#korean music history

[cosmosbeelover]

The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 5/? (Rewrite)

I am quite surprised by the limited information available regarding this male group, which is known by two different names. I will endeavour to clarify the situation; the group in question is referred to as either 'Arirang Boys' (아리랑보이즈는) or 'Joseon Music Troupe' (조선악극단). It remains unclear why they operated under these two names. This situation is reminiscent of the male groups 'Yeonhee Professional Quartet' (연희전문사중창단) and 'Youth Member' (청년회원), where the former has significantly more information available compared to the later.

Before Liberation – 1940s

Prior to delving deeper, I would like to clarify my approach to discussing this male group, which predates the liberation era and thus had limited information available, similar to my previous post regarding the first two male groups (Part 2). I will first outline the group and its members, followed by the company they were associated with. Additionally, I will mention the 'Jeogori Sisters,' who were part of the same company as the 'Arirang Boys,' noting that one member from each group is a married couple. However, I will refrain from providing extensive details about the 'Jeogori Sisters' as they will be addressed in a future post within The History of Korean Girl Groups.

The Arirang Boys (아리랑보이즈는), a four-member project group, emerged around 1940 and frequently performed alongside the Jeogori Sisters, a female ensemble featuring Lee Nan-young (이난영), Jang Se-jeong (장세정), Kim Neung-ja (김능자), Lee Jun-hee (이준희), and Seo Bong-hee (서봉희). The group comprised Kim Hae-song (김해송), a singer and composer married to Lee Nan-young, composer Park Si-chun (박시춘), comedian Lee Bok-bon (이복본) known for his jazz performances, and composer-arranger Song Hee-sun (송희선). Additionally, Hyun Kyung-seop (현경섭), a trumpet player for an orchestra record company, occasionally filled in for other members.

In no particular order, members of Arirang Boys: Kim Hae-song (김해송), Park Si-chun (박시춘), Lee Bok-bon (이복본), Song Hee-sun (송희선) and Hyun Kyung-seop (현경섭) who occasionally filled in for other members.

Despite not releasing any albums, they achieved popularity through their use of instruments like the guitar and violin, enhancing their stage performances. According to singer Kim Jeong-gu's (김정구) testimony prior to his death, the Arirang Boys were particularly cherished for their comedic interludes during shows.

The Arirang Boys Members:

I will briefly talk about the ‘Arirang Boys’ members here but will go into detail about them separately in future posts.

Kim Hae-song (김해송)

A few other photos of him here.

Kim Hae-song, whose real name was Kim Song-gyu (金松奎) and Japanese name Kyouya Kobayashi (金山松夫), was born in December 1911 in Gaecheon, Pyeongannam-do, during the Japanese colonial era, and he passed away around 1950 at approximately 39 or 40 years of age. It is believed that he remained in Seoul throughout the Korean War and died while being abducted to North Korea.

A multifaceted artist, he was a composer, singer, lyricist, guitarist, and musical director, active from 1935 to 1950. He graduated from Pyongyang Gwangseong High School in 1933, and although there are unverified claims of his attendance at Sungsil College and Jochi University in Japan, these remain unconfirmed. In 1935, he signed with Okeh Records, marking the beginning of his career as a singer and composer.

Lee Bok-bon (이복본)

Lee Bok-bon (李福本), born in Seoul in 1911 and died around 1950?, he was a singer from Joseon and South Korea . He first appeared on the stage of Joseon Theater Company in 1933 and appeared in director Ahn Jong-hwa's (안종화) film 'Crossroads of Youth' (청춘의 십자로) in 1934. He is also called "Korea's first jazz singer" as a member of the Seoul theater company 'Mooran Rouge'. However, during the Korean War, he was kidnapped by the North Korean People's Army during the Battle of Seoul and disappeared thereafter, and is presumed to have died.

Park Si-chun (박시춘)

A few other photos him and information but nothing new here.

Park Si-chun, real name Park Soon-dong (박순동; 朴順東) was born on October 28, 1913, in Miryang, South Korea, was a versatile artist who passed away on June 30, 1996, at 82. His talents included music composition, guitar, and proficiency in instruments like the trumpet, violin, and saxophone. He also worked in the film industry as an actor, director, producer, and music director.

One of his notable works is the pro-Japanese song "Blood Letter Support," which expresses a desire to serve as a volunteer soldier during the Pacific War. The lyrics, by Jo Myeong-am, reflect strong pro-Japanese sentiments. In 2008, he was recognized as a pro-Japanese figure by the Institute for Research in Collaborationist Activities, and a festival honouring him sparked controversy. He was also listed among 705 pro-Japanese anti-nationalists by the Truth and Reconciliation Commission in 2009.

Song Hee-sun (송희선)

I’m not shore which person in the photo shown above is Song Hee-Sun, but I hope this information that I found on him even though it a lot, is the wright Song Hee-sun.

The birth and death dates of Song Hee-sun remain unknown. He began his music education at Sungsil High School in Pyongyang and later ventured into the Japanese light music scene, establishing himself as a saxophonist and subsequently performing with OK Grand Shodan.

His notable contributions include musical dramas like "Dongyang no Rose" (동양의 장미) and "Golden Come Out Ttuktak," (금 나와라 뚝딱) as well as the song "The Young Days of the Sea" (바다의 젊은 날). Additionally, the arrangements he created for Lee Hwa-ja (이화자) during the Japanese colonial era are featured on the Oke album.

Hyun Kyung-seop (현경섭)

I’m not shore which person in the photo shown above is Hyun Kyung-seop, he might not be in the photo because he was occasionally filled in for other members at the time.While I was looking into Hun Kyung-seop I found this blog about him, that the National Museum of Korean History published a collection of Hyun Kyun-seop.As there is little information that I could find I’m going to add all the information here, but i will post him and other members' information separately in the future.

The National Museum of Korean History has published a collection featuring 267 artifacts related to Hyun Kyung-seop, a prominent trumpet player associated with Oke Records during the Japanese colonial era. This collection encompasses photographs of Hyun Kyung-seop and his personal diaries, providing insight into his life during this tumultuous period. Despite his significant contributions to music, particularly as a key member of the Joseon Music Troupe, Hyun Kyung-seop remains largely unremembered by contemporary audiences.

Beginning his career at the age of 22 in 1935, Hyun Kyung-seop gained recognition for his performances in Japan and China, with media outlets even comparing him to the legendary Louis Armstrong. His versatility extended beyond trumpet playing to include arranging, acting, dancing, and singing. However, his life took a tragic turn during the Korean War when he was abducted by North Korean soldiers in Seoul, leading to a prolonged absence that left his family in distress. Despite efforts by his son, Hyun-won, to locate him, including a DNA test through the Red Cross, the family faced numerous hardships due to the stigma associated with his disappearance, which severely restricted their opportunities and freedoms.

Hyun Kyun-seop playing the trumpet in the middle.

This compilation encompasses original images from each day of Hyun Kyung-seop’s diary, a variety of identification documents, photographs of his music colleagues, and all phonograph records he possessed, which have been digitally restored and compiled onto a DVD.

However, these DVDs are currently unavailable for access to my knowledge.

The once-obscure trumpet player Hyun Kyung-seop, who nearly faded from historical memory following his performance at the Seoul Geukdo Theatre in June 1950, has been immortalized through a collection published by the National Museum of Korean History. Transitioning from anonymity to becoming a symbol of the Japanese colonial era and the post-liberation music scene, this collection, made possible by the contributions of his family and the museum's restoration efforts, serves as a crucial resource for understanding the evolution of popular music in Korea.

Okeh Records (오케레코드):

Oke and Okeh Records are the same company. The photos shown below are people that worked for or with Okeh Records, and were attached with the information that I found of the company.

Founded in the early 1930s, Okeh Records highlighted diverse talents from Korea and Japan. Despite facing censorship and limitations, the label effectively developed around six notable groups, producing music films and establishing the Orchestration Team, Orchestra Music 'n Dance Research Institute, while managing Okestudio and theatres both domestically and internationally. The label also toured extensively across Korea, Japan, and Northern Asia, and created military songs. Although Okeh ceased its activities due to the Pacific War, its substantial yet often overlooked influence laid an essential groundwork for future artists following liberation.

Oke Records, a South Korean record label, was operational both prior to and following the country's liberation. The name "Okeh" derives from the Japanese pronunciation of the English term "Okay," and it is represented in the alphabet as 'Okeh.'

Founded in 1932, the exact date and conditions of its inception are not well-documented; however, the celebration of the '15th Anniversary of the Joseon Musical Troupe' (조선악극단) in April 1947 implies that the organization may have been established around April 1932.

Okeh Records was the latest addition to the five major record companies active during the Japanese colonial period, which included Columbia Records, Victor Records, Polydol Records, and Taepyeong Records, all of which ceased operations by 1943, coinciding with the end of the Pacific War. Despite being the last to enter the market, Okeh Records achieved notable success, becoming the second-largest producer of records and playing a crucial role in promoting many of the era's most prominent artists and songs.

Initially, the company was known as the Japanese Okeh Gramophone Company Gyeongseong Temporary Sales Office, later rebranded as the Gyeongseong Branch. The management was overseen by a Korean named Lee Cheol, although information regarding the company's financial structure is scarce. It is clear that Okeh Records depended on Japan's Teichiku Records for its recording and pressing operations, indicating a significant initial partnership with Teichiku. A theory suggests that Lee Cheol's wife, Hyeon Song-ja, had a school friend whose father was an executive at Teichiku Records, which may have aided in the branch's establishment; however, this connection remains unverified.

Okeh Records launched its first album in February 1933 and maintained an active production schedule for approximately 11 years, concluding around late 1943 or early 1944. It ranked second in the volume of new album releases, following Columbia Records, and played a pivotal role in the popular music industry, significantly outpacing its rivals. Initially, the company operated from the Japanese Deichiku Records studio until early 1936, after which it established its own recording facilities in Gyeongseong (Seoul) by late 1936, marking the beginning of its Gyeongseong recording era.

From its inception, Okeh Records prioritized stage performances and album production, featuring one of the finest bands of the time. The company distinguished itself by ensuring that all arrangements and accompaniments for popular music were performed by Korean musicians as Gyeongseong recording evolved. In 1937, Teichiku Records appointed Imura Ryozui as branch manager, taking over the operational rights from Lee Cheol, which led to the rebranding of the company as Teichiku Records Gyeongseong Branch.

Following a fire in January 1941, plans for a new office building were set in motion, resulting in a facility with studios completed by mid-May. Although the precise date of Okeh Records' final album release remains uncertain, it is believed that production continued until late 1943, with operations effectively ceasing in 1944 after the withdrawal of Japanese capital post-liberation. The reestablishment of Okeh Records in August 1948, highlighted by albums such as “Cry Silver Bell,” signified a new entity while honouring the legacy of the original Okeh Records.

Okegrand Show (오케그랜드쇼)

Since its inaugural album release in 1933, Okeh Records had prioritized stage performances, featuring a performance group known as the "Okeh Ensemble," (오케 앙상블) which consisted of artists exclusive to the label and toured extensively across the country, Japan, and Manchuria during recording intervals.

The transition of Okeh Ensemble into the Okeh Grand Show occurred when the operational rights of Okeh Records were transferred from Lee Cheol to Imura Ryozui, who had been sent from Japan's Teichiku Records post-1937.

Group of women that worked in Okeh Records. Not shore when this photo was taken probably around 1940s, and the name of the women are in the photo.

Following this shift, Lee Cheol, facing limitations on his decision-making in the recording industry, founded the Joseon Entertainment Company (initially named Joseon Recording Company) in January 1938, thereby venturing into a new domain of stage performances.

This evolution led to the reformation of the traditional orchestra into the Orchestra Grand Show, which emerged as the premier performing group in Joseon, eventually evolving into the ‘Joseon Musical Troupe’ (조선악극단) after its inaugural tour of Japan in 1939.

Orchestration Team (오케싱잉팀)

As the Joseon Akgeukdan expanded and managing multiple schedules became increasingly challenging, a sister group was established to split the performances into two factions, concentrating on popular music. This led to the formation of the Okesinging Team.

Both Photos - Not shore the name of the two ladies but both worked with Okeh Records. Note shore when both of these photo’s was taken, probably around 1940s.

The Okesinging (오케싱잉) Team, or Okegayodan (오케가요단), made its debut in June 1940, showcasing prominent artists from Okerecord, such as Lee Nan-young, Nam In-su, and Lee Hwa-ja. Despite its formal designation as a distinct entity, the Okesinging Team frequently performed alongside the Joseon Akgeukdan during events. Active until 1941, the Okesinging Team focused on musical performances before entering a brief hiatus. In 1943, it rebranded as the Shinseng Theatre Group (신생극단), broadening its repertoire beyond music and re-emerging on stage.

Orchestra Music and Dance Research Institute (오케음악무용연구소)

Akgeuk and Akgeukdan are the ‘Joseon Musical Troup’, I’m not shore why they are written as Akgeuk or Akgeukdan.

The Okeh Music and Dance Research Institute, founded by Lee Cheol (이철), who also established the Joseon Entertainment Company and led the ‘Joseon Musical Troupe’ (조선악극단), aimed to continuously identify and cultivate talent in popular arts, marking it as the first specialized educational institution for this field in history. Established in September 1940, the institute was directed by Lee Cheol, supported by a faculty of 13 professors from diverse disciplines who provided rigorous education to carefully selected students. Notable faculty members included Kim Hyeong-rae (김형래) in music, along with Kim Min-ja (김민자), Jo Yeong-suk (조영숙), and Lee Jun-hee (이준희) in dance.

This photo was taken in 1943 after the ‘Joseon Musical Troupe’ (조선악극단), the greatest entertainment group of its time, finished a performance in Tokyo to comfort Prince Yeong Chin. It was obtained and made public by Lee Jun-hee (이준희), a visiting professor at Sungkonghoe University (성공회대학교; 聖公會大學校). English – (1) Prince Yeong Chin (Lee Eun) (2) Princess Yi/ Lee Bang-ja (3) Kim Jeong-gu (4) Jang Se-jeong (5) Lee Nan-yeong (6) Lee Cheol, head of the Joseon Musical Troupe (7) Kim Hae-song (8) Lee Bok-bon (9) Lee Jong-cheol. Korean – (1) 영친왕(이은) (2) 이방자 (3) 김정구 (4) 장세정 (5) 이난영 (6) 이철 조선악극단장 (7) 김해송 (8) 이복본 (9) 이종철.

In February 1941, the inaugural performance of the first class of cadets, who had trained for approximately six months, took place, with Kim Baek-hee (김백희; 金白姬) emerging as the most distinguished among them; she later became a leading figure in musical theatre following Korea's liberation. By April 1941, an advertisement was released to recruit the second class, establishing an annual selection process for new cadets. These trainees underwent three years of instruction, during which they were not initially compensated but were exempt from tuition and provided with fashionable uniforms. After acquiring sufficient training and skill, they performed as backup dancers or in the chorus for the Joseon Music Troupe, with the most talented individuals given the chance to perform solo by their third year. Those who remained until their third year could earn a significant salary.

Baek Seol-hee (백설희; 白雪姬), who later thrived in musical and popular song genres post-liberation, was part of the third class selected in 1942 and made her solo debut just before graduating in 1944. Alongside Kim Baek-hee and Baek Seol-hee, the Okeh Music and Dance Research Institute nurtured numerous other talents in music and dance, such as Kang Yun-bok (강윤복; 康允福), Shim Yeon-ok (심연옥; 沈蓮玉), and Joo Ri (주리; 朱莉), significantly contributing to the continuation of Lee Cheol's legacy until the 1950s. The Aoi (アオイ) Music Theatre Troupe, a performance group, was established in May 1941.

Similar to the Joseon Music Theatre Troupe, the Joseon Entertainment Company managed the Aoi Music Troupe, which seemingly maintained a strong affiliation with the Okeh Music and Dance Research Institute. The troupe consisted entirely of female newcomers, and the Okeh Institute was the primary source for such talent, indicating a natural collaboration. The term 'Aoi,' which translates to 'blue' in Japanese, likely derives from 'Aoyama,' the surname of Lee Cheol, the leader of the Joseon Entertainment Company.

Following Lee Cheol's death in June 1944, the Okeh Institute rebranded itself as the Cheongsan Music and Dance Research Institute, further linking the name to Lee Cheol. The Aoi Music Troupe made its debut along the Honam Line in late May 1941; however, the absence of subsequent records suggests it may not have achieved commercial success and was likely disbanded. From the perspective of the Joseon Entertainment Company, this initiative can be viewed as a trial endeavour.

The last witness of the 'Joseon Musical Troupe', the life of Kang Yun-bok

This article was published after Kang Yun-bok’s (강윤복) who was a veteran dancer passed away in 2015, and talk about his life who worked for Okeh Records, and like the title says, he was a witness of the ‘Joseon Musical Troupe’ (조선악극단). I’ll briefly talk about him with the little information i found about him, as for some reason there is little information about him, don’t know why?

Veteran dancer Kang Yun-bok, whose birth name was Kang Yun-deok (강윤복), passed away on May 12, 2015, at the age of 91, due to natural causes.

Born in Pyongyang in 1924, Kang was a prominent member of the Joseon Music Troupe, a notable musical ensemble during the Japanese colonial era, and subsequently performed with the KPK Orchestra under the direction of composer Kim Hae-song, as well as the 8th US Army Show.

Kim Yun-bok during a KPK Orchestra performance in the late 1940s.

The 8th US Army Show thrived from 1953, coinciding with the presence of US forces during the Korean War, until the mid-1960s, when troop levels decreased due to the Vietnam War, and it was instrumental in launching the careers of various stars, including Patty Kim and Bok hee Yoon.

Music critic Park Sung-seo remarked that Kang Yun-bok was the last living member of the Joseon Akgeukdan, the premier popular culture group of the Japanese colonial period, noting that his low public profile has contributed to his obscurity, despite his significant role in the history of popular music.

Kang was married to the late Jeon Hae-nam, a trailblazer in Korean tap dancing, and he is survived by his son Park Jae-bin and daughters Dan-hee, Jin-hee, and Hyeon-hee.

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In September 1940, a significant milestone occurred in the realm of Korean popular arts with the establishment of the Okeh Music and Dance Research Institute by Lee Cheol, a prominent figure in colonial Joseon's music scene. Lee, who had already made a substantial impact through his work with Okeh Records and the Joseon Music Theatre Company, aimed to cultivate future talent in popular arts through this private educational institution. The institute became a breeding ground for numerous musicians and dancers who gained prominence in the 1940s and 1950s.

Kim Hae-song, Kang Yun-bok, and Joo Ri during a KPK Orchestra performance in the late 1940s.

The inaugural class attracted many teenage girls, who were enticed by the offer of free music, dance, and liberal arts education for three years, with the opportunity to perform on the Joseon Music Theatre Company stage for those who excelled. Ultimately, around 40 students were selected based on their appearance, talent, and growth potential, although the curriculum, which encompassed music theory, vocal training, and diverse dance styles, proved to be quite challenging.

After three years, only nine students graduated from the initial cohort of 40, among whom Kang Yun-bok (1924-2015) emerged as a notable dancer alongside Kim Baek-hee, a vocal music standout. Kang, who passed away on May 12, had initially enrolled at the research institute while attending Sookmyung Girls’ High School, driven by her passion for dance despite her family's strong opposition. Her remarkable talent and dedication soon alleviated her family's concerns, allowing her to flourish in her chosen path.

In April 1941, merely six months after his enrolment at the institute, he made his debut with the ‘Joseon Musical Troupe’ (조선악극단), quickly becoming a prominent member of the ensemble that performed across Korea, Manchuria, Japan, and China. By May 1943, he witnessed Prince Yeong Chin moved to tears by Kim Jeong-gu’s rendition of “Fallen Flowers Three Thousand” at the Prince’s Tokyo residence, and in June 1944, he learned of the unexpected passing of Lee Cheol, the troupe's leader, in Shanghai.

Kang Yun-bok, who appeared in a theatre show in the late 1950s

Following liberation, as the Joseon Akgeuk Troupe began to wane, Mr. Kang Yun-bok transitioned to the KPK Orchestra, which debuted in December 1945. This orchestra, founded by composer Kim Hae-song—a former key member of the Joseon Akgeuk Troupe who had departed earlier—incorporated many of its members, including Mr. Kang Yun-bok, effectively becoming its successor.

While the early 1940s marked the prominence of the Joseon Akgeuk Troupe, the late 1940s signified the rise of the KPK Orchestra. With the burgeoning Akgeuk market, Mr. Kang Yun-bok not only performed with various groups, including the KPK Orchestra, but also emerged as a significant choreographer.

The onset of the Korean War led to the loss of Kim Hae-song, the disbandment of the KPK Orchestra, and a swift decline in Akgeuk; however, Mr. Kang Yun-bok's influence in popular dance expanded during this tumultuous period.

In addition to various performances that supplanted musicals, the U.S. 8th Army Show, which gained momentum in the mid-1950s, and the presence of U.S. troops in Okinawa, Japan, created a demand for Mr. Kang Yun-bok's dance expertise. Furthermore, with the decision to deploy Korean troops to the Vietnam War, the Southeast Asian performance venues also sought his talents.

Beginning in the late 1960s, Kang Yun-bok primarily focused on stage and broadcast choreography while dedicating himself to mentoring future artists. His nearly four-decade career, which concluded in the late 1970s, represents a crucial chapter in the evolution of Korean popular dance. Despite the significant decline of this genre over the years, Kang's contributions extend beyond popular dance, playing a vital role in enriching the broader narrative of modern and contemporary Korean performing arts.

Group of women that worked in Okeh Records. Not shore when this photo was taken probably around 1940s, and the name of the women are in the photo.

The National Arts Archives has persistently sought Kang Yun-bok's involvement in the ongoing "Oral Recording of Korean Modern and Contemporary Art History" project, initiated in 2003. After several refusals, he finally agreed to participate on the 15th of last month.

Preparations for the project were progressing smoothly, with plans to finalize administrative tasks and commence the official oral recording in early June; however, Kang Yun-bok's unexpected passing occurred before this could take place. The loss of this key figure, who could have provided invaluable insights into the largely unrecognized Chosun Akgeukdan and KPK Orchestra, is profoundly felt.

While it is not uncommon for an individual's death to erase memories of a particular era, the immediate sense of loss in this instance is striking. Nevertheless, Mr. Kang Yun-bok left behind words and materials, and it is hoped that these can be gathered to illuminate the rich history of the past stage performances.

Joseon Musical Troupe's Performance to visit Prince Yeong Chin

This article published in 2010 was about a photo of the ‘Joseon Musical Troup’ visiting Prince Yeong Chin, that was deemed lost or a myth being found. I won’t go into much detail about the two royal family members shown in the photo as my main focus here is the ‘Joseon Musical Troup’.

Crown Prince Uimin Yi Eun, also known as Prince Yeong Chin or Lee Eun, lived from October 20, 1897, to May 1, 1970. He was part of the Imperial Family of the Korean Empire and held a political role within the Empire of Japan. He was married to Princess Yi Bang-ja, who was born on November 4, 1901, and passed away on April 30, 1989. Princess Yi Bang-ja was also a member of the Imperial Family of Japan and was the eldest daughter of Prince Nashimotonomiya Morimasa, making her the first queen.

At the former location of the palace, the evening smoke drifts lazily in the gentle river breeze, prompting a reflection on the fate of the three thousand palace ladies who once resided there.

In 1943, Kim Jeong-gu, a prominent 27-year-old singer of his era, performed his renowned song "Fallen Flowers Three Thousand" (낙화삼천) at the Akasaka mansion in Tokyo for Prince Yeongchin (Lee Eun) and Princess Yeongchin (Lee Bang-ja), who were held captive in Japan. The poignant performance moved Prince Yeongchin to tears, and soon, all fifty attendees were similarly affected.

A notable legend in Korean pop history recounts how the finest singers of the Joseon dynasty travelled to Japan to perform for Prince Yeong Chin, resulting in a collective outpouring of tears from the audience. The photograph surfaced, providing evidence that substantiates this poignant narrative. (The photo in question shown below)

This photo was taken in 1943 after they finished a performance in Tokyo to comfort Prince Yeong Chin. It was obtained and made public by Lee Jun-hee (이준희), a visiting professor at Sungkonghoe University (성공회대학교; 聖公會大學校). Prince Yeong Chin (Lee Eun) (영친왕(이은) and Princess Yi/ Lee Bang-ja (이방자) can be seen in the centre of the photo surrounded by the ‘Joseon Musical Troupe’.

Lee Jun-hee, a visiting professor at Sungkonghoe University and an authority on vintage pop music, revealed on the 24th that he uncovered a commemorative photograph of the ‘Joseon Musical Troupe’ (조선악극단), which featured prominent artists of the era such as Kim Jeong-gu, Lee Nan-young, Jang Se-jeong, Song Dal-hyeop, and Kim Hae-song, alongside Lee Bok-bon and Lee Jong-cheol, during their visit to Prince Yeong Chin’s residence in Akasaka in 1943, where they held a consolation performance for the king.

The photograph was preserved by Kang Yun-bok, an 86-year-old first-year researcher at the Music and Dance Research Institute of Oke Records, led by Lee Cheol, the troupe's head, and Kang's experience parallels that of a modern trainee in a major entertainment agency. He also recounted the poignant moment when Prince Yeong Chin and the troupe members were moved to tears by Kim Jeong-gu's performance.

The professor noted that the Joseon Akgeukdan, established in the 1930s, was instrumental in cultivating many legendary singers and enjoyed significant popularity in Japan, which contributed to their emotional connection to Prince Yeong Chin, reflecting their sorrow over the loss of their homeland, a sentiment shared by all the performers who have since passed away.

I found the news clip of the ‘Joseon Musical Troupe’ first public release of footage of them. First public release of footage of the 'Joseon Akgeukdan' from the Japanese colonial period Anchor Translation – “Do you know about the 'Joseon Musical Troupe', which featured the best stars of the time during the Japanese colonial period? KBS has obtained footage of the Joseon Musical Troupe's activities, which soothed the nation's sorrow. This is reporter Cho Ji-hyeon.” Report Translation - "This is a performance by the Joseon Music Troupe in Japan in 1939, during the Japanese colonial period. The song they are singing passionately is the new folk song “A New Day Is Dawning.” You can see the faces of Go Bok-su, the greatest star of the time, from Living in a Foreign Land, Lee Nan-young from Tears of Mokpo, Jang Se-jeong from The Ferry Departs, and Nam In-su. This is “Money Song” sung by Kim Jeong-gu. <Recording> “The wind is blowing. The wind of money is blowing.” The conductor, Son Mok-in, is a giant of our music industry who composed Tears of Mokpo and Living in a Foreign Land. These videos were inserted into a Japanese film and are being released for the first time in 70 years. <Interview> Lee Jun-hee (Visiting Professor at Sungkonghoe University): “The oldest popular song material... It has tremendous historical significance.” During the Japanese colonial period, the Joseon Music Troupe enjoyed immense popularity, to the point of touring China and Japan. A photo taken in 1943 with the Joseon Music Troupe at the invitation of Prince Yeongchin, who was taken as a hostage to Japan, has also been released. It is said that Prince Yeongchin shed tears when Kim Jeong-gu sang 'Nakhwasamcheon', which is about the fall of Baekje. The Joseon Musical Troupe, which comforted the pain of the nation with songs during the colonial period. You can watch videos of their activities on the special song stage for the founding of the public corporation. This is Jo Ji-hyun from KBS News."

The photograph was featured on KBS 1TV's "Gayo Stage" as part of a special broadcast commemorating Independence Movement Day on March 1. During this episode, a video from 1939 showcasing the Joseon Akgeukdan was presented, which the production team acquired through a professor. The footage included performances by notable singers such as Nam In-su, Kim Jeong-gu, Go Bok-su, Jang Se-jeong, and Lee Nan-young, who collectively sang contemporary folk songs like "Don Taryeong" and "A New Day Is Bright." Producer Kang Young-won remarked that this video is likely the oldest surviving recording related to Korean pop music

There are probably more interviews about people talking about Okah Records and other Korean record company artists out there but at this point i can't find any more. If people can find any more interviews about veteran artists just post them below, it would really helpful.

While concluding my research on Okah Records, I discovered several interviews filmed in 2009 featuring individuals who were either married to or children of the artists associated with Okah Records during the 1940s. The interviews included Lee Young-mi, daughter of Lee Cheol; Oh Jeong-sim, wife of Son Mok-in; and Kim Young-jae, son of Kim Seong-heum. Unfortunately, these videos lack subtitles, leaving me unable to comprehend their discussions.

Despite the limited availability of videos featuring their families discussing these renowned artists, gaining insights and engaging with those who knew them proves invaluable for understanding the history of the Korean entertainment industry prior to liberation.

[papaya2000s]

The History of Korean Girl Groups' evolution over time - Before Liberation to Girls Generation (SNSD) -> Part 4

The way i am explaining the History of Girl Groups' may be a bit confusing again, as this project is still ongoing as I'm writing this, and I hope this will make sense. :) <3

In my previous post, I discussed the training of Kisaeng's before and during the Japanese colonial period, which eventually led to the formation of the first girl group in Korea. In this post, I will explore the activities of Kisaeng's after they completed their training.

How Kisaeng influenced the Entertainment Industry

Prior to delving deeper into Girl Groups, it is important to discuss the venues where their performances took place, as this marked the beginning of the transition from groups of girls performing to the emergence of Girl Groups. Furthermore, it is worth noting that the manner in which they performed has also evolved over time.

Group picture of IVE on stage. An example of a Girl Group on stage.

Numerous Kpop enthusiasts are familiar with the venues where their beloved idol groups and soloists showcase their talents weekly, providing the option to witness the performances either in person or through online streaming.

Watching live performances of idols has evolved significantly over time, influenced not only by technological advancements but also by the desire of many fans to witness their favourite artists in person. Personally, I have had the privilege of attending live shows of some of my favourite artists, and the experience is truly unparalleled.

Tale of the Nine-Tailed 1938 (2023) Episode 3 He said "A Mermaid". The song this is being played above is called Love Song by Kei if anyone wants to know.

The landscape of watching idols perform live, whether on grand stages, through busking, or at intimate venues, had transformed with the debut of new acts and the annual comebacks of of established groups and soloists.

Various music programs such as Inkigayo, Music Bank, Show! Music Core, M Countdown, Show Champion and the The Show continue top provide platforms for artists to showcase their talents. With each broadcasting company having its own show aired on different channels, the opportunities to witness live performances are abundant and divers.

I won't be addressing shows that are still on air or those that have already ended, as they are not relevant at this time.

The origin of the all-round were Kisaeng's

Kisaeng, the predecessors of today's celebrities, were known for their immense talent and ability to create scandals, which contributed to their enduring popularity. Despite their fame, Kisaeng always had retirement in mind, seeking a stable life and striving to expand their own influence, much like a multiplayer in a game. A prime example of this can be seen in their success as record singers, appearing in movies, and even making appearances on Gyeongseong radio broadcasts.

However, Kisaeng were also very protective of their private lives and would go to great lengths to maintain their beauty. During that time, magazines and newspapers treated them as modern pop stars rather than objects of feudal overthrow, highlighting their status in the entertainment industry.

During this era, Kisaeng belonging to Gwonbeon, a specific class, were prominently featured on radio music broadcasts. Some even recorded gramophone records, propelling them to become popular singers.

Fashion world embraces Korean style - Choi Eu-don and Im Sang-kyun. While the two names may not be familiar in Korean fashion circles, these designers are proving their potential in the larger landscape of the international fashion world.

Early movies also revolved around Kisaeng stars, showcasing their entertainment skills in various exhibitions and fairs. This responsibility fell upon Kisaengs from different classes. A clear illustration of their attempt to showcase themselves as a specialty of Joseon can be seen in their participation in the Paris World Exposition in 1900.

If anyone is wondering what the Paris World Exposition is, its a world's fair, its a large global exhibition designed to showcase the achievements of nations. These exhibitions vary in character and are held in different parts of the world at a specific site for a period of time, typically between three and six months.

An advertisement poster for the exhibition. Chōsen Industrial Exhibition (朝鮮物産共進会) was a colonial fair held in 1915 to mark the 5th anniversary of the establishment of Japanese Korea, and was the first official event of the new government. It was held in Keijō (Seoul) at Gyeongbokgung. Source Link - 1915 Seoul Exhibition

This event highlighted the significance of Kisaeng in the entertainment industry and their efforts to establish themselves as a unique aspect of Korean culture.

In my opinion this reminds me of how modern-day Kpop idols nowadays do modelling/acting in commercials, movies and series/being brand ambassadors and attend fashion events like Paris Fashion Week representing there country(s).

Kisaeng busking near Subway Stations

In the early days of the Gyeongin Railway, the company faced difficulties attracting passengers due to low customer numbers. To tackle this issue, they resorted to placing signs with the names of Kisaeng at major stations and organizing live performances to entice people to ride the trains. Moreover, Kisaeng themselves would travel in each train car, going between the departure and destination stations to further attract passengers.

Fusan railway station circa 1920-1930s. *Fusan also known as Busan. This article is about two foreign travellers in the 1920-30s that used the train while in Korea under the Japanese colonial period one being about a woman, Audrey Harris, a British travel writer who travelled by train from Antung (Dandong (단동;丹東), a Chinese city on the Yalu River, to Seoul, and John Patric an American and traveling to Seoul but got on the wrong train. I would give it a read as being able to read the perspective of two foreigners that visited Korean in the 1920-30s experienced while there.

During the Japanese colonial period, Kisaeng played a significant role in advertising, especially for beauty-related products. Their image as advertising models held great importance in quickly conveying messages. They were considered a social class that met the necessary criteria, and their presence in newspaper ads, magazines, event posters, and wave perms was widespread.

Before the perception of Kisaeng changed, they were seen as glamorous figures, similar to today's celebrities, with their beauty, singing, dancing, and intriguing life stories becoming popular topics of public discussion. They were trendsetters in terms of beauty, fashion, and makeup, surpassing ordinary women and being recognized as equivalent to today's female celebrities.

Pyongyang famous writer Kim Ok-ran's (김옥란) Ondan advertising poster. In Korean - 평양명기 김옥란의 은단 광고 포스터

It's evident that regular women in Joseon were envious of these individuals and desired to imitate them, which advertising agencies quickly picked up on. Initially, print ads didn't include photos, but models soon started appearing in ads during the 1920s and 1930s. By examining the products they endorsed, we can gain an understanding of the perception of Kisaeng that prevailed among the public at that time.

Kisaeng who worked as advertising models

Advertisements inspired by Kisaeng have a striking resemblance to today's marketing tactics. In the modern era, brands often choose female celebrities who perfectly embody their product image, even if it means paying a premium. One example of being worthy of being the best advertising model was the ‘Ulzzang Kisaeng’(얼짱 기생) Jang Yeon-hong (장연홍).

Jang Yeon-hong, a member of the Pyongyang Kwon clan, displayed her beauty and musical talents in the Changan region during the 1930s.

Jang Yeon-hong's photo, says, "With just one or two coats, rough spots, gaps, and wrinkles disappear like a dream, and the makeup is so dazzling that it suits anyone's skin."

The Yeocheon cosmetic beauty is expertly crafted to make you appear younger, with the advertising message creating a direct and personal connection by implying a whisper from a clean and pure image. The use of models like Jang Yeon-hong and other popular Kisaeng's such as Kim Young-wol (김영월) and Kim Hwa-jung-seon (김화중선), along with phrases like "My favourite non-activated soap," further reinforces the idea that the models themselves use the product, leading to envy and admiration for their flawless skin.

Kim Young-Wol's soap advertisement. I couldn't find any information about Kim Young-Wol only that she was maybe had the role of being dong Composition and arrangement for Kim Chun-Hee's (김춘희) song "Bouquet of  hopelessness" and that she belonged to the Dongrae Association in 1918 with many other famous Kisaeng's.

The Mihwal Soap advertisement cleverly taps into the desire for youthful beauty, with the gisaeng models symbolizing the ideal of pure white skin that was highly coveted during that era.

By associating the soap with these renowned beauties, the ad effectively communicates the message that using the product can help achieve the same level of beauty and radiance that was admired by all women at the time.

Hair ad star that looks like Jeon Ji-Hyun (전지현)

I couldn't find anything in Jeon Ji-Hyun (전지현), if someone finds something about her pleas tell me.

Who was Noh Eun-hong (노은홍;盧銀紅)?

Limited information is available about her, aside from the songs she performed with Kang Hong-sik during the Japanese colonial period, such as "Customer in the Wilderness" (孤客) and "Purification." (情花). These songs were popular at the time and were released on Columbia Records in Japan, with some recorded in collaboration with the Columbia Orchestra.

Kang Hong-sik (강홍식;姜弘植), also known as Kang Jin-hun (강진훈;姜秦薰), was a theatre actor in the 1930s who worked as an exclusive singer for Columbia. Born in 1907 or 1902 in Pyongyang, he passed away in 1971. He recorded new folk songs like “Joseon Taryeong” and “The Long Dawn Is Coming” during the Japanese colonial period. Kang Hong-sik mainly sang new folk songs composed by Jeon Ki-hyeon (전기현;全基玹), as mentioned in [Samcheonri] (1935). He was known for his work as a theatre actor and exclusive singer for Columbia, leaving a mark in the music industry during the 1930s.

The Kisaeng's exquisite beauty was not the only thing that caught people's attention, but also their lustrous hair, which became a focal point in advertisements. Noh Eun-hong (노은홍;盧銀紅), the model for the 'Hwawang Shampoo' advertisement, revealed her secret to achieving gorgeous hair with the Hwawang Shampoo.

The advertisement boasted that using this shampoo for just a week would not only uplift your spirits but also give your hair a radiant glow.

During the 1920s and 1930s, women relied on a limited range of cosmetics for their beauty needs. These included camellia oil, white powder, and rouge. Camellia oil, primarily used as a hair oil, was particularly important as it provided moisture without causing dryness. It played a crucial role in styling and maintaining long hair, eventually leading to the development of branded shampoos.

In the advertising landscape of that era, beauty-related product advertisements often featured popular Kisaengs. These advertisements predominantly showcased upper body or close-up photos that highlighted the face. The Kisaengs were dressed in hanboks and had their hair styled in a one-parted ponytail, even in shampoo commercials that aimed to emphasize silky hair.

Noh Eun-hong, a Pyongyang gisaeng who advertised Japanese Hwawang Shampoo (「Dong-A Ilbo」, August 14, 1935, advertisement). In Korean - 일본 화왕삼푸 광고를 한 평양기생 노은홍(「동아일보」 1935.8.14. 광고)

During that time, the Gwonbeon Kisaengs were actively involved in various fields such as broadcasting, music, movies, advertisements, and event assistance, much like today's celebrities. Kwon Beon played a role similar to that of a modern entertainment agency or manager.

Moreover, the Kisaengs were required to obtain a 'Kisaeng Business License' from the authorities, which can be compared to today's 'individual business registration certificate'. The similarities between the Gwonbeon Kisaeng's and today's celebrities are numerous, as Gwonbeon represented the artistic talents of the Kisaeng's who entertained through laughter and arts, dividing the profits in a 7:3 ratio.

During that era, Gwonbeon's Kisaeng's were easily found as models for both oriental and western paintings in art colleges. It is even said that when Idang Kim Eun-ho (김은호) painted the portrait of Chunhyang for the Chunhyang Shrine in Gwanghallu, Namwon in 1939, he used Kim Myeong-ae (김명애), a Kisaeng who had been associated with Gwonbeon during the Joseon Dynasty, as his model.

The portrait of Chunhyang

Kim Eun-ho (김은호;金殷鎬), a renowned painter, was born on June 24, 1892, during the 29th year of King Gojong's reign. He passed away on February 7, 1979. Notably, Kim Eun-ho's artistic talent flourished during the Japanese colonial period, where he created notable works such as 'Golden Tea Bonnapdo' and 'Chunhyangsang'.

During his early years, Kim Eun-ho pursued a short-term surveying course at Inheung School in 1908. To support himself, he worked as a surveyor's assistant in Seoul and also engaged in copying old books at Yeongpoong Seogwan. In 1912, he joined the Gyeongseong Calligraphy and Painting Art Society as a second-generation student, graduating from the Painting Department in 1915 and the Calligraphy Department in 1917.

Notably, he painted portraits of prominent figures like Song Byeong-jun (宋秉畯) and Yoon Deok-yeong (尹德榮), as well as full-body seated statues of Choi Je-woo (崔濟愚) and Choi Si-hyeong (崔時亨) from Donghak(東學). After his graduation, Kim Eun-ho actively participated in the Joseon Calligraphy and Painting Association, which was established in 1918. However, during the March 1st Movement in 1919, he was arrested for distributing the 'Independence Newspaper' and served a five-month prison sentence, as he was a Pro-Japanese and anti-nationalist.

The portrait of Chunhyang for the Chunhyang Shrine in Gwanghallu.

There are three portraits of Chunhyang displayed at the Namwon Folk Museum in Eohyeon-dong, Namwon-si, Jeollabuk-do. The first portrait, created by artist Kang Ju-su in 1931, was made during the construction of the Chunhyang Shrine.

In 1939, the first painting by Idang Kim Eun-ho was donated by Hyun Jun-ho and placed in the museum. Unfortunately, the Portrait of Chunhyang was damaged during the Korean War, but it was later restored by Idang Kim Eun-ho in 1961. This restored version was donated by General Song Yo-chan, who was the head of the cabinet at the time, and it remains enshrined at the museum. The original copy of the portrait is preserved at the Namwon City Museum.

Characteristics of the portrait of Chunhyang

The Portrait of Chunhyang embodies the ideal of beauty for Korean women and aims to depict a historical female figure. Kang Ju-su from Jinju crafted this unique piece in 1939, with the collaboration of archaeologists, sculptors, cultural historians, and directors. Kim Eun-ho utilized the Joseon gisaeng Kim Myeong-ae as a model to create a lifelike representation.

This artwork not only serves as a symbol of Korean femininity but also showcases the collective effort of various professionals in its creation. The Portrait of Chunhyang stands out for its meticulous attention to detail and historical accuracy, making it a significant cultural artifact in Korean history.

[not-your-asian-fantasy]

The Kim Sisters, South Korean singers from the 50s

[hobbyarchivist]

Kim Jung Mi, singer of one of my favorite albums of all time: 'Now' from 1973, preforms live in rare footage above. If you like it, I highly recommend listening to the rest of her discography!

[bfpnola]

This Saturday begins our Culture Circles!! Join us to learn more about different marginalized communities, their customs, their music, their languages, EVERYTHING! And learn how you can support them on their journey to liberation! discord link in bio @bfpnola since tumblr kills links!

—

Other time zones [clock emoji next to each]:

Saturday, Sept. 23rd

⏰ 5 pm MT — Phoenix, Arizona, USA

—

Sunday, Sept. 24th

⏰ 12 am BST — London, United Kingdom

⏰ 4:30 am IST — Mumbai, India

⏰ 8 am JST — Tokyo, Japan

⏰ 9 am AEST — Sydney, Australia

[starlit-pathways]

mr. sunshine is an absolutely spectacular and beautifully poetic show that burned so brightly to me—that i know for a fact i will never put myself through the pain of watching ever again.

[ultrakdramamama]

[misclogarts]

not to sound like an edgy 13 yr old but when you know about history their ghosts follow you everywhere 😭

[doctorwhoisadhd]

what do the dalek's themes SAY in hebrew????

i mean idk but you could look it up

[babieken]

Another day, another chronically online take on the bird app🤡

[undyinglantern]

How could google lie to me like that

[cosmosbeelover]

Photo collection of kisaeng's - Part 6 - Finale

All photos below have been AI enhanced for a more clear viewing (there may be some errors in the pictures), i will be listing there names in both English and Korean below the photos.

There names go from top left to bottom right.

On the list of photos, this picture is shown twice with some name changes, so i will add both versions. Korean - 기생명부-곽향란, 최선홍, 전용옥, 전금옥, 선간일익, 전명자, 고명선, 백운학 Korean version 2 - 기생명부-곽춘란, 최유홍, 전용옥, 전금옥, 선간일익, 전명월, 고명선, 백운학 English - Parasite List - Kwak Hyang-ran, Choi Seon-hong, Jeon Yong-ok, Jeon Geum-ok, Seon Gan-il-ik, Jeon Myeong-ja, Go Myeong-seon, Baek Woon-hak. English version 2 - Parasite List - Kwak Chun-ran, Choi Yu-hong, Jeon Yong-ok, Jeon Geum-ok, Seon Gan-il-ik, Jeon Myeong-wol, Go Myeong-seon, Baek Woon-hak.

Korean - 기생명부-최중유월, 이춘홍, 황금주, 이금선, 한경옥, 장명실, 장명화, 최영선 English - Parasite List - Choi Joong-yu-wol, Lee Chun-hong, Hwang Geum-ju, Lee Geum-seon, Han Kyung-ok, Jang Myeong-sil, Jang Myeong-hwa, Choi Yeong-seon

[papaya2000s]

The History of Korean Girl Groups' evolution over time - Before Liberation to Girls Generation (SNSD) -> Part 5

In my previous post about the Pyongyang Kisaeng School i talked about the history of the school and how it ran before and after the Japanese colonial period, there is a discussion on Reddit about Kisaeng's (Here) and does mention a famous Kisaeng called Jang Yeon Hong (장연홍;張蓮紅), she was THE Kisaeng of her era (1920s).

Book Recommendations:

Numerous books and manga explore the fascinating world of Kisaeng, shedding light on their significant role in Korean history. In my earlier discussions about the History of Korean Girl Groups, I mentioned how Kisaeng used to perform collectively, although they were not labeled as Girl Groups back then. However, the current trend is to categorize groups of female performers as Girl Groups, showcasing a shift in perspective towards viewing Kisaeng as the precursors to modern Girl Groups.

By delving into the rich history of Kisaeng, we gain a deeper appreciation for their cultural impact and influence on Korean society. The evolution in how we perceive Kisaeng, from traditional performers to early versions of Girl Groups, reflects a changing narrative that recognizes their contributions to the entertainment industry. Through various literary works and artistic representations, the legacy of Kisaeng continues to be explored and celebrated, offering valuable insights into their historical significance and enduring legacy.

Manga - Cheon Gwan Nyeo (천관뇨)

While trying to find some books on Kisaeng i found this manga called Cheon Gwan Nyeo its about how she is the royal Kisaeng (Geisha) of King Jin-Pyeong, who lived in during Silla Dynasty (between 57 BCE – 935 CE), and that the poetic general Kim Yoo Shin falls in love with her. If anyone is manga lover give this a try, its by JO Mihyeon.

Kisaeng Story - Book

If anyone whats to know more on Kisaeng's I would sagest reading the Kisaeng story by Shin Hyeon-gyu which was published in 2007.

As it published in 2007 some of the information that is mentioned in this book could be outdated as new information could have been found that was not mentioned in this book or more information could have been found in recent years, i personally have not read it yet but i would give it a read.

Book introduction - During the Japanese colonial period, Kisaeng's were, on the one hand, objects to be rejected as feudal relics, but in reality, they were heirs to traditional arts and music culture and stars of modern popular culture.

Since modern times, the image of Kisaeng has been distorted as a small number of corrupt pseudo-Kisaeng's and courtesans refer to themselves as 'gisaeng'. This book introduces the original image of gisaeng, who were the successors of rites and music and popular stars.

Index: The history of Kisaeng in Korea, China, and Japan. Finding the whereabouts of Gwangi. The birth of Gwonbeon and the years of glory and shame. A gisaeng is born as a popular star. A visit to Pyongyang Kisaeng School . An encounter with a Kisaeng, confusion over the identity of the space.

Hankyoreh Music Dictionary Set

Book Introduction - Published in 2012 the 2 volumes of the Hankyoreh Music Dictionary Set by Song Bang-song, professor emeritus at Korea National University of Arts. It was prepared based on the author's 《Korean Music Terminology》 written in 1979 and the 《Hankyoreh Musician's Dictionary》 written in 2012.

After revising and supplementing 《Korean Music Terminology》 to reflect recent research results, we carefully selected important figures from among the figures introduced in 《Hankyoreh Musician Dictionary》. It contains terms directly or indirectly related to Korea from ancient times to modern times and provides explanations.

Kisaeng Training Center

Pyongyang Kisaeng school class scene.

The emergence of Girl Groups can be traced back to the Pyongyang Kisaeng School, which was a prominent institution for female performers established in 1926. This school played a crucial role in shaping the education and training of female singers and dancers, providing them with the necessary skills to succeed in the entertainment industry.

Just like how modern audiences eagerly anticipate the debut of new Male and Girl Groups, the demand for gisaeng education in Pyongyang was high during that era. The establishment of the Pyongyang Gisaeng School aimed to meet this demand by offering a structured and comprehensive curriculum that covered various aspects of traditional performing arts, as well as general education subjects.

The impact of Kisaeng Schools and training centers extended beyond just providing education to aspiring performers. These institutions also laid the foundation for modern traditional performing arts education by offering specialized classes in traditional singing and dancing, as well as other art subjects. The structured curriculum and focus on meeting social demands of the time through education are reminiscent of the current approach to art education, highlighting the enduring influence of these early educational institutions.

1930s - The birth of Korean Girl Groups

I did already show this picture before of the Pyongyang Kisaeng School students practicing a revue dance to the music of a modern musical instrument. There many other photos of students that went the school, if anyone is interested here is the link (Old School Photos).

During the Japanese colonial period, Kisaeng's were assigned to theaters such as Wongaksa (웡각사) Temple and Danseongsa (단성사) Temple and emerged as 'popular stars' by performing for the public.

Wang Soo-bok (왕수복), Seon Woo I-seon (왕수복), and Lee Eun-pa (이은파) were popular singers from Pyongyang Gisaeng School in the 1930s. They performed during a transitional period in Korean domestic popular music history. As jazz and Western dance were introduced in the 1910s, Kisaeng's dances changed from classical to Western, resulting in the revival dance. The roots of girl groups during the Japanese colonial period can be traced back to Kisaeng's group dances and choruses, which were influenced by Western popular music and transformed into modern people.

During the Japanese colonial period, there were numerous performances by the Kisaeng's, which were recorded in an article titled "Cultural Archetype Encyclopedia Korean Modern Music." As I was perusing through this article, I came across a Performance Log that provided a timeline of events. The Performance Log ranged from 1 to 45 and documented the first appearances of Kisaeng's. The earliest mention of Kisaeng's that I could find was in Performance Log 9, where the Hanseong Kisaeng Association made an appearance on April 1, 1909, at Hwangseong. Subsequently, they appeared in Performance Logs 10 and 11, but it was in Performance Log 13 that they made numerous appearances. On March 27, 1913, the Gwanggyo Kisaeng Association performed at the Danseongsa Temple to support the midwife training center. Following this, the Sigok Kisaeng Association performed on May 13, 1913. On August 31, 1913, the Gongju Kisaeng Association showcased various songs and dances. Lastly, the Pyongyang Kisaeng Association performed songs and dances on October 9, 1913. The list of Kisaeng groups that performed or made appearances goes on, and I would suggest that anyone interested should delve into the Performance Log list and read the corresponding articles. There is a wealth of information to be discovered, as these logs mention numerous Kisaeng performances. By exploring these articles, one can gain a deeper understanding of the cultural significance and contributions of the Kisaeng's during the Japanese colonial period.

All sources that i used and found are attached are underlined.

[shapinginvisible]

When two of my favourite people come together is the best thing ever. I cried my eyes out that’s how freaking amazing this song is…J Hope and J Cole worlds coming together, it’s beautiful. Please everyone give it a listen. History has been made tonight🙌🏼

[beautifulsharkqueen]