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anemoiawithatouchofobsession · 2 months ago

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What a beautiful writeup once again! I even shed a few tears because I saw some of our indian traditional arts teachers in Kim So Hee's story - so many of these traditional artists have led a tumultous and resentful life, often are not good parents to their children (who also continue the legacy) and have an aversion to media and the modern arts. Her story reminds me of the drama "Dancing Gayageum" -

I thought this drama was based on Kim So Hee and her daughter, but I looked it up and it's not based on her and her daughter, but acc to this article :

Kim So Hee herself was against the broadcast of the drama as it "defamed the gugak profession" and led a signature campaign, and a sit-in protest. I personally didn't think that it defamed gugak - in fact, it painted an extremely realistic and true picture of the traditional arts landscape in modern times and it was an issue over nothing. Painting the problems and troubles of a community does not defame it automatically.

Gugak/Pansori is such a wide field that is beautiful and emotional and yet can be confusing and intricate, and carries with it so much emotional baggage and heavyness and "Han".

The History of Korean Female Soloists from the 20th Century: Episode 1/?

The inaugural episode of 'The History of Korean Female Soloists from the 20th Century' is now underway, focusing on renowned Korean artists who gained prominence during the early 20th century amid Japanese occupation.

The available information on these artists varies significantly, as they were active nearly a century ago, prior to the Korean War, which contributed to the loss or scarcity of historical records.

Kim So Hee (김소희;金素姬)

In Part 4 of 'The History of Korean Male Groups,' I made a brief reference to Kim So-hee, who was associated with the Gyeongseong Broadcasting Station (JODK) (경성방송국). Since I have previously discussed this broadcasting station, I will not elaborate extensively but will provide a concise overview here.

Kim So-hee (김소희; 金素姬), originally named Kim Soon-ok (김순옥; 金順玉), was born on December 1, 1917, in Gochang-gun, Jeollabuk-do, during the era of Japanese colonial rule. She gained immense recognition as a distinguished pansori vocalist, earning the title of national singer and being designated as a national intangible cultural asset. Under her pen name, Man-jeong (만정; 晩汀), she was actively involved in the Joseon Vocal Music Research Association and the Hwarang Changgeuk Troupe, ultimately achieving legendary status as a significant cultural figure of her time.

At the age of twelve, she began her vocal training with the renowned singer Song Man-gap (宋萬甲), accompanied by her father, Kim Bong-ho (김봉호) and also learned traditional songs and sijo (時調) from Jeon Gye-mun (全桂文). Following her graduation from Heungdeok Public Elementary School, she developed a deep appreciation for "Chuwolmanjeong" (秋月滿庭) by Lee Hwa-jung-seon (李花中仙) during her time at Jeonnam Girls' High School while staying with her older sister in Gwangju, which led her to enroll in Song Man-gap's school in 1929. In the late 1920s, while serving as a boy gisaeng (童妓) within the Joseon Gwonbeon (朝鮮券番), she acquired knowledge of female vocal styles and lyrics, ultimately gaining recognition as a prominent girl singer. Her performances were featured on the Gyeongseong Broadcasting Station (경성방송국; 京城放送局), and she recorded her work for an album.

In the 1930s, she acquired knowledge of the initial segment of the five Madang of pansori and engaged in recording and broadcasting activities. Her tenure at the Gyeongseong Broadcasting Station spanned from 1927 to 1942, during which she performed a variety of pieces, including "Gangsanpungwol" (江山風月),"Gyerak" (界樂), and numerous folk songs such as "Yukjabaeki" and "Chunhyangga." Kim So-hee made her debut on the station on December 29, 1931, where she showcased the nundae sections of "Sugungga," "Simcheongga," "Jeokbyeokga," and "Chunhyangga." Each broadcast featured her renditions of short songs like "Gangsangpungwol," "Geongonga" (乾坤歌), and "Jangbuga" (丈夫歌). Throughout the Japanese colonial era, she recorded a total of 54 albums with various record labels, including four with Columbia, thirty with Orkeh, and twenty with Vikta.

English - After recording the Pansori Chunhyangga album (Victor Records, Seoul) in 1935. From left, Han Seong-jun, Im Bang-ul, Lee Hwa-jung, Jeong Jeong-ryeol, Park Nok-ju, and Kim So-hee (18 years old). Korean - 1935년 판소리 춘향가 음반 (빅터 레코드, 서울) 을 취입한 후의 모습. 왼쪽부터 한성준, 임방울, 이화중선, 정정렬, 박녹주, 김소희(18세).

Life and Career

Kim So-hee's entry into the art world began after her graduation from Gwangju Girls’ High School, now known as Jeonnam Girls’ High School (全南女子高等學校). At the age of 13, she was deeply moved by a performance of 'Lee Hwa-jung and Her Party' at a tent theatre. A connection through her maternal grandmother's adopted daughter's husband, who was affiliated with the police, led her mother to meet Mr. Song Man-gap. During this meeting, she performed a line from 'Simcheongga,' and later, in her 50s and 60s, she recorded a complete rendition of 'Simcheongga,' titled 'Chuwolmanjeong (秋月晩汀),' which highlighted her artistic prowess. Upon hearing the emotionally charged melody that began with ‘Chuewol is full of emotion, reflected on the coral curtain, and the geese in the clear sky fly high under the moon, tturu…’, Master Song Man-gap was so moved that he knelt in admiration.

She decided to leave school to focus on her singing career under the guidance of Song Man-gap. Within just six months of training, she made her stage debut as ‘Lee Doryeong’ at a disciple recital and subsequently performed in 'Lee Hwa-jung and her party' across various locations, including Busan and Mokpo. Additionally, she studied seungmu and geommu with Jeong Seong-rin in Jeonju, learned lyrics and songs from Jeon Gye-mun, and trained in yanggeum with Yu Sun-seok in Jeongeup, astonishing her teacher by mastering the intricate details of ‘Yeongsanhoesang’ in merely ten days.

A photo of the famous singer Kim So-hee while she was still alive. She was praised as a 'sound sent from heaven'.

At the age of 14, she entered the inaugural Pansori Master Singer Competition in Namwon, securing first place among approximately 80 participants and earning the title of 'baby master singer.' The silver spoons awarded to her as a prize are now preserved by her daughter, Professor Park Yun-cho.

In the winter of 1931, Kim So-hee moved to Seoul to pursue her singing studies more seriously, residing at her aunt's home in Gwancheol-dong. There, she took an examination with the renowned master Han Seong-jun, who was introduced to her by Song Man-gap. During this period, she learned "Chunhyangga" from Jeong Jeong-ryeol while also making television appearances, performing, and recording.

Around this time, she adopted the stage name Kim So-hee, having been born Kim Ok-hee. She began her pansori training at 15 under Song Man-gap, concentrating on "Simcheongga" and "Heungboga." By the age of 18, her repertoire had grown to include "Chunhyangga" and "Sugungga," which she studied under Jeong Jeong-ryeol. At 22, she advanced her education with Park Dong-sil at Jishilchodang in Nammyeon, with support from Park Seok-gi. Throughout her thirties, Kim So-hee continued to enhance her vocal abilities with esteemed instructors such as Jeong Eung-min, Jeong Gwon-jin, Park Rok-ju, Kim Yeo-ran, and Park Bong-sul

At the age of 16, she expanded her musical education by studying songs and sijo under Jeon Gye-mun (1872-1940) and learned to play the geomungo and yanggeum from Kim Yong-geon. By 17, she had begun her dance training with Jeong Gyeong-rin and subsequently pursued studies in calligraphy and Chinese classics. Notable figures such as An Hyang-ryeon (1944-1981), Han Nong-seon (1934-2002), and several others became her disciples.

Shortly after starting her vocal training with Song Man-gap, she was introduced to Lee Hwa-jung-seon (李花中仙) (1899-1943), who recognized her talent and featured her in a performance at Gwangju Theater that same evening. This pivotal moment led to her joining Lee Hwa-jung-seon's Hyupryulsa, and she achieved first place in the Namwon Master Singer Competition the following year. By 18, she recorded "Simcheongga" and "Jeokbyeokga" for Oke Records and Columbia Records, establishing herself as a prominent young singer, and at 20, she collaborated with other notable artists to record the complete collection of Chunhyangjeon for Big Records.

Kim So-hee (김소희) Published by Lee Jeong-gyu. ‘Korean National Treasure-level National Singers, Master Singers, Master Drums, and Master Geum Photographs and Poetry Collection’. Suncheon Photo Printing Company.

In February 1936, the establishment of Changgeukjwa as a branch of the Joseon Vocal Music Research Association marked a significant development in her career, as she engaged in changgeuk activities alongside Kang Tae-hong, Kim Se-jun, and Kim Yeon-su. She participated in the opera Bae Bi-jang-jeon (裵裨將傳), performed by the Joseon Vocal Music Research Society from February 9-11, 1936, and took part in a flood relief music competition on August 28-29, 1936. Additionally, she showcased her talents in a renowned singer competition at the Gwangju Theatre on October 16-17, 1938, further solidifying her status in the musical landscape of the time.

On June 11, 1937, she participated in the complete recording of Chunhyang-jeon by the Viktor Gramophone Company, alongside several significant pansori pieces, including the brief song "Gangsangpungwol," which featured janggu accompaniment by Han Seong-jun and was later recorded on Columbia Records in Japan. Collaborations with Kim Deok-jin (haegeum), Sim Sang-geon (gayageum), and Jeong Hae-si (tungso) resulted in numerous songs, including "Godangsang" (高堂上), which were released on Japanese Victa records. Additional recordings, such as "Gisaengjeomgo" (妓生點考), were made with Obi-chui, Shin Sook, and Lee Hwa-jung-seon for Oke records, while "Orijeongibyeol" (五里亭離別) from Chunhyangjeon appeared on the Gunsohaehoe record. She was appointed as a director during the 5th regular general meeting of the Joseon Vocal Music Research Association on May 23, 1938.

On December 24, 1940, she performed at the inaugural show of the Hwarang Changgeuk Troupe, founded by Park Seok-gi at the Jeil Theater, alongside Cho Sang-seon, Han Ju-hwan, and Kim Yeo-ran in productions of Chunhyangjeon, the historical drama "The Bell Sound of Bongdeoksa Temple," and Kim Won-hak's original Changgeuk "Paldamchunmong." Following Korea's liberation in early 1948, she appeared with Seong Won-mok, Gong Gi-nam, and Kim Deuk-su in the performance of "Goguryeo's Hon (魂)," staged by Park Dong-sil, the head of the Gukgeuk Association established in early 1948.

English - Ensemble of Seong Geum-ryeon (gayageum), Ji Yeong-hee (haegeum), Kim So-hee (yanggeum), and Kim Yun-deok (geomungo) Korean - 성금련(가야금)·지영희(해금)·김소희(양금)·김윤덕(거문��)의 합주

The Korean Traditional Music Women's Association was founded on September 1, 1948, with significant contributions from President Park Nok-ju, Vice-Presidents Kim Yeon-su and Im Yu-aeng, General Affairs Manager Jo Yu-saek, and members including Park Gwi-hee, Han Yeong-sook, and Kim Nong-ju. Their first performance showcased the original Changgeuk "Okjunghwa" (獄中花) at Sigonggwan in October of the same year, followed by "Sunshine and Moonshine," composed by Kim A-bu, which premiered in February 1949. During the Korean War in 1950, she performed "Gayageum," created by Yu Chi-jin, with the Haetnim Gukgeuk Troupe at the Busan Theater, alongside notable performers such as Park Gwi-hee, Jo Nong-wol, and Kang Nam-wol. In 1955, she established the Korean Folk Arts Academy, played a pivotal role in founding the National Gugak Arts School, and served as a pansori instructor from its inception.

A scene from a class at a disciple's studio. Teacher Kim So-hee is teaching pansori to her young students. The person with her back turned is her daughter Park Yun-cho.

At the age of 32, she was instrumental in the establishment of the Women’s Traditional Music Association while actively performing with the Joseon Vocal Music Research Association. Her notable contributions during this period included works such as 〈Okjunghwa〉 and 〈Haetnimdalnim〉. By the age of 38, Kim So-hee, a dedicated advocate for changgeuk, women’s traditional Korean music, and pansori, founded the Folk Arts Institute and became its first director. She maintained a vigorous schedule of performances in traditional Korean music both within the country and abroad, culminating in her receipt of the 4th Gugak Award (Changak Practical Skill Award) from the Gugak Promotion Association in 1959.

In the early 20th century, notable female singers in modern Korean history included Jin Chae-seon, Heo Geum-pa, and Kim Cho-hyang, who were prominent figures in the changgeuk theater. Kang So-chun, recognized as a leading vocalist of Won-gak-sa, also contributed significantly to this era. Lee Hwa-jung-seon is often regarded as a successor to these artists. In contemporary times, the landscape of female singers has expanded to include Kim Nok-ju, Bae Seol-hyang, Shin Geum-hong, and others. Notably, in 1964, Kim So-hee and Park Cho-wol became the first female pansori singers to be recognized as Important Intangible Cultural Properties.

Kim So-hee in her later years.

Kim So-hee's musical journey was marked by her exceptional vocal talent and collaborative spirit. She developed close relationships with fellow musicians, including Park Nok-ju and Oh Bi-chwi, and maintained a lifelong friendship with Park Gwi-hee. Her training encompassed a diverse range of traditional arts, learning pansori from esteemed masters such as Song Man-gap and Jeong Eung-min, while also studying classical dance and various string instruments. Advisor Yang Won-seok emphasized the importance of personal interpretation in music, suggesting that true mastery involves integrating distinct styles rather than merely imitating them.

By 1964, she was recognized as the custodian of Important Intangible Cultural Property No. 5, Pansori Chunhyangga. She served as a practical instructor at the Gugak Arts School, which commenced on March 5, 1960. In the same year, she participated in the inaugural changgeuk Daechunhyangjeon performance alongside Kim Yeon-su and fellow members Park Gwi-hee, Kang Jang-won, and Kang Jong-cheol, organized by the National Gugak Company of Korea to celebrate its establishment. Additionally, in 1962, she performed at the 9th International Festival of Folk Arts in Paris and later toured the United States with the Samcheolli Dance Troupe in 1964. Her accolades include first prize at the Namwon Chunhyang Festival Folk Arts Competition (1931), the 4th National Gugak Award (1959), the World Broadcasting Award (1962), the Literature and Arts Promotion Award (1972), the Order of Civil Merit, Dongbaek Medal (1973), the 1st Korean Traditional Music Award (1982), the Republic of Korea Culture and Arts Award (1984), the Namwon City Arts and Culture Award (1987), the 1st Dongri Grand Prize (1987), and the 1st Bangil British Music Award (1994).

English - Cover of 『Kim So-hee's Chunhyangga (Book: Kim Myeong-hwan)』 1-6Seoul Records. 1995 Korean - 『김소희 춘향가(북 : 김명환)』 1-6 표지서울음반. 1995

The reunion of the royal inspector with Chunhyang, as depicted in the narrative of <Chunhyangga>, alongside the portrayal of the middle class in <Simcheongga>, and the lamentation of the military in <Jeokbyeokga>, showcases the rich tapestry of Korean pansori tradition. Notably, Kim So-hee, a prominent figure in this art form, collaborated with drummer Han Seong-jun to produce significant recordings, including those of "Chunhyangga" and "Simcheongga," which are regarded as masterpieces. In 1964, Kim was honoured as the holder of the Important Intangible Cultural Property for "Chunhyangga," a testament to her exceptional talent. Her rendition of "Chunhyangga" reflects a carefully reconstructed manjeongje, characterized by a naturally gifted voice that is both clear and beautiful. Kim's singing style is marked by elegance and restraint, avoiding excessive emotional extremes while maintaining a delicate approach. Through her training with esteemed teachers, she adeptly synthesized various elements to create a unique interpretation of "Chunhyangga," embodying the distinctive qualities of both eastern and western musical traditions.

Kim So-hee's career spanned from 1929 to 1994, during which she distinguished herself as a master singer and was honored with the title of national singer. Her contributions to the art of pansori are significant, particularly through her establishment of the Manjeongje pansori style, which emphasized elegance and sophistication. She played a pivotal role in advancing traditional Korean music, notably by co-founding the Women’s Traditional Korean Music Club and the National Traditional Music Arts School, now known as the National Traditional Arts Middle and High School. Alongside contemporaries Park Rok-ju and Park Cho-wol (1917-1983), she is recognized as a leading female figure in the evolution of modern pansori.

Married Life

Kim So-hee's artistic development was significantly influenced by her encounter with the contemporary geomungo master, Hyonam Park Seok-gi. Born into affluence in Damyang, Jeollanam-do, Park Seok-gi pursued his education in French Literature at Dongguk University, where he also made his mark in Korean baseball as a player and team leader for the Tokyo International Student Baseball Team. He passed away in 1953 at the age of 54, leaving behind a daughter, Park Yun-cho, who was only nine at the time of his death.

Although Kim So-hee held great respect for Park Seok-gi, their relationship was brief. Park recounted that his father was not a conventional Korean musician; he chose seclusion over collaboration with the Japanese during their occupation, particularly after his aspirations to be a writer were thwarted. In his retreat to his hometown, he embraced the geomungo as a companion and dedicated himself to reviving traditional Korean music, establishing a music academy in Jisil and inviting renowned artists like Park Dong-sil to mentor students. Graduates from this academy, including figures like Kim So-hui, became prominent leaders in the Korean traditional music scene. Today, Park Seok-gi is recognized as a key figure in the revival of Korean traditional music, akin to Dong-ri Shin Jae-hyo, who is celebrated for his contributions to pansori.

Kim So-hee's birthplace at 335 Sapo-ri, Heungdeok-myeon, Gochang-gun, Jeollabuk-do, and her grave at Hwasan-ri, Gochang-eup, Jeollabuk-do.

In 2015, the National Gugak Center commemorated the 70th anniversary of liberation with the production "Thinking of Park Seok-gi," which was dedicated to Park Seok-gi and performed over three days. Park recounted a childhood memory regarding her parents' conflict over her mother's artistic pursuits.

She reflected on her father's opposition to her mother's art sales, which she initially found incomprehensible but later understood as her mother’s necessity to support the family, given her maternal grandfather's inability to provide assistance. Park noted that her mother assumed the role of the eldest child after the early deaths of her brothers. Furthermore, she revealed that her mother rarely mentioned her father, referring to him as "your father" or "teacher," indicating a relationship more akin to that of mentor and mentee than spouses. Throughout her life, Man-jeong (Kim So-hee) prioritized her artistic integrity over financial gain, insisting on receiving only her appearance fee. Park also shared a poignant memory from the year of her mother's passing, during a trip to Gurye, Jeollanam-do, where her mother expressed a desire to live as an ordinary housewife if given another chance, revealing her longing for a fulfilling family life beyond her public persona.

Park Seok-gi (박석기; 朴錫驥)

Unfortunately, there is a scarcity of information regarding Park Seok-gi.

Park Seok-gi, born in 1899 in Okwa, Jeollanam-do, passed away in 1953 at the age of 54, leaving behind a nine-year-old daughter, Park Yun-cho. He graduated from Tokyo Imperial University in Japan but chose to dedicate his life to the arts, studying Geomungo Pungryu and Geomungo Sanjo under Baek Nak-jun, the founder of Geomungo Sanjo, ultimately becoming a master in this traditional music form during the Japanese colonial era.

Park Seok-gi (박석기), father of Park Yoon-cho.

In his hometown, he constructed a thatched cottage where he invited renowned singers and artists to mentor him, while also gathering young music students to impart traditional music knowledge, thereby aiding in the preservation of cultural heritage during a time of anti-Japanese sentiment. During this period, he engaged Park Dong-sil as a pansori instructor, who taught notable students such as Kim So-hee, Han Ae-sun, and Kim Nok-ju, while Park Seok-gi himself took on the role of geomungo instructor. Notably, Han Gap-deuk, recognized as a holder of the geomungo sanjo art and designated as an Important Intangible Cultural Property in 1967, also learned this art form from him.

Filmography and Music

From 1929 to 1994, Kim So-hee produced numerous albums and participated in various films, including First Marriage (1965), The Last Witness (1980), Nanjung Diary (1977), Sea Village (1965), and The Story of Janghwa Hongryeon (1956), among others.

Her Legacy

Kim So-hee, known as Manjeong, stands out among the renowned female singers in the rich 300-year tradition of pansori, often regarded as the 'last legend' of this art form. Her performance of "Departing Ship" at the closing ceremony of the 1988 Seoul Olympics remains etched in the memories of many.

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Her performance starts from 1:22:30 – 1:25:00. Even though it might have not been her last performance, being able to watch her perform on a stage in front of hundreds of people must’ve felt somewhat sad but proud at the same time.

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Her voice, described as clear and elegant, resonated with the beauty of "the cry of geese on a moonlit autumn night," evoking deep emotions in her audience. While she learned from notable figures like Song Man-gap and Jeong Jeong-ryeol, she uniquely blended their influences to carve her own distinctive style. Professor Choi Dong-hyun from Kunsan National University emphasized her significance, stating that Kim So-hee is always among the first names mentioned in discussions about women's pansori, a testament to her enduring legacy.

Continuing her mother's legacy, her daughter Park Yun-cho (박윤초; 朴倫初) has also made her mark in the field, with notable students including Jang Yeong-chan, Ahn Hyang-yeon, and Kim Dong-ae (金東愛). Kim So-hee participated in the recording of the 5-LP album "Changgeuk Daechunhyangjeon," alongside artists such as Kim Yeon-su, Park Nok-ju, and Park Gwi-hee. She passed away on April 17, 1995, and a memorial concert commemorating her contributions was held at Ho-am Art Hall on April 19, 1997, marking the second anniversary of her death.

Park Yun-cho (박윤초; 朴倫初)

Professor Park Yoon-cho has been attuned to Manjeong’s voice since her childhood, suggesting an innate talent for singing. Her teacher, perhaps mindful of her potential, encouraged her exploration across various artistic disciplines, including dance, gayageum, theatre, and painting, rather than confining her to a singular path as a pansori performer.

In her academic pursuits, Professor Park has studied traditional dance under esteemed cultural figures such as Han Yeong-sook and Lee Mae-bang, while also mastering the gayageum with guidance from Seong Geum-yeon and Ham Dong-jeongwol. Additionally, she has honed her skills in Korean painting with Lee Dang Kim Eun-ho and delved into Chinese classics and calligraphy under the tutelage of Ujeon Shin Ho-yeol alongside her mother.

In 1982, Kim So-hee's daughter Park Yun-cho performed as the lead actress in the opera "Aladdin" in New York, USA.

She occasionally explored pansori, but her mother sternly advised her to abandon it. Subsequently, she immersed herself in the theatrical realm, gaining recognition for her role in "What Will Become?" produced by "Extreme Freedom," which uniquely fused theatre with traditional Korean music. Following a successful European tour from 1978 to 1981, she was cast as the lead in La Mama's Broadway production of Aladdin (The 3 Travelers of Aladin with the Magic Lamp).

In her own words, she described Aladdin as a collaboration among prominent theater companies from the US, UK, and France, where she infused her performance with singing and traditional dance forms such as seungmu and Bongsan mask dance, creating a notable impact. Despite feeling overshadowed by her peers from prestigious institutions like Juilliard, she recognized her unique heritage and the skills she had acquired from esteemed masters as a means to carve her own artistic path. Upon returning from New York, she dedicated herself to furthering her vocal studies. She fondly recalled the emotional connections formed during her 1996 solo pansori concert tour in the Netherlands and Belgium, as well as her participation in UNESCO's 'International Women’s Day' in 1997, where she showcased her cultural heritage. Her mother, while not as demanding as with her students, took pride in her daughter's achievements, particularly at Carnegie Hall, and in her commitment to nurturing young global artists in traditional Korean music workshops in Paris.

Professor Park recounted a revealing incident involving her mother during a reporter's visit. When asked how it felt to hear her daughter perform a well-known song, her mother responded with skepticism, questioning the cost of such an experience and expressing doubt about her daughter's abilities. The following day, the newspaper misrepresented her mother's words, leading to her outrage. In a moment of defense, Professor Park confronted the reporter, wishing her mother’s doubts were unfounded, which only intensified her mother's anger towards the media's ignorance. This incident marked a turning point, as her mother subsequently avoided interactions with reporters.

In 1994, shortly before Man-jeong's passing, she was honored with the 'Artist’s Great Mother Award.' When questioned about her aspirations for her daughter, Man-jeong candidly expressed her desire for her to become a painter. Professor Park reflected on her mother's approach to praise, noting that while she was generous with her students, she reserved her commendations for her daughter. In a poignant moment before her death, her mother acknowledged their bond, stating, "So you are my daughter," a sentiment that continues to resonate deeply with Professor Park.

Professor Park Yoon-cho of Seoul Institute of the Arts and her husband Yang Won-seok, former senior advisor at the Archibald Architecture and Urban Research Institute.

On May 21, during the centennial celebration of Kim So-hee's birth, she passionately delivered the poem "Come Even in My Dreams - Samogok 2."

The verses reflect a profound sense of longing and introspection, as the speaker grapples with feelings of isolation and the passage of time. The imagery evokes a deep connection to maternal wisdom and the inevitability of fate, culminating in a poignant plea for reunion, even in dreams. The poem encapsulates the emotional weight of memory and the enduring bond between mother and child, highlighting the complexities of love and loss.

The following information consists of accounts provided by Kim So-hee's daughter, who recounts the lives of her mother, her father Park Seok-gi, and her own experiences.

“My mother was a lonely woman all her life.” - (“어머니는 평생 외로운 여자였어요”)

This text reflects the cultural and artistic landscape surrounding the renowned master singer Park Yoon-cho. As the daughter of the legendary vocalist Manjeong Kim So-hee (김소희; 金素姬), Park embodies a wealth of artistic talent, excelling in various disciplines including pansori, gayageum byeongchang, and traditional dance. Distancing herself from the superficiality of television appearances, she is committed to deepening her artistic expression while mentoring the next generation. One wonders if her fervour is fuelled by a profound sorrow for her mother, resonating with the spirit of her era, as she shares the intertwined narratives of their lives.

Park Yoon-cho talks about the life of her Mother

Kim So-hee, whose real name is Kim Soon-ok and pen name Man-jeong (晩汀), is a name well-known to those who lived in Korea over the past century. Renowned for her distinctive voice, which was unmatched and emerged from her petite 5-foot stature, she gained prominence as a singer. Born in Gochang, she achieved first place in the Namwon Famous Singer Contest at just 14 years old, having trained for only six months, and quickly became the preferred choice for record labels during the Japanese colonial era.

In addition to her vocal prowess, Kim So-hee excelled in various artistic disciplines, including dance, instrumental music, and calligraphy, as well as in pansori. Revered as the godmother of Korean traditional music, she mentored many students and was recognized as Human Cultural Asset No. 5 in 1964. A masterful representative of Korean music on the global stage, her legacy endures, evidenced by the continued admiration of her students following her passing in 1995.

Manjeong Kim So-hee's daughter, Park Yoon-cho, has also made a name for herself as a prominent singer, following in her mother's footsteps and establishing herself in the realm of Korean traditional music. Park reflects on her mother's artistry, noting that her natural voice resonated deeply, characterized by clarity and beauty, and highlighting the dedication and introspection that contributed to her mother's status as a celebrated singer of the Republic of Korea.

Thank you, my precious 'Mother & Teacher'

Park Yoon-cho, born in 1944, asserts that her vocal abilities have significantly improved over the last two decades, a claim supported by her continued active engagement in her field as of 2015. She reflects on a poignant connection to her late mother, who passed away in 1995, suggesting that her mother’s spirit influences her dreams, often manifesting as gentle smiles coupled with ominous hints. These dreams, where her mother appears adorned in a blue hanbok and requests assistance, evoke feelings of anxiety related to her own physical and professional struggles.

This is the last performance of Kim So-hee. She is performing at the awards ceremony for winning the first Bang Il-young National Music Award on November 28, 1994, a year before she passed away.

Since the fifth grade, Park Yoon-cho has diligently maintained a diary, viewing it as a personal chronicle of her life. When a reporter inquired about sharing these diaries, she responded with skepticism, questioning the rationale behind such a request. She recalls that her earlier grievances about her mother eventually transformed into poetic expressions, highlighting the profound impact of her mother, Manjeong Kim So-hee, who was both a maternal figure and a mentor. Park Yoon-cho reminisces about her mother’s exceptional talent, once praised by the New York Times, and emphasizes the significance of ballim (Dance), in the art of pansori, noting that while her singing may not match her mother’s, her proficiency in ballim surpasses it.

The loneliness of my mother that I learned over time

The existence of a traditional Korean musician is fraught with challenges. It is reported that the musician's mother expressed a desire, prior to her passing, to be reborn as an ordinary woman or a noble lady, rather than endure the difficult life associated with traditional music. This sentiment echoes the harsh realities depicted in films such as "Seopyeonje" (서편제; 西便制), which portrays the lives of itinerant pansori singers in the 1950s, a period marked by significant cultural upheaval due to Japanese and Western influences. The narrative is conveyed through a series of flashbacks, illustrating the struggles faced by these artists.

The complex relationship between Park Yoon-cho and her mother is characterized by both affection and resentment, shaped by their shared experiences. Park Yoon-cho reflects on her mother's life, acknowledging her as a remarkable woman who, despite her talents, lacked love and fulfilment. This realization deepened for Yoon-cho when she experienced the intense love of her own husband, contrasting sharply with her mother's loneliness stemming from her father's indifference.

Park Yoon-cho's father, Park Seok-gi, was a distinguished geomungo sanjo master and the second son of a prosperous family, educated at Tokyo Imperial University. He established a residence in Damyang with the intention of gathering talented individuals from across the nation to impart knowledge of Korean traditional music. His initiative was driven by a strong sense of national identity, emphasizing the importance of preserving Korean cultural heritage in the face of Japanese dominance. This endeavour ultimately led to his meeting with Kim So-hee, who would become his wife, marking the beginning of their intertwined destinies.

Reunion, the war with mother begins

My father, renowned for his intellect and masculine allure, was not particularly affectionate towards my mother, who embodied traditional femininity but struggled to understand love. In time, my mother, enraged by my father's infidelities, abandoned me at the age of two or three to move to Seoul, leaving me in the care of my father.

As a result, I developed a closer bond with my father, who aspired for me to grow into a graceful young woman. He instilled in me the principle of valuing my talents over monetary gain. Tragically, my father passed away from an illness contracted while escaping during the Korean War when I was just ten years old.

At the age of twelve, I had the opportunity to reconnect with my mother, facilitated by my grandmother, who was the youngest sister of Yukdang Choi Nam-seon and had cared for me. Although I sensed my mother's longing for me, I was hesitant to live with her, leading to an awkward dynamic during our meetings. This marked the beginning of a complicated relationship with my mother.

A Mother & Daughter who were completely different from the beginning

The assertion made by her mother regarding Park Yoon-cho—that she would survive even in the harshest conditions—reflects a profound level of trust. While the statement may seem severe, it underscores a belief in Park Yoon-cho's resilience. Nonetheless, the inevitable conflicts that arise between them can be attributed to their fundamentally different personalities.

Their contrasting preferences are evident in their choice of colours; the narrator favours muted tones like gray, while her mother is drawn to vibrant shades such as orange and pink. This divergence extends beyond aesthetics, as the narrator notes the differences in their physical appearances and grooming habits. Although she is her mother's daughter, she identifies more closely with her father's traits, highlighting the complexity of their relationship.

The mother's attempts to shape Park Yoon-cho's upbringing stem from her own concerns and aspirations. She believed that adhering to her values would protect her daughter from the harsh realities of life. In contrast, Park Yoon-cho is determined to forge her own path, vowing to reject the lifestyle her mother exemplified, thus illustrating the tension between inherited expectations and personal identity.

The loneliness of living as a perfect singer

She recalled her mother's saying, "I sing when I'm sad, happy, missing someone, or lonely." Her mother embodied the essence of an entertainer, with the burdens of fame as a renowned singer weighing heavily upon her.

"My mother was unable to avoid the challenges that came with her profession. She had numerous students, and as they matured, some attempted to overshadow her. I recognized this dynamic, but when I brought it to her attention, she reacted with anger, accusing me of jealousy." Due to her mother's celebrity status and their familial tensions, personalized instruction was not feasible. Consequently, Park resorted to secretly recording her mother's singing to learn on her own.

In a performance, teacher Kim So-hee is dancing the dotboegi dance.

"My mother rarely needed to raise her voice, yet she often did so with great intensity, which was overwhelming for me. Her relentless pursuit of perfection may have contributed to her lifelong struggles. In contrast, I found joy in singing. While she may not have projected her voice loudly, many claimed it was a divine gift." Park's reflections were tinged with a sense of regret for the complexities of their relationship.

I didn't know how to untie the knot of Han

Park Yoon-cho reflects on her evolving relationship with her mother, noting that as she matured, their conflicts gradually diminished. This transformation led to a deepening affection that resembled the resilience of grass in a field. Nevertheless, this late realization is tinged with regret, highlighting the complexities of their bond.

She expresses a poignant wish that time could halt, allowing her to hold onto her mother and extend the opportunity for reconciliation. The desire for her mother's peace, however, is fraught with the understanding of the hardships her mother endured, leading to a conflicted sentiment that she feels compelled to suppress, even at the cost of her own well-being.

The relics of teacher Kim So-hee. She received the Geumgwan Order of Cultural Merit in 1995, shortly after her death.

Park Yoon-cho grapples with feelings of guilt for not adequately preparing to say goodbye to her 78-year-old mother. This inability stems from a long-standing emotional turmoil, where years of resentment created a tangled web of love and hatred. She acknowledges that her affection was buried deep within, masked by a harsh demeanour, rooted in a misunderstanding that her mother had usurped her father's love.

20th anniversary without regrets for my mother and me

Park Yoon-cho articulates her complex feelings towards her mother as a challenging enigma to unravel. Despite the passage of time, she endeavoured to address her mother's perceived shortcomings, albeit belatedly. The overwhelming presence of the renowned Kim So-hee added to her fatigue, complicating her emotional landscape.

In the wake of her mother's death a year prior, Park experienced profound regret, which was compounded by conflicts with other prominent artists engaged in similar endeavours. Although she sought to honour her mother’s legacy and fulfil her responsibilities as a daughter, she faced criticism for her efforts, which she found disheartening. Her intentions were rooted in love and duty, yet external judgments clouded her experience.

As the 20th anniversary of her mother's passing approaches in 2015, Park Yoon-cho hopes to navigate this milestone without regrets. Encouraged by the support of those who genuinely cherished her mother, including Teacher Lee Myeong-hee and Ms. Kim Mi-sook, she aims to serve as a bridge to honour her mother's memory. The upcoming commemoration is anticipated to be a significant yet challenging occasion, as she strives to ensure a respectful and meaningful tribute.

#gugak #90s kdrama #mbc dancing gayageum #pansori #korean traditional music

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