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Korea Herald
a day ago
- Entertainment
- Korea Herald
Jeonju Sori Festival mixes tradition, experimentation and summer nights
The Jeonju International Sori Festival will return Aug. 13-17, filling five days with 57 programs and 69 performances of traditional Korean music, jazz, classical, contemporary music, and more. This year's theme, 'Echoes from the Homeland,' promises programming for audiences of all generations, with events staged at the Sori Arts Center and 14 cities and counties across North Jeolla Province. The festival opens with "Simcheong," a co-production with the National Changgeuk Company of Korea. Departing from the familiar folk tale centered on filial piety and self-sacrifice, this new interpretation reimagines the filial daughter as a symbol of the socially vulnerable who have been oppressed and deprived of their voices and power. Written and directed by Yona Kim, an opera stage director predominantly active in Germany, the work draws on her operatic experience while remaining rooted in Korean tradition. Other highlights include 'Five Pansori Stories,' in which some of the leading pansori artists perform the five surviving works of pansori, or a traditional narrative song form, and 'Sanjo Night,' showcasing the improvisational beauty of sanjo with master musicians. On Aug. 16, pianist Son Yeol-eum takes to the stage, with a late-summer jazz set by vocalist Nah Youn-sun and pianist Benjamin Moussay to follow that evening. The festival also welcomes bands that blend genres and push boundaries as it seeks to embrace experimental approaches to traditional music. Alternative pop band Leenalchi will perform tracks from its hit albums, including the viral favorite 'Tiger Is Coming.' Seodo Band will present its self-described 'Joseon Pop,' a hybrid of traditional Korean and contemporary pop, while singer-songwriter Song So-hee, a leading voice in the Gyeonggi folk singing tradition, showcases her ever-expanding musical world. The festival closes with Ahn Eun Me Company's 'Dancing Grandmothers,' a joyful homage to elderly women across Korea whose spontaneous dance movements she has collected and celebrated since 2011.
Korea Herald
15-04-2025
- Entertainment
- Korea Herald
Ahn Eun-me unveils bold interpretation of Asia with ‘Post-Orientalist Express'
Choreographer Ahn's latest 'Asia Project' to premiere in May with international tour set for late 2025 Choreographer Ahn Eun-me, long celebrated as a one-of-a-kind force in Korean contemporary dance, will premiere her latest production, "Post-Orientalist Express," at the Sejong Center for the Performing Arts' M Theater on May 2-4. A vibrant culmination of her yearslong exploration of Asian identities, "Post-Orientalist Express" marks the final chapter in Ahn's ambitious 'Asia Project,' which began in 2018. The 62-year-old choreographer, whose flamboyant style and boundary-pushing vision have defined her career, combines research-based choreography with dazzling stage and wardrobe design. She created more than 90 costumes herself, all inspired by traditional attire and local materials. The production draws on field research conducted in Manila, Bali and Okinawa, where Ahn immersed herself in local traditions, rhythms and emotional vocabularies. Rather than simply borrowing aesthetic elements, the work aims to embody the spirit, sensibilities and kinetic memories of each region -- crafting a dance language where the traditional and contemporary collide and coalesce, according to the choreographer. 'I want to remove the stakes that have long held the concept of 'Orientalism' in place,' said Ahn, expressing her desire to challenge and dismantle outdated representations of Asia. Ahn's longtime collaborator and music director Jang Young-gyu, known also as the bassist of the alternative pop band Leenalchi, will shape the sonic landscape of the production. The two have worked together for more than three decades, since their first collaboration in the 1992 work "A-Li-Ral-Al-La-Li-O." The Sejong Center performance marks the world premiere of "Post-Orientalist Express." A European tour is slated for late 2025 through 2026, with the production already confirmed for co-productions at major venues in Europe including Berliner Festspiele in Berlin, Theatre de la Ville in Paris, Grand Theatre of the City of Luxembourg, and Orleans Theatre in France.
Korea Herald
03-04-2025
- Entertainment
- Korea Herald
'Beauty' paints new portrait of Korean aesthetics
Star-studded creative team of Leenalchi composer, Vogue Korea stylist and aespa music video art director join forces for National Dance Company's new project Throughout history, art has captured the essence of beauty as it evolves over time. In Korea, when one thinks of the traditional concept of beauty in art, Miindo ("Portrait of a Beauty") by Sin Yun-bok -- believed to have been painted between the late 18th and early 19th centuries -- often comes to mind. Over the centuries, the depiction of women's beauty has evolved, and today, a new interpretation is set to take the stage. "Beauty," a fresh production by the National Dance Company of Korea running from Thursday to Sunday, reimagines the classical aesthetics of Korean beauty for 2025. During an open rehersal for the press on Wednesday afternoon, 29 female dancers transformed the stage into a kaleidoscope of movement and color. The scene was more than a performance -- part fashion show and part music video -- infused with bold energy of contemprorary reinterpretations of hanbok, Korean traditional attire. In the final part for talchum, flowing fabrics in eclectric hues swayed with every step, their vibrant pinks, yellows, oranges, greens and blues accentuated by matching wigs. The rhythmic pulse of drums and the high-energy beat of music set the tone, fusing tradition with the modern edge. At times, the dancers resembled mischievous "dokkaebi," or Korean goblins, whirling through playful, chaotic celebration. "We aim to present a new vision of beauty -- not just the classical ideal seen in Sin Yun-bok's painting, but also the many forms of beauty that exist in contemporary times," said director Yang Jung-woong in a recent press conference at the National Theater of Korea in central Seoul. "We've assembled traditional dances in ways that haven't been seen before in our repertoire. With staging, bold costumes and music, 'Beauty' offers a feast for the senses," said Yang. "It will be a complete artistic package, something both visually and aurally captivating." "Beauty" reinterprets 11 traditional Korean dances, including "ganggangsulae," a circle dance; a sword dance; a fan dance; and a drum dance, through a bold fusion of classic movements and contemporary staging. The result is faster, more dynamic and powerfully choreographed, transforming these age-old forms into something strikingly new. All-female cast brings bold, dynamic energy "Beauty" brings together a star-studded creative team led by director Yang, whose career spans theater, film, musicals and the opening ceremony of the 2018 PyeongChang Winter Olympics. Choreographer Jung Bo-kyung, who appeared as a mentor on Mnet dance survival program "Stage Fighter," is at the helm of the movement, infusing traditional Korean dance with a contemporary sensibility. "The National Dance Company is a place where future classics are born," said choreographer Jung. "I wanted to explore how we perceive and interpret folk dance today. Through variations in movement, we deconstructed and reconstructed aesthetic concepts to find a new direction for dance." Jung described "Beauty" as a production that questions contemporary perceptions of Korean aesthetics. "It's a work that asks, 'How should we view our own concept of beauty?' I hope audiences pay close attention to how we have reinterpreted Korea's most well-known dances." The 60-minute show features an all-female cast, subtly challenging conventional folk dance structures. For instance, the "talchum" (mask dance), historically performed by male dancers, will be staged even without traditional masks while maintaining other aspects such as the long, flowy sleeves and hems. The reimagined talcum is inspired by premodern carnivals, according to the choreographer. "Personally, I want to show the audience just how powerful and captivating female dancers can be," Jung added. Leenalchi composer, Vogue Korea stylist and K-pop's go-to art director Jang Young-gyu, the renowned musician behind countless dance productions and a key member of the alternative pop band Leenalchi, translates movement into sound, giving the choreography an auditory depth. Meanwhile, Seo Young-hee, a veteran stylist who has shaped K-fashion for over 30 years at Vogue Korea, oversees costume and object design. "My goal was to create costumes that align with the choreographer's vision," Seo said. "Jung's decision to perform the fan dance without floral patterns and the mask dance without masks was incredibly fresh. It made me rethink how far we could deconstruct and reinterpret hanbok." The production's visual identity is further enhanced by art director Shin Ho-seung, known for his work on music videos for top K-pop acts like aespa, NCT 127 and IVE. His stage design incorporates a 6.5-meter-wide air balloon to symbolize the balance of yin and yang, along with a 26-meter fabric installation and scroll-like LED projections that create a bold yet minimalist aesthetic. Director Yang described the stage as 'the pinnacle of mise-en-scene.' He explained that the production will offer a visually spectacular and vividly colorful display.
