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The National Palace Museum of Korea, an affiliate of the Cultural Heritage Administration of Korea, has selectedThe National Palace Museum of Korea, an affiliate of the Cultural Heritage Administration of Korea, has selected "Sachet Pouch with Designs of Peonies and Buddha’s Hand Citrus” as its "Curator’s Choice from the Royal Treasures” for the month of February. Starting February 1, the pouch will be on display in the Royal Court Life Gallery on the second floor of the museum. The pouch, which is presumed to have belonged to Imperial Prince Yeong (1897?1970; also known as King Yeongchin), is characterized by a round form. It still contains aromatic materials wrapped in traditional Korean mulberry pulp paper (hanji). The pouch was part of a group of 333 items of clothing and accessories once belonging to the family of Imperial Prince Yeong that were returned from Japan to Korea in 1991. Under the title "Clothes and Accessories Worn by King Yeongchin and His Family,” they were designated by the South Korean government as National Folklore Cultural Heritage and are currently housed in the National Palace Museum of Korea. Imperial Prince Yeong (1897 - 1970; birth name: Yi Eun) was the seventh son of King Gojong. He was the last imperial prince of the Korean Empire. Clothes and Accessories Worn by King Yeongchin and his family is a collection of 333 pieces of clothing and accessories once belonging to the family of Imperial Prince Yeong. They were originally held by the consort of the imperial prince, but were later sent to the National Museum of Tokyo for management. In 1991, the items were returned to Korea in accordance with an agreement signed between South Korea and Japan regarding the transfer of clothing originating with the family of Imperial Prince Yeong. Demonstrating the sophisticated crafting applied to court sachet pouches, this cultural heritage item is made of unpatterned red silk gauze on one side and unpatterned yellow silk gauze on the other. Both sides are embroidered with large designs of peonies combined with smaller designs of Buddha’s hand citrus and small flowers. The opening of the pouch features fifteen pleats threaded with a flat braided string dyed navy blue and finished at either end with a glass bead. The designs of peonies and Buddha’s hand citrus were elaborately embroidered using couching stitches. They respectively symbolize wealth and honor and longevity, and also express wishes for the prosperity of the imperial court. In addition to being displayed in the museum gallery, this month’s Curator’s Choice ? Sachet Pouch with Designs of Peonies and Buddha’s Hand Citrus ? will be presented virtually through a video on the YouTube channels of the museum and the Cultural Heritage Administration of Korea.
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“Talchum, mask dance drama in the Republic of Korea” has at last made it into the Representative List of the Intangible Cultural Heritage of Humanity.The decision was made in the morning of November 30, 2022 local time at the 17th Session of the Inter-Governmental Committee under way in Rabat, the Kingdom of Morocco from November 28 to December 3, 2022.The UNESCO Intangible Cultural Heritage (ICH) Committee stated that the message of Talchum of universal equality value and criticism of social hierarchy is still relevant today and praised its role as a symbol of respective cultural identities its variant forms represent. Nomination file of Talchum praised for its well-elaborated the social functions and cultural meaningsThe inscription is the result of the joint efforts from the early stages of preparation among the Cultural Heritage Administration, Ministry of Foreign Affairs, the City of Andong, Gyungbuk Province, 18 safeguarding associations and the World Federation of Mask Culture whose membership includes heritage transmitters of those listed on either the national list or provincial lists of ICH. The successful nomination of Talchum will serve as an excellent precedent of close cooperation between the private and public sectors in publicizing Korea’s traditional culture to the rest of the world. Following inscription, the number of Korea’s elements on the UNESCO’s ICH inventory grows to 22. The Korean government states it will make continuous efforts to promote cultural diversity and creativity of humanity in the spirit of the UNESCO Convention of Safeguarding ICH.
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‘Yutnori’ to Be Designated as National Intangible Cultural Heritage
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Winning the grand prize at the Korean Traditional Music Contest in America,I am greatly honored and grateful to have received the highest award. When I first encountered the dance called "Taepyeongmu", I was in a rush to memorize the sequence and to mimic the movements since this traditional dance was at times not fun to practice as a teenager. However, as I continued to practice over and over again, my understanding deepened so I did my best to express each movement with sincerity rather than to perfect each move just to impress others. "Taepyeongmu" is a traditional dance embodying the true beauty of Korea, which I believe is one of the most unique dance in the world. Therefore, it is my goal to spread the beauty of our culture in the U.S. through the traditional dance "Taepyeongmu". Finally, I would like to express my gratitude to the director of KAYPA (Jae Eun Lee) who worked day and night to support me. 미주한국국악경연대회 대상 수상, 크리스탈 허, 수상소감 제9회 미주한국국악경연대회에서 종합 대상이라는 생각하지도 못한 큰 상을 받게되어 매우 뜻밖이고, 놀랍고, 너무 기쁩니다. 제가 '태평무' 라는 춤을 처음 접할때에는 순서 외우기에 급급했고, 동작을 훙내 낼려고만 했었고, 전통 춤이라 어린 나이에 추기에는 너무 지루 했었습니다. 그러나 계속 연습을 반복반복하면서 인위적인 꾸밈으로 표현되는 것이 아닌, 마음에서 저절로 우러 나오는 것을 몸으로 표현 할려고 노력을 많이 했습니다. '태평무'는 한국 고유의 전통을 그대로 보여주는 '세계 속의 춤'이라 생각하고 제가 한국이 아닌 미국에서 태평무라는 전통춤을 통해 앞으로 우리 문화의 아름다움을 널리 알리고픈 마음이 매우 큽니다. 마지막으로 저를 이런 큰상까지 받게 열심히 지도해 주신 KAYPA 단장님 (이 재은)께 감사의 말씀을 드립니다.
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Отправляя учителя Кон Но Вон в иной мирОтправляя учителя Кон Но Вон в иной мир Так же, как я не выбирала своих родителей, чтобы прийти в этот мир Так же не все люди, кого я встречаю, родившись в этом мире, живут по моей воле. Но я думаю, что обязательно, непременно есть причина, из-за которой я родилась от своих родителей, Что среди множества людей есть человек, с кем меня обязательно свяжет судьба. В моем случае, я думаю, что таким человеком была учитель Кон Но Вон. Моя работа — «Исследование Ариран», являющейся сутью нашей культуры. В этом процессе песня «Ариран», которую поют сахалинские соотечественники, является важным объектом изучения. Это потому, что среди такой действительности я узнала о учителе Кон Но Вон, жившей в Инчхоне после возвращения на историческую родину. Благодаря этому знакомству, я пришла к пониманию грустных до слез семейных историй и о трудностях сахалинской диаспоры. По-настоящему я поняла и открыла для себя песню «Ариран», когда поехала на Сахалин на Фестиваль «Ариран». Считается, что обмен между сахалинским комитетом «Ариран» и Корейской федерацией «Ариран», является самым продолжительным по времени обменом между двумя странами. Этот очень важный обмен начался непосредственно с личного участия учителя Кон Но Вон. Я планировала, что, когда короновирус уйдет, снова вернусь на Сахалин, обниму соотечественников и снова устроить сахалинский фестиваль «Ариран». Кроме этого, для подготовки акции по решению правовых проблем между соотечественниками, вернувшимися в Корею на постоянное жительство, и их семьями, проживающими на Сахалине, была создана «Ассоциация поддержки сахалинских корейцев, вернувшихся на историческую родину», но учитель Кон Но Вон ушла от нас так неожиданно. Учитель, учитель Кон Но Вон. Поэтому очень грустно. Я и все члены семьи «Ариран» глубоко сожалеем об этом и скорбим. Учитель Кон Но Вон Помогите нам, пожалуйста с небес, удачно завершить все, над чем мы работали и над чем должны были работать в будущем. И хотя вы ушли в иной мир, ни разу не взяв за руку своего любимого сына из-за короновируса, Оставив любимого мужа, невестку, которую любили и которой гордились, двух внучек. Вы очень быстро ушли по дороге, по которому пойдут все. Мы все скучаем и нуждаемся по Вас еще больше от того, что Вы ушли так быстро. Но Вы не волнуйтесь, учитель. Не волнуйтесь, потому что все члены семьи, которую Вы оставили, будут жить вместе как семья «Ариран». Учитель Кон Но Вон Мы никогда не забудем Ваш большой вклад как учителя сахалинских соотечественников и вклад в обмен между сахалинскими корейцами и южной Кореей. Вы - учитель, которой могут гордиться все сахалинские корейцы. Учитель, Вы, как сахалинская кореянка, вернувшаяся на постоянное жительство в историческую родину, Корею, внесли огромный вклад в культурный обмен. Вы являетесь представителем «человеческого культурного наследия Ариран». Мы никогда не забудем Ваш вклад в культурный обмен между сахалинскими корейцами и Кореей. Учитель, спокойно усните вечным сном. Я очень скучаю по учителю Кон Но Вон. Я скучаю. Я отпускаю Вас со слезами на глазах. 2 октября 2022 г., Ки Ми Ян, преемница председателя комитета Сахалинского фестиваля «Ариран» Кон Но Вон. 공노원 선생님을 저 세상으로 보내며 제가 저의 부모님을 선택하여 세상에 나오지 못하듯이 세상에 테어나서 만나는 사람들은 모두 내 뜻에 따라 인연을 맺고 사는 것은 아닙니다. 그러나 꼭, 반드시, 필요하고 이유가 있어서 내 부모에게서 태어나고 세상 수많은 사람 중에서 인연을 맺어 살아가는 것이라고 생각합니다. 저의 경우는 공로원 선생님과의 인연이 그렇다고 생각합니다. 저의 직업은 우리문화의 정수 '아리랑 연구'입니다. 이 과정에서 사할린 동포들이 부르는 아리랑은 중요한 관찰 대상입니다. 이러한 절실함 속에서 인천에 영주 귀국하여 사시던 공로원 선생님의 존재를 알게 되어 인연을 맺었기 때문입니다. 이 인연으로 사할린의 슬픔과 눈물겨운 겹겹의 아픈 디아스포라와 가족사를 이해하게 되었고, 아리랑을 이해하고 아리랑 축제를 사할린에 가서 개최하게 되었습니다. 사할린과 한국의 아리랑연합회와의 교류, 이 양국의 교류는 가장 오랫동안 지속되는 교류로 자리 잡았습니다. 이 소중한 교류는 바로 공로원 선생님의 존재와 역할로부터 시작된 것입니다. 그런데 코로나가 물러가면, 다시 사할린에 가서 동포들을 부등켜 앉고 다시 사할린아리랑제를 하자고 계획하고 있었는데, 여기에다 ‘사할린귀국동포후원회’를 결성하여 한국에 영주귀국하여 살고 계신 동포들과 사할린에 살고 있는 가족과의 법적 문제 해결을 위한 운동을 하자고 준비하고 있었는데,선생님이 이렇게 가셨습니다. 선생님, 공노원 선생님 그러니 너무 너무 안타깝습니다. 저도 그렇고 아리랑 식구들 모두가 한탄을 하고 있습니다. 공노원 선생님 하늘에서, 선생님과 우리가 해오고, 또 해야 할 일이 앞으로 잘 되어가도록 도와 주십시요. 코로나로 인하여 사랑하는 아들 손도 한번 잡아보지 못하고 가셨지만, 사랑하는 남편, 아끼고 자랑하던 며느리와 두 손녀딸들을 두고 가시지만, 당신은 누구나 가는 길을 서둘러 가셨을 뿐입니다. 우리에게 더 그리워 하고 더 필요함을 알게 서둘러 가신 것이 아닙니까? 선생님 걱정하지 마십시오. 우리는 당신이 두고 가신 가족들은 모두 아리랑 식구로 함께 살아 갈테니 걱정 하지 마십시오. 공노원 선생님, 우리는 그동안 사할린 동포 교육자로서의 공로와 한국과의 교류에 대한 큰 공로는 결코 잊지 않겠습니다. 선생님은 사할린 한국인으로서 자랑스러운 교육자이십니다. 선생님은 한국 영주귀국동포로서 훌륭하신 문화교류 공로자이십니다. 그리고 대표적인 ‘인류문화유산 아리랑인(人)'이십니다. 우리는 이 공적을 영원히 잊지 않고 새기겠습니다. 선생님 편히, 편히, 영- 면- 하- 십- 시- 오. 공로원 선생님 보고 싶습니다. 보고 싶습니다. 2022년 10월 2일 아리랑 後人, 기미양. 눈물을 삼키며 보내드립니다.
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[Chief Reporter Interview] Chair professor Park Beom-hun, ‘Finding New Terrain in Korean Music’In March of next year, the Department of Korean Music will begin their courses In the middle of August, a man located in his professor’s office is thinking hard about something and thus unable to pay attention to the changing weather outside his window. This man is a musician of Korean traditional music. But also a composer, a music conductor, a Korean traditional music scholar, a university president, an educational and cultural policymaker, and once again returning as a Korean traditional music scholar while looking after his professor’s office, chair professor Park Beom-hun. Recently, Park Beom-hun has been busy with the preparations for the opening of the ‘Department of Korean Music’ at Dongguk University Seoul Campus, deciding on the full-time professors and chair professors, an administration, and so forth. Chief reporter Lee Dong-sik looked for Park Beom-hun, someone he regards as a close acquaintance since the time that Lee was a reporter at KBS. During the 80-minute interview, it became clear that the topic of conversation was the promotion of Buddhist music as new terrain in Korean music by the religious university. From this point onwards, let us listen to his thoughts. This article was translated by Linda Pauw (intern reporter) Q. Chief reporter Lee Dong-sik – Instead of going on vacation what are you doing in this hot weather? A. Chair professor Park Beom-hun – A pleasure to see you. This fall semester we are checking various matters, such as whether the received applications of students for the opening of the college of arts Korean Music Department are going according to plan. Opening a new department is a lot of work. Our department will accept all new students via rolling admissions and there is exactly one month left for this. Creating the content and means of education of the subjects that fit the new department’s vision and purpose of establishment, the confirmation of professors, but also deciding the factors of the screening process, and becoming acquainted with the defined evaluation criteria et cetera are all tasks that need to be confirmed and examined one by one. Q. Lee – Dongkuk University originally hosted their Korean Music Department on their Gyeongju Campus but the news that a new department is being created in Seoul is unexpected. A. It is a bit embarrassing to admit but if art-related departments are not operated in places where associated artists come together, inevitably, problems such as the securing of a faculty or students’ classes will arise. Also, our university is a religious university established by the Jogye Order of Buddhism but when the department was still located in Gyeongju, there was an inadequacy regarding the element of promotion of Buddhist music. Therefore, the university authorities should research and teach the foundations of Buddhist music more in-depth for a new terrain of Korean music to open, this can be achieved by suggesting the establishment of a Department of Korean Music in the middle of Seoul as a way for outstanding artists to be more involved as teachers. As you are well aware, the number of universities in the metropolitan area cannot be increased. Thus, by developing the then slightly lacking research and cultivation of Buddhist music in an era in which the world welcomes Hallyu, our university, as a religious university, thought hard about the viewpoint in which we have to bring up the talents of Korean music that our country is demanding, and decided to create a Korean music department in Seoul by turning around the existing capacity of employees. Q. Earlier, you mentioned that we can cultivate our music through Buddhist music, but the Buddhist music that we know is charged with a specific religious undertone, for instance, Buddhist hymns and chants, Buddhist prayers, and the song ‘Hoesimgok’ that became famous through the singing of Kim Yeong-im and so on. Would it not be difficult to look at this as mainstream traditional music? A. The foundation of Korean music is Buddhism. As it entered the Three Kingdoms period, it has been Buddhism that has lived with our people for more than 1500 years. The remaining melodies, the stories told in the middle of songs, the beats, and such that were made engraved the three elements of traditional music, song, dance, and appreciation, inside of us before we knew it and are manifesting this without us realizing even in modern times. It is a situation of which we are not aware. It was through Buddhist scriptures that we learned about the concept of music, not only Buddhist prayers or chants but also Yeongsan Hoesang, Hoesimgok, Binari, Tapdori, Sanyeombul, and more folk songs among Korean traditional music that is performed are all considered to be Buddhist music. So in fact, it has already deeply penetrated our music. I propose that it is important to precisely know these things, to research what we can take and disregard, and to then rekindle this with our artistic talents of this era. As there are 15 applications to our department we cannot say that this suffices, but our goal is to produce the best talent through the direct training of excellent professors, if at all possible. Q. Then, has it been confirmed who will be part of the teaching faculty? A. We can boast that all musicians representing this era are included in the faculty. Kim Deok-su and An Suk-seon who you know are involved, as well as Kim Yeong-jae, Kim Seong-nyeo, Park Ae-ri, Lee Chun-hui, Kim Hae-suk, and more. We gathered the most outstanding experts in the fields of vocal music, instrumental music, dance, and composition. This September, students can enroll and in March next year, we will open the doors of our new department. Q. I think there might be concerns about whether the world of traditional Korean music’s demand for manpower is not saturated as there are traditional music departments or Korean music departments at the top universities of our country. A. Recently, our country is trying to develop the fields of semiconductors and nuclear energy, there is absolutely no manpower discharge structure so would there not be a situation in which you cannot handle the manpower? The current state of our music is filled with anticipation due to the phenomenon of Hallyu, to keep up with this trend more new manpower, and more new talent needs to emerge. These talents, while performing that of the past, have to create new music that surpasses the level of imitation. If you look closely, our traditional music has always been creative music. That is what has been passed down to the next generation. In this era, we are already making and delivering music that appeals to people over the world beyond our own country, to do this it is absolutely essential to find the strength in our traditional music and reinvent this. Recently, a research that stated that Psy’s song ‘Gangnam Style’ worked well for people around the world because the music was based on a hwimori-rhythm can be regarded as an example of this. To establish this, performing is of course important, but education in composition that maximizes the ability to create new music in each field is absolutely necessary. Our school makes sure that the faculty members can provide personalized one-on-one education to our students. Because the National Theater is nearby, by always seeing, hearing, and learning on site we focus on developing the capability for traditional music to be reborn as the music of this era. Q. Some are concerned that this era will not last long, as in some areas the current popularity of our idols or the Korean Wave has not been universally recognized. A. The thing that we are overlooking is that Western music has also derived from religious music. Because Christianity (Catholicism) gave birth to Western music culture, we can say that Western music’s roots are Christianity. Likewise, the roots of East Asian music can be found in Buddhism. Western music incorporated ethnic and regional music from this background. Ethnic music from Hungary, Finland, Russia, Spain, and other Western countries has risen to the mainstream of Western music since the mid-19th century and is currently dominating the world. Asia’s music is based on Buddhist music, and I think it is time for Asian ethnic music to rise as world music. These elements should now be raised as modern music and world music. Q. However, the question that always torments us is to what extent is this still our music… A. Ah, right. Whether we are talking about culture or music, anything new is essentially bibimbap. Think about our bibimbap. As garnish we throw in various vegetables, we add sesame oil, and lastly, we add red pepper paste and mix it all in, this is essential to bibimbap. There might be a difference in the amount of red pepper paste added, but once that red pepper paste goes into our music it really becomes our music. Then we can ask what that red pepper paste represents exactly. Element-wise, for example, it could represent the form of a beat or song, the problem of music intervals, the method of vocal usage, movement, and other different elements like these. The problem is how do we blend these elements? And if we do this correctly, would that not result in the best version of our music? We have to identify these factors and share them. Q. I think we talked a lot about the new department. As you know too, professor, our gugak industry and our traditional music industry have suffered a lot under the corona pandemic and dealt with problems such as the cancelation of performances and a decrease in its audience although it is slightly getting better lately. How should we look at this? Is there any solution to this? A. Haha. Us Koreans who see through music or folklore are truly wise people. Don’t we have the wisdom to define objects that bring harm or annoy us as byeolsin or evil spirits, and send them away through a gut (exorcism)? Corona does make our lives difficult, but should even our spirits have a hard time because of this? Just as we overcome our saddest times by singing, we should banish this crisis by holding a byeolsingut (exorcising ritual). This is our humor and positive mind. Q. A concern that we have is that Western instruments’ expressiveness is powerful by nature whereas there is an aspect to our instruments that makes this expressiveness difficult to follow. How do you look at this problem? A. Isn’t distinguishing Western instruments from our instruments defining the limits of our music in advance? Previously, I held a North and South Korean concert in Pyongyang, at this concert the cello players who performed wore hanbok, and Western instruments and traditional Korean instruments were able to coexist. A conductor named Seiji Ozawa is a world-famous conductor of Western music. After that yangban came to China, he fell in love with the charm of the erhu and after inviting a Chinese performer to Boston to open a concert together with the Boston Orchestra, the erhu gained worldwide recognition. Now, we need to have the wisdom to exceed the distinction between instruments and styles and open a world of music. In foreign countries, the world of music is already expanding in that direction. I think this starts with us not being bound by instruments or a certain music form but us ‘submitting’ to our music. To be honest, this is a North Korean way of talking though… Even in our own three Asian countries, each presents its specific national characteristics. I think it is important that we draw from this source when needed and discard it when there is an excess to make a more universal style of music. Q. However, we still have nationalistic feelings toward Japan and lately, some voices are proposing that the roots of Japanese enka music are Korean. A. It seems true that, historically, our music moved to Japan during the Three Kingdom period. And that is how it became their music, but are we also not creating music in our own style by adopting Chinese and Western music? Regarding the origin of Japanese enka, there are records of Koga Masao, who is referred to as the founder of enka, having lived in Incheon and lately, a theory has come out that he is Korean, but because the basic vocal register for enka music does not exist in our country it is difficult to say that they have copied what is ours. This is something for researchers to reveal, but it would be sensible to think about how we can embrace this or that element as our own instead of sinking into nationalist sentiments about who is the original or where did someone copy something. In the past, there was a project in which musicians from Korea, Japan, and China worked together. If they looked at the sheet music, they could not express the meaning of the music but when they all held hands, started practicing, and sang, they all related to each other and the music came out wonderfully. Absorbing the strengths of each country and reviving this in the current age, that is the task that is given to us. Q. I think the time for me to ask other questions that I’m curious about has run out. You are leading the foundation of this Korean Music Department, I hope that through more compositions or the training of our younger generation our music can proudly spread abroad. A. Yes, as we were in a hurry I have spoken in rambles, but our music is always the beginning. What is clear is that we should not cling to the past and with new music should not just create gugak but also a wide range of Korean music. The answer lies in the fact that nowadays almost all university departments choose the name Korean Music Department. Now we have to find and create Korean music, and we are confident that the foundation of our Dongkuk University’s Korean Music Department under the best leaders of our time creates the opportunity to meet this desire and expectation. Thank you. English translation: Linda Pauw (Intern reporter) Linda Pauw is a Dutch student of Korean Studies and Critical Heritage Studies. Pauw came to Korea after finishing her Master's program at Leiden University to attend Yonsei University's Korean Studies Program.
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The Gyeongbokgung Palace Management Office of the Gyeongbokgung Palace Management Office announced that Gyeongbokgung Palace will be opened at nightThe Gyeongbokgung Palace Management Office (Chief Choi Jae-hyeok) of the Gyeongbokgung Palace Management Office announced that Gyeongbokgung Palace will be opened at night (7:00 PM ? 9:30 PM) from September 1 through November 6 (for 52 days). The last visitor should arrive at the ticket office by 8:30 PM).The annual night opening of Gyeongbokgung Palace is so popular that admission tickets are sold out before you know it. The annual night opening is available during the spring and autumn season, and during this second half of the year, visitors are welcome to enjoy the crisp atmosphere of autumn night at the palace.To pay a night visit to Gyeongbokgung Palace during the event period, you have to make a reservation in advance through the website (https://ticket.11st.co.kr/) or buy onsite ticket at the entrance on the very day. Non-Koreansmay purchase an admission ticket at the manned ticket office at Gwanghwamun on the day of visit. You can make a reservation from 10:00 AM on Monday, August 25 for the first period (Sep. 1 ? 30) or from 10:00 AM on Friday, September 23 for the second period (Oct. 1 ? Nov. 6). Reservation can be made at least one day before the day of visitif there is a remaining ticket. You may get a refund for a reserved ticket when you cancel by 5:00 PM on the day before the date of the scheduled visitThose exempted from paying the admission fee: persons of national merit and their spouses; a person with severe disability and a person accompanying him/her; a person with minor disability; a holder of a certificate as a bereaved family member of persons of national merit; children under the age of 6; seniors aged 65 years or older; a hanbok wearer. Those stated here can enter the palace at Heungyemun Gate by simply presenting their ID without reservation or ticket.Those accompanying a child below 6 years must make a reservation or buy onsite tickets.We sincerely hope that visitors have a pleasant night at Gyeongbokgung Palace, which is one of the country’s leading cultural heritage. For more details about the event, please visit the homepage of the Gyeongbokgung Palace Management Office. We at the Gyeongbokgung Palace Management Office of the CHA will continue striving to provide more opportunities for people to have a good time at olden-day palaces.
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The World Heritage Festival will take place in Andong, Yeongju, Suwon and Jeju between September and October.The festival, which is in its third year, will consist of various performances, exhibitions and hands-on experience programs on the topicof world heritage. The Cultural Heritage Administration(CHA) is the host of the festival, while the Korea Cultural Heritage Foundation is one of the entities overseeing the event. Every year, the World Heritage Festival selects Unesco-designated world heritage sites of Korea and organizes various activities for visitors, such as performances, exhibitions and hands-on experience programs, to ensure that the visitors understandthe sites’ significance and have fun.The festival will kick off in Gyeongsangbukdo Province, or North Gyeongsang. Dubbed ‘World Heritage in Transit,’ it will be held in the region’s most historic and scenic places like Andong Hahoe Folk Village, Sosu Seowon, Dosan Seowon, ByeongsanSeowon, Buseoksa, and Bongjeongsa. At Andong Hahoe Folk Village, people can enjoy the theme house renowned architect Seung H-Sang has designed for the festival. Also exhibitions by various respectable artists will take place in old houses. The opening performance of the festival ‘Iam Confucianism: The Real Confucianism’ will be held at 7 pm between Sept. 2 and 4, for performance lovers on the summer nights. At Buseoksa in Yeongju, people can enjoy contemporary dance show ‘Myungmu Show: Special Special’ ? led by renowned choreographer Ahn Eun-mi ? at 1 pm on Sept. 10 and 11; a digital media art exhibition ‘Blooming with Light’ from 10 am to 5 pm betweenSept. 3 and 25; and a concert at sansa, or Buddhist mountain monastery, at 7 pm on Sept. 17. At Byeongsan Seowon in Andong, a musical performance called ‘Pungrybyeongsan: Song of Incense’ will entertain visitors at 5 pm on Sept. 17, 18, 24 and 25. There are also programs in which visitors can experience what life at seowon was like for theJoseon-era elite ? namely, ‘Three Days at Byeongsan Seowon’ on Sept. 2, 3 and 4 and ‘Confucian Experience at SosuSeowon’ either from Sept. 16 to 17 or from Sept. 23 to 24. There is also a reenactment program ‘Sosu Seowon Yeongjeongbong Anrye’ at 4 pmon Sept. 4. Those who would like to go out for an adventure at nighttime have several options to explore like ‘Seonyu String Fire’ and ‘Nighttime Opening of Dosan Seowon’. In this year’s World Heritage Festival in Gyeongsangbukdo, organizers strivedto deliver the traditional values like Confucianism, Buddhism and Neo-confucianism through the stories told by various contemporary artists. Then this year’s World Heritage Festival will move onto Hwaseong Fortress in Suwon city, taking place from Oct. 1 to 22. The theme of this Suwon segment of the festival is ‘Uigwe is Alive: Enjoy Suwon Hwaseong’ and various performances and hands-onexperience programs will revolve around this theme. Uigwe refers to the books that detail in text and drawings protocols for various events at the royal court of Joseon. ‘The Greatest Artisans’ is a performance that honors in a performing arts form the arduous labor of countless artisans who were involved in the building of the Hwaseong Fortress. It will take place at 7:30 pm on Oct. 1 and 2. Another show ‘Feel the tasteof King’s Kitchen’ will focus on the royal palace cuisine for King Jeongjo and will take place at 1 pm and 6 pm from Oct. 1 to 3, from Oct. 15 to 16, and on Oct. 22. It is notable how the residents are highly involved in the World Heritage Festival’s Suwon segment. At the special reenactment program dubbed ‘Villagers of Suwon Hwaseong’, Suwon residents will play the characters depicted on Uigwe, while Suwon’s youthwill also participate in ‘World Heritage Academy’. There is also an exhibition that include a hands-on experience program ‘Artisan’s Village of Uigwe,’ which revolves around craftsmen who were involved in the construction of the Suwon Hwaseong Fortress - such a massive and overwhelming undertaking then.It will be held at from Oct. 1 to 22. Other notable events include a mobile game content that uses augmented reality technology allowing visitors to feel like they have time-traveled and are in Suwon Hwaseong and 50 Joseon-era shops in Haenggung-dong;a nighttime walk along the fortress from 6:30~9:30 pm from Oct. 2 to 22 for those nighttime explorers; a run program dubbed ‘Plogging tour along Suwon Hwaseong’ from Oct. 10, 14 to 16, on Oct. 21, and also on Oct. 22. Finally, the World Heritage Festival will also take place in Korea’s beloved Jeju Island from Oct. 1 to 16. Jeju has participated in all past festivals and this has prompted Jeju to enhance the variety and depths of its programs this year. With the theme of this year’s festival in Jeju being ‘Connect,’ a total of nine programs explore the link between the natural heritage sites of Jeju and the lives of its residents and how it unfolded throughout the years.Those who would like to experience Jeju up-close and personal have many options to choose from. They include cultural and performing arts programs like ‘Art Project Breathe of Fire’ and ‘Manjanggul Cave Immersive Art Performance’ as well as ‘WorldNatural Heritage Village Tour Program’; and a six-day walk along Jeju’s key natural heritage sites called ‘World Natural Heritage Pilgrim’ from Oct. 11 to 16.It is notable how at ‘World Natural Heritage Special Expedition Team’ ? which will be held five times a day from Oct. 2 to 3, from Oct. 8 to 9, and on Oct. 10 ? participants can go deep into the parts of natural heritage sites that are off-limits tothe public otherwise accompanied by experts. The sites are Bengdwigul, Manjanggul, and Gimnyeonggul. Due to its popularity, the program’s availability has always filled up quickly.The World Heritage Festival in 2020 was held in the nine seowon, or the Korean Neo-Confucian Academies, which were added to the Unesco World Heritage Sites list. They are Sosu, Namgye, Oksan, Dosan, Piram, Dodong, Byeongsan, Museong and Donam.Other regions that took part in 2020 are Gyeongju, Andong and Yeongju of Gyengsangbukdo Province and Jeju. The 2021 rendition of the festival took place in Baekje Historic Areas (Gongju, Buyeo and Iksan) as well as Andong, Suwon and Jeju. For more information, visitors can visit the festival’s website, https://worldheritage.modoo.at/, or call the organizer at 042-481-4808 or 02-2270-1272.
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The National Research Institute of Maritime Cultural Heritage presents its special exhibitionThe National Research Institute of Maritime Cultural Heritage (Lee Kyu Hoon, Director's representative) presents its special exhibition of 2022 entitled 'Sea, Ship, Beliefs' at the Mokpo Maritime Museum from July 29 to November 20 to mark the 3rd Island Day. Korea is a peninsula surrounded by water on three sides; hence, various maritime beliefs have been passing down along coastal regions. This exhibition reveals the stories of the people who adapt themselves to sea and make lives with the sea. Traditional religious beliefs and practices protect fishermen’s lives in an ever-changing sea, where abundance and disaster coexist. The National Research Institute of Maritime Cultural Heritage hopes this exhibition enables visitors to explore the lives of the fishermen who sublimated the desire for an abundant catch of fish and safety at sea into community festivals. The first theme is 'Ships, Crossing over the Sea of Life and Fear'. Ships are vital to people who depend on seas, rivers or lakes for their way of life and their live -lihoods. While the art of boat building and sailing skills have continuously advanced, dangers faced by the fishermen are unavoidable. Varieties of boat rituals and worship of the boat guardian deities are therefore performed by fishing communities in Korea. The second theme is 'Sea God, Worshiped as a Guardian Deity of Nation and the People'. Since ancient time, people believed that deities who rule earth, sea, and sky. Celestial god and water god, in particular, are worshiped not only for well-being of individual and community, but also for peace in the royal family, national defense, and navigational safety. Sea god rituals were held not only by the state, but also by local officials and civilians to express gratitude for the favors of spiritual beings. The third theme is 'Fishermen, Praying for Safety and a Big Catch'. Wishing for an abundant catch and safe navigation, fishermen worshiped deities. Maritime rituals refer to a number of rites held in the coastal regions, such as sea, island, docks and seaside. Dangje of the west coast, pungeoje and byeolsije of the eastern and southern coasts are typical communal rites. Pungeoje(ritual for big catch) was a ceremonial process to summon aid from various sea gods, aiming at encouraging a bounteous catch and ensuring a safe return to harbours. The fourth theme is 'Boats, Guiding Souls from Sea to Heaven'. In Korean Shamanism, a death ritual is held to app-ease both the living and the dead. In shamanic rites, the boat as a symbol was treated as a vehicle to transport individuals to the Otherworld with confidence and comfort. During shamanic death ceremonies, shamans either went directly to the sea by boat or floated a miniature of straw ship on the beach, and prayed for the spirit of the dead to leave this world and safely move to heaven. The National Research Institute of Maritime Cultural Heritage hopes that the exhibition entitled "Sea, Ship and Belief” will deepen visitors’ understanding of the way of life of fishermen in the past. The rituals preserved in fishing villages across Korea were developed by fishing communities over a long period of time as an integral part of their way of life, in which abundance coexisted with fear. The traditional sea belief believed that individuals and their entire community, and humans, nature and local deities all assisted each other in ensuring their safety and prosperity, and consequently developed rituals that reflected their worship. The National Research Institute of Maritime Cultural Heritage expects that this exhibition will contribute to restoring the traditional rituals of Korean fishing communities and preserving them for future generations as a crucial element of the marine folk cultural heritage.
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The Cultural Heritage Administration (Administrator Choi Eung-chon) will designate “hanbok saengwal” as National Intangible Cultural Heritage.< 손바느질로 한복을 만들고 있는 모습(조바위의 장식대기) > The Cultural Heritage Administration (Administrator Choi Eung-chon) will designate "hanbok saengwal” as National Intangible Cultural Heritage. Koreans have long transmitted the hanbok (traditional Korean clothes) culture in various ways throughout the history. Hanbok saenghwal is hanbok-derived traditional lifestyle and knowledge that embodies Korean people’s identity and values. Hanbok saenghwal refers to a series of cultural practices which encompass the whole experience of making, wearing, and enjoying hanbok that has been practiced in accordance with specific etiquettes and formalities, differently for each occasion ? ceremonies, rituals, traditional holidays, or recreational events. Hanbok consists of a jeogori (top) and either a chima (skirt) or baji (trousers) with otgoreum (ribbon knotted to close the top) completing its distinct look. It is designed to be worn from the lower garment first and then the upper part. The Intangible Cultural Heritage Committee decided to designate the item as "hanbok saenghwal” instead of its provisional name "hanbok wearing,” considering it better represents the hanbok culture as a whole. Hanbok saenghwal comprehensively encompasses cultural experiences of wearing, making, and enjoying hanbok as well as intangible characteristics of hanbok itself. Hanbok saenghwal has been passed down within families. Koreans keep the tradition of wearing hanbok on traditional holidays like Seollal (Korean Lunar New Year) or Chuseok (Korean equivalent of the thanksgiving holiday), as well as for special occasions like first birthdays, weddings, funerals and ancestral ceremonies. It is true that contemporary Koreans wear hanbok far less frequently than their ancestors. However, hanbok is still worn by Korean people as a means to show respect and courtesy. Before the industrialization period, women used to sew or mend hanbok for their own family members. On traditional holidays, particularly when the seasons change, Koreans would get themselves a new fabric and make clothes to mark the beginning of a new season in hopes for good health and wellbeing. This custom is called differently for each holiday: Seolbim, Chuseokbim and Danobim respectively for Seollal, Chuseok, and Dano (the fifth day of the fifth month of the lunar calendar). Likewise, hanbok is more than just a piece of clothing to Koreans, an important custom through which people have practiced courtesy and wished for each family member’s good health and well-being. This is why hanbok surely is a valuable intangible asset. The fact that ancient Koreans also wore hanbok is evidenced by various artifacts and records such as tomb murals from the Goguryeo dynasty (37 B.C.- A.D. 668), clay figures from the Silla dynasty (57 B.C.?A.D. 935), as well as historical documents from China. It was during Korea’s three kingdoms period (57 B.C.-A.D. 668) when the two-piece, top-and-bottom structure of Korean clothes was basically established. The structure kept evolving and transforming based on our distinct clothing culture until the Joseon dynasty (1392-1910), when the prototype of our own clothes was established. In April of 1900, the government announced a new regulation to officially adopt Western-style uniforms for state officials. With this, Koreans who used to wear only hanbok for thousands of years began to wear both Western-style suits and hanbok concurrently. It is believed that our clothes were called "hanbok” to be distinguished from the foreign clothes ? as "han” refers to "Korean” and "bok” refers to "clothing” ? with Korea opening its ports to the outside world in 1876. However, the exact origin of the word "hanbok” is yet unclear. Although terminology for Korean attire has varied such as "Joseon-ui (Joseon’s attire)” used in a 1881 record of Seungjeongwon Ilgi (the diaries of the royal secretariat), or "hanbok” in a 1894 article from Japanese newspaper, all these historical records show how hanbok embodied Koreans’ lifestyle and culture as well as societal and national spirit at the time. There are special types of hanbok for certain occasions. "Baenaet jeogori” is hanbok for newborn babies. To protect babies’ soft skin, it is made with as few seams as possible. Hanbok called "Kachi durumagi” was named after Kachi seollal, another name of the New Year’s Eve, and children traditionally wore it on the New Year’s Eve and also on the New Year’s Day sometimes. Today, contemporary Koreans dress their babies with Kachi durumagi for the baby’s first birthday party. This outfit has a bright array of colors on its cuff, which reflects people’s hopes to drive out the evil spirits while bringing in good fortunes. For the wedding ceremony, brides traditionally wore a green jeogori and a crimson skirt, as well as ceremonial outerwear called hwalot or wonsam, with jokduri (flower headwear) on their head. For funerals, a shroud for the dead was made without a knot as knots were believed to bring bad luck to the descendants. Koreans also believed they could live long if they prepare the shrouds during the leap months while they are alive. Introduction of Western-style clothing brought about changes to clothes and lifestyle of Koreans. Western clothing replaced hanbok in Korean’s everyday clothes as it was considered more practical and convenient. Hanbok became simpler in its form and began to be reserved for special occasions. Nonetheless, hanbok-wearing still remains today as a way of showing courtesy on special occasions. "Hanbok saenghwal” was designated as National Intangible Cultural Heritage for the following reasons. ▲First, it has long been passed down from generation to generation across the Korean peninsula. ▲Second, records on hanbok have been found from historical artifacts and documents, such as murals of Goguryeo tombs, clay dolls from the Silla Dynasty and historical documents of China. ▲Third, extensive studies on hanbok are currently underway in various fields like history, aesthetics, design, fashion, technology, management, marketing, industry, and education, which will further contribute as valuable academic resources. ▲Forth, it is still practiced particularly within families as a way to show courtesy during traditional holidays. ▲Lastly, traditional knowledge of hanbok saenghwal is transmitted and safeguarded by diverse communities, not only by families but also businesses or research institutions. Meanwhile, the Cultural Heritage Administration will not recognize a specific group or person as a transmitter for the designation, as hanbok saenghwal is a cultural tradition that is being practiced by all Koreans across the Korean peninsula, so are the cases of "kimchi-making” and "jang-making (Korean sauce and paste making).” * National Intangible Cultural Heritage items that do not recognize a specific group or person as a transmitter for the designation (14 items in total as of June 2022):Arirang (Traditional folk song); Jeda (Tea making); Ssireum (Korean wrestling); Haenyeo (Women divers); Kimchi Damgeugi (Kimchi making); Jeyeom (Traditional salt making); Ondol (Underfloor heating system); Jang Damgeugi (Korean sauce and paste making); Traditional Fish-Eosal (Fishing weir); Hwalssoki (Traditional archery); Insam Jaebae and Yakyong Munhwa (Cultivation of Ginseng and its medicinal application); Makgeolli Bitki (Makgeolli making and sharing); Tteok Mandeulgi (Tteok making and sharing); Getbol Eoro (Tidal flat harvesting) The Cultural Heritage Administration will continue to support hanbok saenghwal and other intangible cultural heritage items that are being widely transmitted throughout the nation. It will actively encourage academic research and transmission programs which will promote people to share the values of intangible cultural heritage and participate in the future transmission. The Cultural Heritage Administration is also committed to expand the scope of safeguarding practices by identifying and designating more items as national intangible cultural heritage to facilitate wider range of our traditional culture to be safeguarded and passed down to our future generation.
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