On a balmy Saturday afternoon in Pretoria, an extraordinary cultural fusion unfolded at the Korean Cultural Centre South Africa (KCCSA). South African youth, fresh from a two-week intensive workshop, showcased their newly acquired skills in traditional Korean dance, or ‘Gugak‘.
The event was, in my humble opinion, nothing short of mesmerizing. The young dancers moved with a grace that belied their brief training.
Their performance was a beautiful tapestry, weaving together the elegant lines of traditional Korean dance with the vibrant energy of South African rhythms.
Photos: KCCSA
The crowning jewel of the event was the performance by Master Kim Tae Hoon from the National Gugak Centre of Korea.
His movements were poetry in motion, each gesture carrying centuries of tradition.
Understanding Gugak
Gugak, which literally translates to “national music,” is the heart and the lifeblood of Korean performing arts. It is made up of a wide range of traditional Korean music and dance forms, each with its own rich history and significance.
The workshop and performance focused on two particular forms:
- Hallyangmu (the Prodigal Man Dance), and
- Jinsoe Dance (Kkwaenggwari Gong Dance).
Hallyangmu, a silent dramatic performance from the Joseon Dynasty, tells the story of a wanton nobleman through nine acts and seven characters.
It’s a rare example of storytelling purely through movement in Korean dance tradition.
The Jinsoe Dance, on the other hand, is a powerful display of masculinity and skill.
In this performance, the dancer strikes a gong, which is believed to summon deities and ward off evil spirits.
In was an absolute pleasure to sit down with Master Kim – who holds the title of National Intangible Cultural Property Cheoyongmu Completionist – for a post-performance interview.
He also shared insights into the preservation of Korean cultural treasures.
In conversation with Master Kim Tae Hoon
Master Kim spoke passionately about the challenges faced during Korea’s modernization with regards to preserving traditional heritage – particularly during the Japanese colonial period.
“We have a very sad history,” he explained. “Our country was invaded by Japan, and we lost our country for a while.”
He said many traditional cultures “were cut off or distorted” by the invading force.
(Quick history lesson for context: The Japanese government restricted the use of the Korean language, burned historical documents, and used school curricula to promote Japanese culture and propaganda. Historical sites were demolished.)
But, Master Kim also emphasized the efforts made to restore and protect traditional culture after Korea regained its sovereignty.
“After regaining our country’s national sovereignty, we made a great effort to restore it. In terms of culture now, there is a system called intangible cultural assets to preserve the lifestyles of our ancestors.”
The value of cultural exchanges
When asked about engaging younger generations and international audiences, Master Kim highlighted the role of cultural exchanges.
“As a national institution, we participate in many international exchanges and performances to commemorate diplomatic relations, or when heads of state meet.”
Through these events, the National Gugak Centre introduces Korean culture to the world, sparking curiosity about Korea.
“I think it can make people curious about our culture and our country. When we celebrated the 70th anniversary of our exchange with Italy, we went out together and had similar exchanges.”
“So in fact, there are young people who enjoy traditional music in its original form, but there is a lot of interest in new forms of fusion Korean music that have been created.”
He mentions Lee Heemoon as one such example.
Advice for young dancers wishing to learn Gugak?
Master Kim said a content archive was created at the National Gugak Centre. This was useful during COVID-19, and these educational programmes assisted in sharing the traditions.
For those wishing to learn more about Gugak, the national centre has the following:
As the echoes of the performance faded and the audience dispersed, one thing was clear: the spirit of cultural exchange and preservation is alive and well.
The impact of Japanese colonisation
The Japanese colonisation of Korea (1910 to 1945) sought to suppress Korean cultural expressions as part of a broader assimilation effort.
According to the Gateway Korea Foundation of Traditional Arts, that strict control was imposed over education.
This limited the teaching and performance of Korean traditional arts. However, the spirit of Korean culture proved resilient, and many continued to practice their traditions in secret.
After liberation in 1945, there was a significant cultural revival movement. Gugak became a symbol of national identity and resistance.
Institutions like the National Gugak Centre (established on 19 January 1950) sought to promote and protect this traditional music.
Today, Gugak stands as a testament to Korea’s cultural resilience and adaptability.
It has been preserved and also adapted and fused with modern styles, keeping the tradition alive and relevant to new generations – both in Korea and internationally.