated every aspect of popular culture in Korea.

People can catch breakers showcasing their hip moves on television, in musicals, competitions and ads.

The arresting visual allure of those acrobatic stunts, of the combination of swift ground work with powerful up-ended twirls and twists makes it is easy to see why everyone is so mesmerized by break-dancing, and, therefore, why it is so popular here.

It certainly doesn’t hurt that Korean b-boy crews have been winning major international competitions or that celebrities like Jay Park have brought the art to the forefront.

From where it stands, it looks like b-boying has a bright future.

Then again, when a dance style has saturated mass media to the point that b-boying has, there is a chance that viewers might tire of it, be less wowed by the by-now standard windmill or jackhammer.

They might start changing the channel or picking a different act to check out.

Sure, the boys might be bringing home the trophies, but after having done so for a decade, it might grow old.

In short ,the b-boying trend might just have peaked.

Veteran b-boy-and-actor Oh Se-bin, one of the founding members of the famed Gambler Crew, thinks that this year will prove crucial for b-boying in Korea.

“The future has become very frightening for b-boys,” he said. “I think right now is a time of concern for them.”

According to Oh, b-boying first took root in Korea in the early 90s, developing and growing underground.

It wasn’t until 2001, when a Korean b-boy team nabbed a global award that people started to take notice. Then, in 2002, a Korean crew won the internationally-famed Battle of the Year title. By 2003, b-boying was no longer a silent phenomenon.

“That time was golden, because all this hidden talent just exploded onto the scene,” the 29-year old said. “Suddenly, Korean b-boys got major, globally.”