KF뉴스레터-Traditional Performing Arts of Korea (Korean Culture Series)

Traditional Performing Arts of Korea (Korean Culture Series)

Nowadays, you often hear about Korean B-boys who have won one international B-boy competition or another. But the break-dance craze did not originate in Korea. And Korean performers may not be any more agile or flexible than the competitors from other countries.

Then, why are Koreans so successful at B-boy events? Several factors might be involved. But there is one point worth noting: the Korean people have a natural affinity with a strong rhythmic beat. B-boy is somewhat similar to the traditional Korean mask dance, which is centered on a rhythmic beat. In addition, the “square culture,” as seen in Madangnori, might also exert a positive influence on the high level of talent of Korea’s B-boy performers. Indeed, a “zeal for entertainment” has long flowed in the blood of the Korean people.
Written in English by Professor Jeon Kyung-wook, Department of Korean Language Education, Korea University, Traditional Performing Arts of Korea has recently been published by the Korea Foundation. Overall, this book presents an in-depth introduction of the roots, history, genres, and performers of Korea’s traditional performing arts, which started from impromptu dancing and singing during ancient Korean society, and eventually developed into such diverse forms as puppet plays, mask dance dramas, and pansori.

According to Professor Jeon, the recent spread of Korean pop culture –Hallyu (Korean Wave) – is not an entirely new phenomenon, as Korean culture was known to be popular in China and Japan from the Three Kingdoms period. The Korean people have continued to integrate the influences of foreign performing arts to add richness to their own performing arts culture, from the ancient Three Kingdoms period through the Goreyo and Joseon eras, and up to the present day. By adapting and localizing such foreign elements of performing arts, the Korean people have created all-new forms of performing arts. In line with this, Professor Jeon expresses his expectations about the creation of a new kind of Korean contemporary drama, derived from the cultural roots of traditional performing arts in Korea.
Traditional Performing Arts of Korea is comprised of five chapters: introduction, history, types and their content, performers, and conclusions. Illustrated with some 70 photographs, it includes a total of 160 pages. Since it is intended for foreign readers, specific information and minor details have been omitted. This book, which includes references to the author’s research findings on the performing arts of China and Japan, can serve as introductory overview of the performing arts of Korea and region. The Korea Foundation’s “Korean Culture Series” is being published to help introduce foreign readers to detailed aspects about Korea’s culture and arts. Traditional Performing Arts of Korea is the tenth volume of this series.

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Traditional Performing Arts of Korea (Korean Culture Series)

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