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Safeguarding ICH in Korea Under COVID-19

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Safeguarding ICH in Korea Under COVID-19 Safeguarding ICH in Korea under COVID-19 he widespread outbreak of novel coronavirus infections T(COVID-) has brought rapid changes on various systems and ways of life across the world, creating an entirely new Haeree Shim global landscape. Korea’s activities to safeguard ICH were no Project Consultant exception. Amidst a situation that forced the cancelation of a Preparatory Oce for International Centre for the Interpretation and wide range of ICH-related events and educational programs and Presentation of World Heritage Sites under the auspices of UNESCO considerations to nd new safeguarding methods, the transition to non-face-to-face methods rather broadened the scope for safeguarding and promoting intangible heritage. Expansion of activities through non-face-to-face methods !e most pronounced change among intangible heritage institu- tions, which currently operate under state-led management, is the emergence of new dynamics through the online transition of intangible heritage education and safeguarding activities, which had previously taken place through face-to-face methods. Since the end of April, the National Intangible Heritage Center has conducted a training course for new intangible heritage practitioners in the form of online classes, whereas they had previously been conducted in o"ine classes. !e practitioner training videos across a total of #een subjects are comprised of four twenty-ve-minute videos, and new practitioners are able to communicate with instructors by submitting their impressions and questions a#er watching all of the educational videos. !e o$cial in charge of the project, Myeong-hyeon Kim at the National Intangible Heritage Center, remarked, “Online educa- tion has the advantage of revising and editing, which allows us to deliver more rened content to practitioners.” As part of the educational curriculum, the National Intangible Heritage Center produced a video program to hold a forum with ICH masters that can be viewed by practitioners as well as the general public. Furthermore, in July, the National Intangible Heritage Center opened an online exhibition for ICH on its website (www.nihc. go.kr), where visitors can listen to an audio exhibition guide. !e National Gugak Center, which attracted many urban residents to visit, also canceled most of its gugak performances due to the spread of COVID-. Instead, it began to upload one performance to its YouTube channel in the morning on a daily basis and staged major performances as live streams without an audience. !is transition is interpreted to have broadened the viewership for the genre, as paid performances became open to the public free of charge. In addition, it also began to o%er a VR performance service to maximize the sensation of watching performers play at the venue in real life. !rough close-proximity rst-person recording, the VR service allows the audience to view the surrounding scenery, performers’ facial expressions, and dancers’ delicate movements from all directions in a &*+-degree panorama. !e Public Communications O$ce at the Ministry of Culture, Sports and Tourism launched its “Culture at Home” campaign in March in response to the COVID- pandemic, introducing the “Gugak Archive” (archive.gugak.go.kr) that pres- ents over &/+,+++ items of gugak -related records and exhibitions, and the “e-Gugak Academy” (academy.gugak.go.kr) as a way to Ajaeng sanjo (free-style solo) VR content shooting at the National Gugak Center. The Center has posted learn gugak-related subjects such as traditional Korean musical 20 VR Gugak (Korean Traditional Music) contents on YouTube so far © National Gugak Center instruments and pansori through online classes. 22 ICH COURIERCO URI ER VOLVOLUMEUME 44 ichcourier.unesco-ichcap.orgich cou rie r.u nes co- ich cap .or g ichcourier.unesco-ichcaich cou rie r.u nes co- ich capp.org.or g VOLUME 44 ICH COURIER 23 Turning crisis into opportunity scissor percussion performances, gugak ensemble perfor- In particular, the “Survey of Global Intangible Heritage Civil society groups such as schools and intangible heritage conservation mances, prayers for good fortune, pangut performances, and Safeguarding Activities,” which was presented during the rst societies are also making e%orts to seize new opportunities from the Jwasuyeong Eobang Nori, a genre of traditional shermen’s webinar, aptly outlined the way in which various countries COVID- crisis. Heyja Kim, A choreographer at the National Gugak songs. Audience members attended the performances in around the world are safeguarding and using intangible her- Centre Dance !eatre and an adjunct professor at the School of Korean adherence to COVID- prevention measures, such as body itage during the pandemic. !is survey also served as a basis Traditional Arts, Korea National University of Arts explained that the temperature checks, hand sanitization and face mask wearing. to create a global map on the theme of safeguarding intangible response to the initial outbreak of COVID- at the beginning of this !e city of Jinju in Gyeongsangnam Province announced that heritage (ich.unesco.org/en/living-heritage-experiences-an year began with class cancelations, subsequently transitioning into it reopened “Saturday Regular Concerts for the Intangible d-the-COVID--pandemic-+0&). e-mail and mobile messenger classes, eventually taking place through Cultural Heritage of Jinju,” which marks its thirteenth event !e National Intangible Heritage Center chose the theme Zoom video classes. Professor Kim records herself at home using her this year, in August. !e Saturday Regular Concerts are held for this year’s World Forum for Intangible Cultural Heritage, laptop computer and connects the screen of her students to the TV to at Chokseokru every Saturday from August to October, which has been held annually since 0+4, as Humankind, conduct classes. Assignments are also submitted in the form of videos showcasing performances such as National Intangible Cultural Nature, and Intangible Cultural Heritage, as an opportunity of practice sessions recorded by the students themselves, which are then Heritage items Jinju Samcheonpo Nongak, a genre of tradi- to move beyond a human-centric perspective to re2ect upon viewed by Professor Kim and given individual feedback. Professor Kim tional folk music, and Jinju Geommu, a traditional sword intangible heritage under a new relationship with nature. To remarked, “It is inconvenient that I can’t physically correct the students dance, as well as Provincial Intangible Cultural Heritage items delve into the theme of the forum, the National Intangible in person, but on the other hand, students benet from the ability for Jinju Pogurakmu, a type of play-incorporating dance, Sin Heritage Center invited Professor Jae-chun Choe, an expert me to closely watch the footage that they recorded to provide in-depth Gwan-yong style of Gayageum Sanjo, and Jinju Ogwangdae, a on ecology and the environment and a chair professor at feedback.” In addition, Professor Kim stated that the situation provided traditional mask dance. A city o$cial stated, “!is year’s event Ewha Womans University, and held a special lecture in July a useful opportunity for students to learn by viewing their own move- was conducted in compliance with measures to prevent the under the topic of “Ecological Transitions and the Future of ments on video. spread of COVID-, such as social distancing.” Intangible Cultural Heritage in the Post-COVID Era.” In the Eun-seon Cha, practitioner of National Intangible Cultural Heritage special lecture, Chair Professor Choe emphasized the impor- No. *, Eunyul Talchum, has taught talchum at elementary and mid- tance of coexistence between humankind and other species as dle schools across the Incheon and Gimpo areas. Cha stated that she Challenges in an ecological and environmental context a key topic in the post-COVID era. He also discussed the long has been conducting both online and in-person classes at schools in Another impact of COVID- on ICH safeguarding in Korea history of ICH of humanity in relation to nature in a conver- response to COVID-. Since it is currently di$cult to hold conventional is that we were compelled to re2ect on the habitats and the sation with Jin-gi Cheon, a folk culture scholar and the former Eunyul Talchum practice sessions where many participants perform environment surrounding us and consider new awareness director of Jeonju National Museum. !e forum is scheduled together and come into contact, the in-person classes have consisted of and safeguarding activities with regard to intangible heri- to be held in September of this year. talchum-related content that has been edited and condensed. “We are tage. UNESCO-ICHCAP, in partnership with the UNESCO With the cancelation of numerous folk ceremonies instructing each individual to dance their own talchum using their own The poster of Seo Eun-young’s a zero-audience Haegeum solo Bangkok O$ce, held four webinars from June to August and events, COVID- posed a threat to safeguarding and props and costumes,” explained Cha. concert, which was held at the National Gugak Center on 1 July. on the theme of “Safeguarding Intangible Heritage in the transmitting ICH. However, we have successfully turned this !e traditional Korean Buddhist event of Deung Hoe Yeon, which © National Gugak Center COVID- Era.” !is webinar series focused on various topics crisis into an opportunity. We hope that Korea’s experience of is currently awaiting the decision on its inscription on the UNESCO such as the impact of COVID- on safeguarding intangible safeguarding intangible heritage amidst the global spread of Representative List of the Intangible Cultural Heritage of Humanity in heritage, changes caused by the pandemic on intangible heri- this infectious disease presents a useful frame of reference for December, was forced to be canceled for the rst time in forty years due tage education in universities, and the current status of higher other countries. to COVID-. !is marks the rst time that Yeon Deung Hoe, which education networks for safeguarding intangible heritage.
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