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The History of Korean Female Soloists from the 20th Century: Episode 3/?

The third episode of 'The History of Korean Female Soloists from the 20th Century' highlights prominent Korean musicians who achieved fame in the early 20th century, during the period of Japanese occupation.

The historical documentation related to these artists is frequently unreliable, largely due to the fact that their contributions occurred almost a century ago, before the Korean War, leading to the loss or unavailability of essential records.

Yun Sim Deok (윤심덕; 尹心悳)

This episode is intended for a mature audience, so I want to issue a warning before proceeding, as it will discuss the topic of self-exit. This episode revisits the life of the renowned soprano Yun Sim-deok. In my initial discussion, the information presented was somewhat limited, as I had only recently begun my exploration of Korean artists. This revised episode will provide a more comprehensive and detailed account of her life and her romantic relationship.

"You poor soul, passionate about life, you are a dancer on the sword" - From Yun Sim-deok’s ‘In Praise of Death'

The inaugural official female vocalist and soprano on the Korean Peninsula, she is renowned for her signature piece, "Ode to Death." Her relationship with playwright Kim Woo-jin has garnered significant attention, particularly due to its tragic nature, as it reflects the cultural phenomenon in the Korea Strait where couples, disillusioned by their inability to fulfil their love, choose to end their lives together. This narrative, akin to Japan's concept of Shinju (心中), sparked widespread speculation and controversy during that period.

Life and Career

Yun Sim-deok (윤심덕; 尹心悳), also known by her nickname Su-seon (水仙), was born on July 25, 1897, in Pyongyang and passed away on August 4, 1926. She was the second of four children in a family of musicians, with her parents serving as pastors at the Namsanjae Church. Her family included her older sister Yun Sim-seong (윤심성), a soprano, her younger brother Yun Gi-seong (윤기성), a baritone, and her younger sister Yun Seong-deok (윤성덕), who specialized in piano, highlighting the musical environment in which she was raised.

In 1907, Yun Sim-deok commenced her education at Jinnampo Private Girls' School, subsequently attending Pyongyang Soongui Girls' School and Pyongyang Girls' High School. She completed her studies at the Gyeongseong Girls' High School (京城女高普) Teachers' Training Institute in 1918. After graduation, she served as a music teacher in Wonju, Gangwon Province, for about a year before being chosen, alongside Han Ki-ju (한기주; 韓琦柱), for a government-funded program to study at the Tokyo Music School in Japan in 1919. With the assistance of Sekiya, the director of academic affairs, she enrolled in the vocal music department, supported by funds from the Japanese Government-General of Korea. While studying in Tokyo, she resided in Mokpo (木浦), and although initially classified as a special exchange student, her enrolment in the Class A Teacher’s Course (甲種師範科) indicates a shift in her aspirations towards becoming a music educator rather than solely focusing on vocal music.

Notably, Yun Sim-deok's younger sister, Yun Seong-deok (윤성덕)(1903-1968), mirrored her sister's trajectory by also entering the field of music education, eventually becoming a professor in the music department at Ewha Woman’s University. This familial connection underscores the significant impact of their upbringing on their professional paths, contributing to the broader landscape of music education in Korea during that era.

On December 19, 1920, she took part in a concert commemorating Beethoven's 150th anniversary. In 1921, while collaborating with traveling theatre groups like Dongwoohoe, which consisted of students from Tokyo, she performed solo pieces such as "Rose" and "Twilight Stream" prior to the play <Kim Yeong-il's Sa>. During this time, she developed a friendship with Kim Woo-jin (김우진) , the son of affluent Kim Seong-gyu, who was pursuing English Literature at Waseda University. This relationship reportedly evolved into a romantic one, and their subsequent mysterious disappearance sparked speculation, although their friends insisted it remained platonic.

After completing her education, she returned to Korea, having fallen in love with him. Following her music studies in 1922 and a year as an assistant teacher, she debuted as a soprano with a solo concert at the Jongno Central Youth Centre. Upon her return to Korea in June 1923, she held a vocal recital at the Janggokcheonjeong Public Hall on July 7. Although she achieved recognition through national tours and performances, she encountered financial hardships while working as a private instructor to support her family. While living as the concubine of a wealthy man named Lee, she received financial assistance that enabled her to send her younger sibling, Yun Seong-deok, to study in the United States. Eventually, she relocated to Harbin, where she embraced an independent lifestyle. Despite her acclaim for a powerful vocal ability, sustaining a career in Western classical music proved to be difficult, prompting her to shift towards pop music and acting. This transition ultimately led Yun Sim-deok (윤심덕) to become a prominent figure in Seoul's concert scene, leveraging the growing fascination with Western music.

After returning from her studies in Japan and settling in Mokpo to care for her two siblings, Kim Woo-jin (김우진) harboured ambitions of studying abroad again, motivated by the New Theatre Movement. However, he faced disappointment upon receiving a letter from her after her return from Harbin, marking their reunion during a time of heightened public interest in her shift from a musical troupe to the theatre group Towolhoe. Despite her parents' objections to her theatrical ambitions, she performed in the play Dongdo (東道) and maintained correspondence with Kim Woo-jin, who offered her financial support. Subsequently, she left Towolhoe to form a new theatre group, Baekjohoe (白鳥會), with her colleagues. When the theatre movement faced difficulties, she secretly met with Kim Woo-jin in Mokpo before traveling to Seoul, where they found comfort in each other's company until his departure for Tokyo. Later, she journeyed to Osaka (大阪) with Yun Seong-deok, who was heading to the United States for piano studies, to record for Ildong Gramophone Company, where she reunited with Kim Woo-jin once more. Among the songs she recorded for Ilchuk (日蓄) Records, accompanied by her younger brother on piano, was "死の讚美" (Death Praise Beauty).

She performed at the Yeonjeon Concert on July 20, 1923, and participated in the Gyeongseong Music Band’s Autumn Concert on October 13. Her appearances continued with the Myodong Praise Team's music competition on October 18, followed by Gyejeongsik's farewell concert on October 19, and the Yeonhui Professional Music Concert on May 11, 1924. Additionally, she took part in the Gyeongseong Medical College Music Department's concert on June 14 and the Joseon Women's Education Association's famine sympathy concert on October 18, showcasing her versatility and commitment to her craft.

During her tenure as a music instructor at Gyeongseong Normal School, she established herself as a prominent vocalist through her concert performances. In 1925, she made a significant career shift by joining the theatre company Towolhoe, where she gained further acclaim as a singer, making impactful television appearances and recording music. Her performance of "Hymn of Death" particularly struck a chord with audiences, enhancing her reputation in the entertainment industry.

After an extensive period with Towolhoe, she redirected her career towards the music sector, achieving notable success through her recordings and broadcasts. Her fame escalated with the release of "Ode to Death" by Ildong Gramophone Company, which received considerable attention with 100,000 copies containing the song were sold, especially after her premature death. Upon her return to Korea, she was celebrated as the queen of the Joseon Orchestra, although she later transitioned back to acting in 1926. Her contributions were recognized at the New Year's Music Concert by Our Boys' Association in February 1926, and her performances were highlighted in various publications, reflecting both her talent and the controversies surrounding her artistic choices.

Her journey into the world of singing commenced in Japan, where she was motivated by Lee Se-gi (이세기), the manager of the Gyeongseong branch of Osaka Ildong Records (Jevipyo), leading to the recording of eleven songs. Following the departure of her younger brother to the United States, she and Kim Woo-jin (김우진) were on their way back to Korea on August 4, 1926, aboard the ferry Tokuju Maru from Shimonoseki when they both leaped into the Genkai Sea. The Ilchukgwa Jebiyo Joseon Record features approximately 20 songs, including Western compositions such as “Net Dream” (Old Dream), “Ttanup River” (Danube River), “Maggie’s Memories,” “Smiling Laurel Flower,” and “The Boat Leaves,” all accompanied by Yun Seong-deok on piano. Unfortunately, her life took a tragic turn when she and her partner, Kim Woo-jin, ended their lives by jumping into the Genkai Sea, marking a sorrowful conclusion to her complex artistic journey.

Kim Woo-jin (김우진; 金祐鎭)

The name Kim Woo-jin may also be rendered as Kim U-jin in English translations; however, I will refer to him as Kim Woo-jin for the duration of this episode. I will not discuss his interaction with Yun Sim-deok in detail, as this topic has been covered in both the previous and subsequent sections.

Kim Woo-jin (김우진) was a significant figure in Korean literature, recognized as a playwright and theatre theorist during the Japanese colonial era, with notable works including "Shipwreck" and "Wild Boar/Pig." He was also a poet, essayist, and dramatist, distinguished as the first professional literary critic in Korea. His contributions to literature, particularly the poem "Theory of Life and Death" (1926) and the play "Wild Pig" (1926), have garnered attention.

Despite his literary accomplishments, Kim's work remained largely unacknowledged until the late 1970s, with a posthumous publication in 1983. His deep understanding of Western literature and insightful engagement with Western philosophy have since been recognized as pivotal to his legacy.

Life and Career

Cho-seong (焦星), also known as Susan (水山), was born on September 19, 1897, in Jangseong-gun. He was the son of Seong-gyu (星圭), the governor of Jangseong County, and his lineage included a grandfather who served as a ceremonial official and landowner. After completing his elementary education in Mokpo, he relocated to Japan, where he attended Kumamoto Agricultural School and later enrolled in the preparatory course at Waseda University (早稲田大学), ultimately graduating from the English Literature Department in 1924.

From an early age, he aspired to be a poet and began composing poetry during his time at Kumamoto Agricultural School. His passion for the performing arts led him to establish the Theatre Research Group, Geukye Art Association, alongside peers such as Jo Myeong-hee (조명희) and Hong Hae-seong (홍해성) in 1920. In 1921, he founded the Dongwoohoe Touring Theatre Troupe, managing performance costs and directing productions, including a translation of Dunsany's one-act play, “The Splendid Gate.” After returning to Mokpo post-graduation, he served as president of Sangseong Hapmyeong Company while producing a significant body of work, including 48 poems, five plays, and approximately 20 critiques. However, personal and societal challenges culminated in his tragic suicide on August 4, 1926, when he jumped into the Genkai Sea with soprano singer Yun Sim-deok (윤심덕).

Waseda University students in 1916

He was raised in a conservative Confucian household, yet he became deeply engaged with Western modern philosophy. Influenced by thinkers such as Nietzsche and Marx, he developed a distinct ideological framework that embraced socialism in the wake of the Russian Revolution. This intellectual journey led him to resonate with the expressionism of Strindberg and the reformist theatrical ideas of Shaw, ultimately fostering a rejection of traditional artistic conventions.

The ideological underpinnings of his works and the circumstances surrounding his suicide warrant examination. His poetry, particularly in pieces like "Death," "Theory of Life and Death," and "Theory of Death," reflects a profound denial of reality and a call for reform. Similarly, his plays reveal an autobiographical narrative intertwined with contemporary societal struggles. Notably, "The Disillusionment of Poet Du-deok" illustrates the clash between traditional and modern ethics, while "Lee Yeong-nyeo" employs naturalistic techniques to portray the harsh realities faced by the impoverished in Mokpo. His notable works, "Shipwreck" and "Wild Boar," stand as pioneering examples of expressionism in Korean literature, showcasing avant-garde experimentation during a time dominated by melodrama.

This work is notably distinguished by its profound exploration of social reform ideas and its ethereal stylistic approach. The author described this piece as his 'march of life,' imbuing it with the qualities of a clinical analysis conducted by a progressive thinker.

Bust of Kim Woo-jin at Mokpo Literature Hall.

Among his numerous insightful critiques are notable essays such as “On the So-Called Modern Theatre,” “The Story of the Free Theatre,” “The Life of Saong,” and “On Western and American Playwrights.” His critique “Seeing Artificial Humans at the Tsukiji Small Theatre” exemplifies his theatrical analysis. Furthermore, in “I Encourage Creation,” he methodically presented expressionism as the most fitting creative approach for Korean writers seeking to transcend traditional norms. His candid perspective on literature is evident in essays like “Bury the Literature of Lee Gwang-su” and “Ego-Viewed Class Literature and Critics,” where he rigorously challenged enlightenment nationalism and humanitarian ideals. In “A Word to the Korean Literature World Without the Korean Language,” he advocated for the revitalization of the pure Korean language, drawing on Western examples, and called for the establishment of a new literary framework, the creation of dictionaries, and the preservation of oral traditions, folk songs, and children’s songs. He also emphasized the need for a distinct poetic rhythm, the translation of foreign literature into Korean, and the increased accessibility of newspapers and magazines.

He was an innovative playwright who transcended the conventional literary landscape of his era, which was mired in enlightened nationalism, humanitarianism, and sentimentalism. By effectively channelling the struggles of his time into his plays, he distinguished himself as the sole playwright to directly engage with expressionism in his artistic endeavours.

Furthermore, he is recognized as a critic who contributed significant theoretical insights to the contemporary theatre and literary scene, drawing from his vast knowledge and ground-breaking critical viewpoint. Additionally, he played a crucial role as a theatre activist, being the first to spearhead the new theatre movement.

The complete works of Woojin Kim, published in 3 volumes in 2000.

A bust commemorating Kim Woo-jin is situated in the Kim Woo-jin Hall, part of the Mokpo Literature Hall established by Mokpo City.

Following their deaths, little information has emerged about Kim Woo-jin and Yun Sim-deok. Unlike Yun, who remained unmarried, Kim had a family, with his son Bang Han (방한) becoming a professor at Seoul National University. Kim Woo-jin's grave, reportedly unmarked by a body, is believed to be on Molmoe Mountain in Muan-gun, Jeollanam-do. Mokpo City later inaugurated the Mokpo Literature Hall and the Kim Woo-jin Hall to celebrate his literary contributions, alongside local figures such as Park Hwa-seong (박화성), Cha Beom-seok (차범석), and Kim Hyeon (김현). In 2000, a three-volume collection of his works was published. The legacy of Yun Sim-deok, Kim's beloved, is preserved through a faded photograph and her haunting rendition of "Praise of Death," (사의찬미) which evokes a sense of nostalgia and blurs the lines between traditional ballads and contemporary music.

Love Life

What is love? - Love is a connection between a man and a woman who share mutual feelings and enjoy each other's company.

A scene from the 1991 film [Ode to Death] starring the late actor Lim Sung-min (left) and Jang Mi-hee. 배우 고(故) 임성민(왼쪽)과 장미희 주연의 영화 [사의 찬미]의 한 장면, 1991년 작품이다.

Modern Art Pioneers Sacrificed to Convention

Artistic sympathy that emerged from trials, a relationship that goes beyond a simple affair, a catalyst for free love and popular art, leading Koreans to modernity.

The term gained popularity in Korea during the 1910s, particularly after its mention in Cho Joong-hwan's (조중환) adapted novel, "Ssangokru," (쌍옥루) which was serialized in "Maeil Shinbo" (매일신보) in 1912. Prior to this, romantic relationships were typically arranged by parents during the Joseon Dynasty. The story of Gapdol and Gap-soon, who secretly met at a watermill, illustrates how such love was often frowned upon, causing embarrassment to families and communities.

Ssangokru: Cho Jung-hwan's translated novel book cover

The emergence of modern love challenged these traditional norms, allowing individuals to take centre stage in their romantic narratives. The 1920s marked a significant shift towards free love in Joseon, fuelled by the exchange of heartfelt letters. Young lovers, caught in the throes of passion, eagerly penned love letters day and night, eagerly awaiting responses. The popularity of guides on writing love letters soared, with many considering love an essential part of life.

This surge in correspondence also played a crucial role in developing the postal system, which saw a dramatic increase in letter exchanges from just 137 in its early days to an astonishing 70 million by 1925. However, the era also witnessed tragic consequences, as the number of suicides linked to unrequited love rose sharply, capturing public attention and making headlines, especially when involving well-known figures like Yun Sim-deok and Kim Woo-jin.

Why did stars and rich people throw themselves into the sea?

The protagonists of an impossible love story, Woojin Kim and Sim-deok Yoon (right). The two ended their lives by throwing themselves into the Genkai Sea together.

At 4 a.m. on August 4, 1926, the Tokuju Maru, a ferry departing from Shimonoseki, Japan, was en route to Busan, navigating past Tsushima Island. A porter on duty noticed that the door to first-class cabin number 3 was ajar, raising his suspicions about a potential passenger wandering on deck at such an early hour. Upon entering the cabin to investigate, he discovered a letter resting atop a bag, addressed to "Po-i," which prompted him to open it.

The contents of the letter expressed an apology and a request for the will to be mailed to a registered address. Accompanying the note was a 5-won bill, seemingly a gift, alongside a suicide note indicating a desire to return home. Alarmed by the implications, the porter rushed to inform the captain, declaring an emergency. The ferry was halted, and a search ensued both inside and outside the vessel, yet no sign of the passenger from cabin number 3 could be found. It appeared she had likely taken her own life, though the exact time and location of the act remained unknown.

The cabin was left with a woman's wallet, a man's gold watch, 160 won in cash, and various personal items. To ascertain the identity of the missing passenger, the captain referred to the passenger list. The records indicated two individuals: Kim Su-san, a 30-year-old male from Bukgyo-dong, Mokpo, and Yoon Su-seon, a 30-year-old female residing at 73 Iljeong-mok, Seodaemun-jeong, Gyeongseong.

Upon the Tokuju Maru's arrival in Busan, the captain promptly notified the authorities regarding the incident. The identities of the two individuals involved were quickly uncovered. The male was identified as Kim Woo-jin (김우진;金祐鎭, 1897-1926), the eldest son of the affluent Kim Seong-gyu from Mokpo, recognized for his contributions as a playwright and theatre critic. He completed his studies in the English Department at Waseda University in Japan in 1924 and subsequently took on the role of president at Sangseong Partnership Company, which oversaw the family's assets. In line with societal norms of the era, he married at a young age and had a son and a daughter.

The female involved was none other than Yun Sim-deok (윤심덕; 尹心悳, 1897-1926), celebrated as the premier soprano of Joseon. Hailing from Pyongyang, she graduated from the education department of Gyeongseong Girls’ High School and was chosen as a government-sponsored student to study at the Tokyo Music School, returning in 1923. Her exceptional talent as a vocalist garnered significant attention, leading to television appearances and album recordings that solidified her status as a prominent singer. Her life and career were closely followed by the public, making her a notable figure of her time.

The incident in the Genkai Sea quickly captured global attention, as the media eagerly reported on the scandal involving prominent figures. The intersection of celebrity and wealth consistently draws public fascination, particularly given that the man was married. This event marked a historical moment as it was the first recorded instance of a Korean committing suicide on a ferry due to romantic despair. By August 5, major newspapers, including [Maeil Shinbo], extensively covered the story, sustaining public interest. The release of Yun Sim-deok’s album by the Nitto Gramophone Company of Japan on August 29 further amplified the media frenzy surrounding the affair.

The intrigue surrounding the affair between Yun Sim-deok and Kim Woo-jin captivated public interest. Media narratives suggested a romantic connection between the two, yet the complexities of their situation were underscored by Kim's status as a married man with familial responsibilities. Their tragic decision to end their lives together reflected a profound sense of despair, complicating the notion of their relationship, which, while classified as an affair, was deeply influenced by the societal norms of their time.

The term "new women" referred to those who had received modern education, both locally and abroad, and who often found themselves in social circles with married men like Kim Woo-jin. During this period, early marriage was prevalent, with many young men marrying before pursuing further education abroad. Reports indicated that a significant portion of male high school students were already wed, leaving their families behind to continue their studies. As these men matured, their perspectives often shifted, leading them to question the marriages arranged by their parents and seek relationships with new women.

The case of Chang-sun illustrates the societal pressures of the time. At just fifteen, he was compelled to marry under traditional customs, a decision he accepted without question due to his youth. However, as he progressed through his education, his understanding of love and relationships evolved, prompting him to reject the notion of his marriage, which he perceived as devoid of affection or mutual understanding. This transformation highlights the broader cultural shifts occurring in the 1920s, as individuals began to challenge established norms regarding marriage and personal agency.

A young married man with a wife and children meets a new woman, an 'educated woman'

Yun Sim-deok's posthumous album [Ode to Death].

Park Jun-pyo, a prominent novelist of the 1920s and 1930s, explores the psychological turmoil of a young married man enamoured with another woman in his 1924 novel, *Fate*. The protagonist, Chang-soon, departs from his hometown to pursue a degree in Literature at Gyeongseong University, where he cultivates modern ideals. He rejects the arranged marriage to Jeong-hee, as dictated by his parents, and instead aspires to a romantic relationship with Yeong-sook, an English literature student. Upon his return home after graduation, Chang-soon grapples with the desire to leave behind the constraints of traditional marriage for a progressive family life with Yeong-sook, yet the prospect of divorce looms as a source of profound distress.

The internal conflict Chang-soon faces is exacerbated by societal expectations and familial opposition. He anticipates fierce resistance from both his family and in-laws, particularly given that his wife has borne him a child. The thought of the ensuing chaos fills him with dread, as he foresees the scorn and judgment from a society steeped in ignorance. This emotional burden weighs heavily on him, leading to feelings of guilt and sorrow for both his wife, who remains unaware of his true sentiments, and the innocent child who is oblivious to the turmoil surrounding their family.

The original novels typically mirrored the prevailing values and preferences of society. In Park Jun-pyo's work, [Fate], the protagonist ultimately envisions a life of liberated love but grapples with the weight of divorce, ultimately returning to the family awaiting him. This conclusion resonates with the sentiments of the public. Conversely, those who sought to dissolve early marriages in favour of a new romantic partner faced significant societal backlash, as such choices were met with considerable disapproval.

The concerns of Kim Woo-jin and Yun Sim-deok may have stemmed from this societal context. The name 'Su-san' (水山) found on the passenger list of the Tokuju-maru was a pseudonym for Kim Woo-jin, while 'Su-seon' (水仙) was a term he affectionately used for Yun Sim-deok, indicating her closeness to him. Their relationship began in 1921 during their studies in Tokyo, where they became acquainted through a theatre company formed by the Japanese students' association, with Kim Woo-jin directing and Yun Sim-deok performing vocal solos.

The tour conducted by the Dongwoohoe throughout Joseon proved to be highly successful, spanning 14 regions over a period of 20 days. The troupe received enthusiastic receptions at each location, with their performances of plays and lectures garnering positive feedback. Notably, Yun Sim-deok's solo performance stood out, capturing significant attention. Anticipation for her return to Korea as a trained female vocalist increased, reflecting a growing global interest in her artistry.

Kim Woo-jin developed feelings for a female peer of his age, characterized by his composed and gentle demeanour. In contrast, Yoon Sim-deok's vivacious and generous nature earned her the affectionate nickname 'Wal-nyeo.' She frequently visited Kim Woo-jin's boarding house in Tokyo, engaging in discussions about music and literature while sharing profound personal narratives. This exchange fostered a deep bond of trust and affection between them, transcending the conventional boundaries of a mere romantic affair.

In the summer of 1922, Yun Sim-deok completed her studies at the Tokyo Music School and began to earnestly pursue a career as a vocalist. The journey of pioneers is often fraught with challenges, particularly in the realm of vocal music, which was not yet widely recognized in Joseon. The prospects of sustaining a livelihood as a soprano were bleak. To support her in this formidable endeavour, Kim Woo-jin (김우진) extended an invitation to Yun Sim-deok (윤심덕) while she was in her hometown of Pyongyang. He was vacationing in Mokpo and proposed that she come to perform at a family concert.

The invitation from Kim Woo-jin included train tickets for Yun Sim-deok and her two younger siblings. Her sister, Yun Seong-deok, was studying piano at Ewha Haktang, while her brother, Yun Gi-seong, was pursuing vocal music at Yonhui College. Although the prospect of performing might have felt overwhelming, the familial context of the concert alleviated some of her anxiety. Accepting the invitation, Yun Sim-deok travelled to the residence of Mokpo's wealthiest individual, where she showcased both Western and vocal music. During this visit, she also had the opportunity to meet Kim Woo-jin's family, including his parents, siblings, wife, and children.

A perverse interest in new and unfamiliar stars

Photo 1 - Yun Sim-deok (front row, right, wearing white) during her time at Ueno Music School in Tokyo. Photo 2 – What Ueno Music School looks like now.

Yun Sim-deok returned to her studies in vocal music for an additional year before making her way back to Korea in May 1923, marking the beginning of her journey as a soprano. At that time, the landscape of female vocalists in Joseon was sparse, particularly following the departure of Im Bae-se to the United States. The concept of a soprano was largely unfamiliar to the public, resulting in limited recognition and audiences for her performances. Initially, she took on a part-time lecturing role at Gyeongseong Girls’ High School, biding her time for the opportunity to perform on a concert stage.

An opportunity soon presented itself, leading to Yun Sim-deok's debut on June 26 at the third anniversary concert of the Dong-A Women's Association, thus launching her career as a soprano. While Im Bae-se was noted for her "voice like a cuckoo," Yun Sim-deok (윤심덕) captivated audiences with her unique sound, described as "the sound of beads rolling on a jade tray." Her popularity surged, and she became a frequent performer in the Gyeongseong area, gracing the stage three to four times a month. She received accolades such as "a first-class vocalist who intoxicates audiences" and was celebrated as "Joseon's best vocal group."

Despite the nature of the event being a concert, the compensation she received was minimal. Yun Sim-deok's financial circumstances were deteriorating, particularly after her parents relocated from Pyongyang to Gyeongseong in early 1924, merging their household with hers. This shift placed the burden of supporting her family, including her younger siblings, squarely on her shoulders. Her earnings from performances were insufficient for this responsibility, prompting her to seek additional income through private tutoring, yet the demands proved overwhelming.

Compounding her struggles was the negative scrutiny she faced from the public. Critics targeted her vibrant demeanour and physical appearance, expressing discomfort with her tall and slender figure. As a figure of novelty, Yun Sim-deok encountered resistance from a society that often recoils from the unfamiliar. With her rising fame came an increase in gossip and personal attacks, illustrating the paradox of public admiration intertwined with harsh judgment.

Yun Sim-deok's narrative of romantic freedom soon faced significant scrutiny. Her involvement with composer Hong Nan-pa, the rejection of musician Chae Dong-seon's affections, and the tragic demise of writer Park Jeong-sik due to unrequited love fuelled a torrent of gossip. In an era when even unfounded rumours were readily disseminated by the press, the escalating scandal tarnished the public perception of female vocalists, marking the onset of a societal witch hunt against them.

Amidst the turmoil, Kim Woo-jin emerged as a source of solace for Yun Sim-deok. A graduate of Waseda University’s English Literature Department in the summer of 1924, he returned to his hometown of Mokpo with aspirations to transcend traditional literature and establish Western modern drama in Joseon. However, his ambitions were met with resistance from his father, Kim Seong-gyu (김성규) , a prominent figure who had held various magistrate positions and amassed considerable wealth, expecting his son to inherit the family legacy.

Conforming to his parents' expectations, Kim Woo-jin assumed the presidency of Sangseong Partnership Company, which managed the family's assets. While others may have envied his position, he found it stifling. His wife, the daughter of a Confucian scholar, struggled to comprehend his desire to abandon the family business for a career in theatre, leaving him increasingly isolated. This emotional distance intensified his yearning for Yun Sim-deok, as their relationship flourished amidst the challenges they faced, rooted in a shared artistic vision and a mutual rejection of societal constraints.

Art and love served as a revitalizing force in their otherwise desolate lives, yet they remained powerless against the rigid traditions of Joseon, a society deeply entrenched in its customs, particularly regarding foreigners. The more they endeavoured to resist external influences, the more they found themselves ensnared by the harsh realities that plagued the early proponents of modern art, who faced relentless challenges from all directions.

In early 1925, it was rumoured that Yun Sim-deok had become the mistress of the affluent Lee Yong-mun (이용문) from Gyeongseong. Her visits to his residence, ostensibly for financial assistance to support her brother Yun Gi-seong's (윤기성) education in the United States, led to scandalous gossip. The rumours proliferated rapidly, with the elite mocking her, claiming she masqueraded as an artist while compromising her integrity for monetary gain. They suggested that wealth blurred the lines between a wife and a concubine, reducing her to a mere servant who performed for the entertainment of wealthy patrons.

Critics condemned Yun's recent behaviour, asserting that regardless of one's profession—be it artist, entrepreneur, or homemaker—one should uphold a respectable image. They urged her to embrace a virtuous life, especially with whispers of her potential departure abroad. The sentiment expressed in the publication 'On the Yun Sim-deok Incident' in March 1925 reflected a broader societal expectation that her artistic pursuits should not come at the cost of her dignity and reputation.

The rain shower is currently best avoided. Yun Sim-deok, wrongfully accused of witchcraft, embarked on a solitary journey to Harbin, where Pastor Bae Hyeong-sik, a figure she had admired since childhood, was engaged in missionary work and the independence movement. For six months, she severed all ties and lived in seclusion at Pastor Bae’s residence. It was only upon receiving a telegram informing her of her older sister Yun Sim-seong’s husband’s death that she decided to return to Gyeongseong.

Resuming her activities as a vocalist proved challenging. Yun Sim-deok participated in a radio broadcast being trailed by the Post Office of the Government-General, where she sang, recited poetry, and hosted segments, despite the fact that Korea's first Gyeongseong Broadcasting Station had yet to officially launch. Additionally, she received an invitation to record a gramophone record featuring popular songs. Setting aside her pride as a vocalist trained abroad with government support, Yun Sim-deok embraced the role of a popular singer, a position that had previously been regarded with disdain.

Hurt by the scandal, he tried to become a stage actor

The Genkai Sea as seen from Nagoya Castle, Japan.

During the early 20th century, gisaeng were prominent figures in the entertainment industry, engaging in television appearances and album recordings. The establishment of the Gyeongseong Broadcasting Station in February 1927 marked a significant development, as it initially employed around 100 gisaengs, thereby laying a crucial foundation for the broadcasting landscape. The Japan Gramophone Company released the first album featuring popular songs in 1925, with gisaengs like Kim San-wol (김산월) and Do Wol-saek (도월색) traveling to Japan to record notable tracks such as “This Windy World,” “Sided Bangcho,” and “Jang Han-mong-ga.” However, some gisaengs resisted the allure of fame, expressing their reluctance to participate in what they perceived as a demeaning spectacle.

The cultural landscape underwent a radical shift in 1926 when Yun Sim-deok joined the Towolhoe Theatre Company as an actress, following a suggestion from Kim Woo-jin. His critique, influenced by Strindberg, posited that expressionism aptly captured the dire social realities of Joseon, advocating for a new theatrical movement focused on smaller venues. By aligning herself with the Towolhoe Theatre Company, which championed modern theatre, Yun Sim-deok aimed to contribute to the evolution of Joseon’s artistic expression through innovative performances that resonated with contemporary societal issues.

Despite facing vehement opposition from her family, who viewed acting as a disreputable profession, Yun Sim-deok remained resolute in her aspirations. She left her home and took refuge in a Japanese inn located in Samjeong-mok, Hwanggeumjeong (Euljiro), where she dedicated herself to honing her acting skills. In a statement to the press, she described her journey as "a bold step to become something in a corner of the newly built Joseon Art Hall with all her might," reflecting her commitment to pursuing her artistic ambitions despite societal constraints.

The actress faced significant challenges throughout her career. The adaptation of the American film "East Road," titled "Dongdo," failed to resonate with audiences, primarily due to Yun Sim-deok's insufficient acting abilities. Although her vocal talent was evident in the opera "Carmen," the production struggled to gain popularity, as it overly depended on her performance. Additionally, the Towolhoe, which sought commercial success, encountered internal conflicts that ultimately led to its disbandment shortly after its release.

The disappointment of her ambitious endeavours, which included sacrificing her familial ties, plunged her into a state of despair. After achieving fame as a singer, she faced renewed criticism stemming from her unsuccessful theatrical pursuits. Yoon Sim-deok shared her anguish with Kim Woo-jin, who felt a profound sense of helplessness and guilt for her suffering, stemming from his conventional advice. This overwhelming burden of responsibility and self-reproach culminated in a tragic decision, as reflected in Kim Woo-jin’s poignant final poem.

Life running through the vast wilderness… 'Praise of Death' syndrome

The paradox of human sentiment is evident in the way individuals often express disdain for the living, only to venerate them posthumously, as if anticipating a resurrection. This phenomenon was notably illustrated in the Genkai-tan Jeongsa incident, where public criticism of Yun Sim-deok ultimately contributed to her demise, yet the same public later mourned her loss and celebrated her legacy through music.

On July 17, 1926, Yun Sim-deok departed from Gyeongseong en route to Osaka, where she intended to record an album with the Nitto Gramophone Company. Accompanied by her younger sister, Yun Seong-deok, who was preparing for studies in the United States, they swiftly progressed through the recording sessions. Upon completion, Yun Sim-deok reached out to Kim Woo-jin in Tokyo via telegram, inviting him to join her in Osaka, marking a moment where both individuals appeared to be reconciling their lives.

Kim Woo-jincompleted his play 'Wild Pig,' inspired by Donghak, after finishing 'The Disillusionment of Poet Du-deok' and 'The Shipwreck.' He had previously composed a will intended for his wife. Meanwhile, Yun Sim-deok crafted the lyrics for 'Hymn of Death,' set to Ivanovich's instrumental music. Despite the president of Nitto Records expressing concerns about the song's sentimental nature, additional recording took place at her persistent request. It is likely that Yun Sim-deok intended 'Hymn of Death' as a form of farewell.

The lyrics reflect a profound existential inquiry: "Life running through the vast wilderness / What are you looking for? / No matter this world or that, this whole life / I hate money, fame, and love." This introspective sentiment underscores the emotional weight of her work, suggesting a deeper commentary on the human condition and societal values.

On August 4, 1926, the Genkai Sea incident captured significant media attention, leading to the release of Yun Sim-deok's posthumous album on August 29. The timing was remarkable, as the album, titled [Ode to Death], resonated with the dramatic events surrounding it, resulting in sales of 100,000 copies—an unprecedented figure at the time. This phenomenon contributed to the establishment of a domestic record market, with phonographs selling rapidly despite their high cost, prompting the opening of stores by Viktor Records and Columbia in Seoul the following year.

The enduring legacy of Yun Sim-deok and Kim Woo-jin remains significant, even as time progresses. Years later, reports surfaced of a sighting of the pair in Rome, prompting Kim Woo-jin’s family to seek validation from the Governor-General regarding the credibility of these claims. In contrast, Yun Sim-deok’s family exhibited a somewhat different response, as articulated by her younger sister, Yun Seong-deok, who was abroad in the United States via Japan during the events in question.

Yun Seong-deok asserted that her family had never declared her sister deceased, attributing such notions to societal gossip. She expressed confusion over the preoccupation with the living or the dead, emphasizing that the judgments of Joseon society often oscillated between praise and criticism of others. This perspective highlights the societal tendency to speculate on the fates of individuals, particularly those in the public eye.

The accounts of sightings in Rome may reflect a romanticized narrative rather than reality, suggesting that Yun Sim-deok (윤심덕) and Kim Woo-jin (김우진) may have perished in the Genkai Sea. While their love was genuine, it was their shared artistic vision that ultimately led to their tragic end. The cultural context of 1926, marked by Yun Sim-deok’s poignant song "Ode to Death" and the screening of Na Un-gyu’s film "Arirang," illustrates the intersection of modernity and popular art in Korea, underscoring the emotional turmoil experienced by these two figures in the realm of modern art.

The next episode will explore the continuation of Yun Sim-deok's narrative, focusing on the events following her death and the impact of her music. Stay tuned for its upcoming release.

#history #korean history #Music history #korean music history #korea #south korea #10s #20s #photography #Yun Sim-deok #Kim Woo-jin #the hymn of death #Praise of death

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cosmosbeelover · 2 months ago

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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(거문고)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.

#south korea #history #korea #Korean Music #Korean Music History #Music History #Kim So-hee #Park Yoon-cho #Park Seok-gi

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