Vol. 8 No. 2 8 No. Vol.

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2015 SUMMER 여름

K O R E A N HERITAGE

여름 SUMMER 2015 Vol. 8 No. 2 ISSN 2005-0151ISSN 2005-0151 ISSN 2005-0151ISSN 2005-0151 KOREAN HERITAGE Quarterly Magazine of the Cultural Heritage Administration

KOREAN HERITAGE

SUMMER 2015

Cover

Haenyeo culture, anchored in , is an important part of ’s intan- gible heritage. This unique aspect of Jeju culture encompasses a rich trove of tradition handed down to the present, including diving techniques, knowledge about surviving and living in harmony with the oceanic environment, and diverse rituals. Women divers, or , have overcome adverse conditions to give birth to a full-fledged female profession, serving as an exemplar of persever- ance and the pioneering spirit of Jeju women.

KOREAN HERITAGE is also available on the website (http://English.cha.go.kr) and smart devices. 02 | 03 KOREAN HERITAGE

CHA News Vignettes An Everyday Artifact

Cooperation for Underwater Excavation Starts in Earnest Hapjukseon, Traditional Korean Fan The Cultural Heritage Administration and the Korean Institute of Ocean Science and Technology Before modern-day electric fans and air conditioners were invented, have completed on-site joint research, through their research arms, the National Research Institute what was there to cool one down in sweltering weather? Korean of Maritime Cultural Heritage and the Korea Research Institute of Ships and Ocean Engineering ancestors of course always had their fans, called buchae, close at (KRISO). The partnership was initiated as an effort to deploy a Korean oceanic robot for excavating hand to gently stir the air and chase the heat away. The word buchae underwater heritage. sounds like a borrowed term from the Chinese, but it is a pure Korean word, composed of bu, derived from the verb bu-chi-da, which In August 2014 the two research institutes signed a memorandum of understanding on means “drawing wind” and the noun chae meaning “handle.” The cooperation for excavating underwater heritage geared toward contributing to the advancement of Chinese character for the Korean term buchae is 扇 (seon), consisting national maritime technology. Preliminary tests were conducted indoors through March this year to of 戶 (“hedge gate”) and 羽, meaning “bird’s feathers,” denoting that enable the robot, named “Crabster,” to operate with the necessary movements, including picking up a buchae is made by intertwining bird’s feathers onto a hedge-gate objects. Tests were also conducted on exploration devices built into Crabster: supersonic cameras form. capable of video-recording an area up to 15 meters in front of it with sound waves of 1.8 to 3.0 megahertz, and a high-resolution scanning , which detects objects up to 150 meters away in Thin strips of are aligned to create a frame, over which paper or cloth, usually silk, is murky waters. mounted to craft a hand-held fan. Fans of the best quality are produced in Jeonju, Nampyeong, and Naju in the southeastern region of Jeolla. Traditional Korean fans are divided into two categories: This cooperative project is doubly valuable: the two research round—or rigid, flat—fans and folding ones.Hapjukseon refers to the folding fan that is framed institutes, second to none in their own areas of work, have by overlapping strips of bamboo held together at the bottom by a clasp of metal or bone. The synthesized their knowledge and technology, making contributions hapjukseon was a signifier of the literati’s character and dignity, coming in diverse forms and lengths not only to the advancement of heritage excavation technology, but depending on the owner’s class and status. According to The Annals of the Dynasty, there also to the enhancement of the national brand image. Partnership of was a special agency called Seonjabang dedicated to hapjukseon production for royal use, which this kind is a model for the government’s endeavors for inter-agency was located in Jeonju. cooperation. A practical tool used for relief from the summer heat, the buchae has come to be deployed for The work with KRISO is part of efforts by Korea to become ritual and decorative purposes. The groom and the bride cover their faces with a fan in a traditional a leader in underwater heritage research in Asia by, among others, wedding ceremony; and a fan hand-painted with calligraphy of poetic verses or a scenic landscape is beefing up maritime heritage research capacity. The National displayed as a house decoration. Other than these functions, hand-held fans are used for performing Research Institute of Maritime Cultural Heritage will maintain a fan , or buchaechum, or for shamanic rites. Although it has given way to electric cooling a close cooperative relationship with KRISO, and will also help machines, the traditional fan still holds its place in contemporary society as a local specialty craft with the commercialization of robotic technologies currently under and an indoor ornament expressive of a homeowner’s taste for things traditional. development by the government. 04 | 05 KOREAN HERITAGE

CONTENTS

06 26

Heritage for the World Photo Gallery

Mountain Temples of Korea: Beopjusa and Magoksa National Treasures: Royal Palaces

12 30

Heritage Today Design Heritage

‘Moonlight Tour’ at Changdeokgung Palace Aesthetic Beauty of Jogakbo Design

16 34

Documentary Heritage Foreigner's View

The Archives of Saemaul Undong Experiencing Korean Traditional Festivals

22 38

Natural Heritage Intangible Heritage

Enchanting Sceneries of Waterfalls The Haenyeo and their Culture Heritage for the World 06 | 07

Seven Buddhist Temples Selected for Mountain Temples of Korea: World Heritage Nomination

Beopjusa and Magoksa A Korean is a cultural, historical, and religious space, where

Text by Jeong Byeong-sam, Professor of History and Culture, Sookmyung Women’s University architectural structures have been gradually Photos by Cultural Heritage Administration & Good Image added around the main hall over a long span of time, and endowed with diverse cultural features. Since it not only has functioned as a place of worship for the public, but also as space for monasticism, a temple is home and sanctuary to Buddhist monks throughout history. Monastic communities have been consistently conserving the extant buildings and sometimes adding new ones to form the temples as they are today. There are numerous such Buddhist temples in Korea that are distinguished by age-old history, enduring tradition, and unique cultural characteristics. Among them are the seven most distinct ones, which were selected for nomination for inscription on the UNESCO World Heritage List: Beopjusa Temple, Magoksa Temple, Temple, Daeheungsa Temple, Buseoksa Temple, Bongjeongsa Temple, and Tongdosa Temple. The first two temples, Beopjusa and Magoksa, are explored in this issue.

Beopjusa Temple located in Mt. Songnisan. Beopjusa Temple from 1,500 Years Ago

Buddhist temples and monasteries in Korea, particularly those safeguarding The seven temples were all constructed during the Three Kingdoms period, their time-honored history and traditional culture, are mostly located in spatial compositions consolidated only after the mid-Joseon era. Beopjusa Temple, mountainous areas. Among contemporary Koreans, traditional Buddhist located in Boeun County, Chungcheongbuk-do Province, was constructed in temples are popularly understood as mountain temples. 553 during the reign of King Jinheung of (57 B.C.–A.D. 935), having been maintained for some 1,500 years until the present. A popular belief recounts that the spiritual patriarch Uisin, who came with Buddhist loaded on a white donkey, had built the temple. However, it is more plausible to think that the founding of Heritage for the World 08 | 09

Beopjusa was initiated by Master Jinpyo in the 8th century; and then Yeongsim, a light into a world of darkness, the two stone lanterns are celebrated for artistic great monk from Mt. Songnisan who received instruction about the from perfection: one in the shape of two lions holding up a fire; and the other in the form Master Jinpyo, established the temple and widely disseminated Buddhist teachings. of the four heavenly guardians standing guard around the light. Another symbol of brightness embodied in stonework is a statue sculptured in the image of Beopjusa Temple stands on spacious grounds amid Mt. Songnisan, part of Baekdu a bodhisattva carrying a large jar on its head. Along with the stone lotus pond, these Daegan, the mountain ridge that runs through most of the length of the Korean stone artifacts all date back to between the 8th and 9th centuries, testifying to the Peninsula. After the entrance gate of the temple, called , or “one-pillar gate,” temple’s flourishing fortunes during that period. unfolds a 2-kilometer-long trail, shaded by a variety of trees and shrubs transforming shapes and colors with the change of seasons. The forest trail leading to the main Beopjusa as a primary temple of the Beopsang School (or the Korean Yugakara The stone lantern with complex of the temple is one of the most aesthetic entrance roads to Buddhist school) had accumulated so much fame as to be resided in by princely monks such images of Four Guardian temples in the country. With a step into the temple complex appear imposing temple as Dosaeng and Gwangji during the Dynasty (918–1392). In the early Kings carved on its four sides, from the late Silla structures, which nestle in the spectacular sceneries of Mt. Songnisan, harmoniously period of the Joseon Dynasty (1392–1910) the temple enjoyed prosperous times; period. mingling together with the surrounding nature. Although there was a hall of Great Master Sinmi, the beloved monk of King Sejo (r. 1455–1468), delivered called Sanhojeon Hall until the mid-Joseon period, a 10-meter-high Maitreya statue major religious activities here, and it is known that the king endowed the official stands in the site of Sanhojeon today; Daeungbojeon Hall to the rear and Palsangjeon title jeongipum, the third highest of the 18-rank administrative hierarchy of Joseon, Wooden at front comprise the central axis of the temple complex. to a pine tree at the entrance to the temple. Although demolished during the Japanese invasions of 1592–1598, Beopjusa was quickly reconstructed thereafter: the Palsangjeon pagoda was rebuilt in 1630 and the restoration of the main hall A Temple Filled with Cultural Assets was completed 1618; a Vairocana Buddha triad was enshrined inside. Through the Joseon era, Beopjusa served as a memorial temple for the royal family; a memorial Beopjusa is replete with historic monuments and hall for Yeongbin Yi, a concubine of King Yeongjo, was constructed in the later relics. There are three National Treasures, 12 Joseon period and has been preserved until the present. The stone lantern in the form of two lions holding Treasures, and two Natural Monuments, including up the light at Beopjusa Palsangjeon Wooden Pagoda (the only extant Temple. wooden pagoda in the country; National Treasure Magoksa Temple and Its Unique Spatial Arrangement No. 55), Twin Lion Stone Lantern (National Treasure No. 5), Stone Lantern on the Four Guardian Magoksa Temple located on Mt. Taehwasan, Gongju, Chungcheongnam-do Province,

Daeungbojeon Hall at Beopjusa Temple. Kings (Treasure No. 15), Stone Lotus Basin is assumed to have been built by Master Jajang in 643 during the Silla period and then (National Treasure No. 64), Rock-carved Seated reconstructed by State Preceptor in the 9th century. Given that the temple Buddha (Treasure No. 216), Folding Screen of had continuously served as a leading temple of the Seon, or , School, it is inferred Sinbeop cheonmundo (a folding screen of celestial that Magoksa Temple was constructed under the influence of the emergence of the charts; Treasure No. 848), and Daeungbojeon Hall Seon School during the period. At the time of its original construction, the temple (the main hall; Treasure No. 915); and also 22 encompassed a large number of buildings and structures, but a series of conflicts Tangible Heritage and 2 Cultural Heritage Materials and reconstructions over time had reduced its scale. At present, the temple is home designated at the provincial level. Beopjusa and Mt. to a number of cultural assets including Daeungbojeon Hall (Treasure No. 801), Songnisan are listed on state registers, respectively Daegwangbojeon Hall (Treasure No. 802), Yeongsanjeon (Treasure No. 800), Five- as Historic Site and Scenic Site. Stone artifacts, story Stone Pagoda (National Treasure No. 799), and a Buddhist bell (province- in particular, are notable. Symbolically casting designated Tangible Heritage No. 62). The signboard of Palsangjeon Wooden Pagoda at Beopjusa Temple bears weathered markings of its long and venerable history. Heritage for the World 10 | 11

The temple is characterized by particularly that started in 1650, the temple earned a auspicious surroundings and spatial composition. reputation for paper production, adding to its Bounded by the picturesque winding fame for craft making. Benefitting from easy Taehwacheon Stream, the area to the north access to raw materials, Magoksa Temple houses structures symbolizing the Buddha’s manufactured high quality paper to supply land, or a “pure land,” including Daeungbojeon the royal court and administrative agencies. The roof decoration of the Hall and Daegwangbojeon Hall; to its south are Even after reconstruction in the 17th century, five-story stone pagoda in front of Daeungbojeon Hall buildings needed for maintaining the monastic buildings were consumed by fire several times, at Magoksa Temple. life of monks. Connecting the two spaces is but were soon restored, forming the temple Geungnakgyo Bridge over Taehwacheon, the complex as it is in the present. In the northern Magoksa Temple in the gentle embrace of Mt. Taehwasan. name of which means a “bridge to the pure land.” section, Daegwangbojeon Hall as well as The area occupied by the temple, documented Daeungbojeon Hall were built to function as an auspicious place immune to war damage as two main halls; across the stream to the in historic geomantic books from Joseon such south was formed a cluster of structures with as Taekriji and Jeonggamnok, nestles in the Yeongsanjeon Hall in the center. The five- gentle embrace of the mountain, inspiring story pagoda—carved with Buddha images sacred feelings. In the temple complex, the on the four sides of the second-tier body— bridge linking the north and south spaces is the is distinguished by the roof topped by a decorative pungmadeung lantern in bronze, most interesting location. While the romantic which suggests influence from Tibetan and is rarely found in the country. imagination that one can enter the “pure land” This unique roof style gave rise to a legendry belief that the pagoda has power to through the bridge is intriguing, the architectural prevent droughts for three years. It is also notable that Yeongsanjeon Hall houses Daegwangbojeon Hall and the five-story stone pagoda at Magoksa Temple. arrangement designed for emotional escalation 1,000 Buddha statuettes in slightly differing images. The temple’s close relationship is another point of appreciation. Past the with the royal family of the Joseon Dynasty should be mentioned as well. Story has it unpretentious structures of Yeongsanjeon Hall, that Joseon’s 23rd ruler, King Sunjo (r. 1800–1834), was born thanks to fervent prayer Haetalmun Gate, and Cheonwangmun Gate, one at Magoksa for 1,000 days. reaches the bridge; the imposing buildings of Daegwangbojeon Hall and Daeungbojeon Hall Although they suffered enormous damage during the Japanese invasions in the seen from the gateway to the Buddha’s land offer 16th century, mountain temples in Korea including Beopjusa and Magoksa were profound affective impressions. sustained by continuous endeavors of reconstruction and repair through the centuries. Their continuing preservation and vitality are largely attributable to ardent support and lavish donations from Buddhist worshippers. What underlies the time-honored Yeongsanjeon Hall at Magoksa Temple, marked by the name plaque endowed by King Renowned for Paper Crafting history of these mountain temples is a strong belief in a harmonious life with nature. Sejo. The spatial composition of the Korean mountain temple embodies perfect harmony The seventh monarch of Joseon, King Sejo, with the surrounding natural environment, an enduring value that has been transmitted admired the propitious energy of the land, and endowed a plaque bearing the for hundreds of years to the present. Yeongsanjeon inscription carved in the king’s own handwriting. It has been handed down to the present as the sign for Yeongsanjeon Hall. Like other Buddhist temples in the country, Magoksa was flattened during the Japanese invasions of the 16th century, and was reconstructed afterwards. Coinciding with its reconstruction Heritage Today 12 | 13

The Moonlight Tour provides a harmonious combination of guided walking tour ‘Moonlight Tour’ at and traditional performance. Koreans and visitors from other countries are able to participate in the tour, on separate dates. After the execution of a pilot program in Changdeokgung Palace 2010, the Moonlight Tour kicked off in earnest in 2011; since then the nightly tour program has continuously enjoyed tremendous popularity, with tickets sold out for

Text & Photos by Kim Ji-yeong, Program Manager, Korea Cultural Heritage Foundation both Korean and foreign visitor tours. For the year 2015, 27 and 10 tours for Koreans and foreigners respectively, are planned. Taking place around the full-moon each month, except for summer and winter, each tour takes 100 pre-registered visitors, in five groups of 20 people each. Reservations (for more information, see below) open only two times a year, done online on a “first come, first served” basis. Those who wish to take the Moonlight Tour can make a reservation on one of the dates specified on the website. The first reservation period, for tours in the early half of the year, was conducted in March. Reservations for the latter half of 2015 will be open between late July and early August. For foreigners’ tour sessions, there are three language options on offer: English, Chinese, and Japanese. One of the three languages must be selected when making a reservation.

The Moonlight Tour, composed of a customized program of guided tour and traditional performance, presents an opportunity to discover hidden gems of Changdeokgung. I hope that many foreign residents and visitors who are interested in Korean culture and history are able to grab the opportunity on offer for the second

Juhamnu Pavilion in the Secret Garden. half of the year.

Among the five royal palaces from the Joseon Dynasty (1392–1910), Program of the Moonlight Tour Changdeokgung comes first in terms of retaining authentic buildings and structures. Inscribed on the UNESCO World Heritage List in 1997, the Under the gentle light of the full moon, visitors stroll around the palace carrying palace is admired for its superlative architectural composition achieving cheongsa chorong, or traditional Korean lanterns. During the tour, they are told perfect harmony with the natural environment and topography. It is, stories of the Joseon royal court, and enjoy special arguably, the most quintessentially Korean palace. traditional performances out in the open. Word about the moonlight promenade has fast spread, Evening Promenade through Royal Space attracting an increasing number of people. Let’s take a look at interesting spots of the tour. At Changdeokgung Palace, a special program is being carried out as part of the efforts to enliven the royal space—and the capital as a whole—with historical and cultural First spot: Donhwamun Gate vibes. It is the Moonlight Tour. Carried out at night on or near a full-moon, the The Moonlight Tour starts off at Donhwamun, Moonlight Tour is envisaged to make the most of night views of the palace, the main entrance of the palace. A group of 20 a chance to explore its natural, cultural, and historical spaces in a unique way not participants embarks on a novel discovery of the experienced in other palace tours. royal space, shedding light through the darkness Sangnyangjeong Pavilion in the rear garden of Nakseonjae Hall. Heritage Today 14 | 15

with traditional Korean lanterns in hand. Donhwamun was constructed in 1609, the Seventh spot: Area covering Bullomun Gate and Yeongyeongdang Hall oldest extant structure in Changdeokgung. Cut out of one rock mass, Bullomun, literally meaning a “gate that never becomes older,” delivers hopes for health and longevity. Through the stone gate and past Second spot: Geumcheongyo Bridge Aeryeonji Pond then into Yeongyeongdang Hall, which was constructed in 1828 The visitors walk into the palace complex over Geumcheongyo, while appreciating mimicking the architectural style of an ordinary nobleman’s house, built by order the full-moon reflected in the water beneath. Designated Treasure No. 1762, of Crown Prince Hyomyeong. Replicating the building’s frequent use for banquets Geumcheongyo was built in 1411 in the early Joseon period, the oldest stone bridge during the last years of the Joseon Dynasty, a traditional performance, accompanied in the palace. by an assortment of refreshments, are served here to cap the Moonlight Tour.

Third spot: Injeongjeon Hall Changdeokgung was a secondary palace of Joseon, but had served as a primary The main hall of the palace, Injeongjeon served as an official space where royal royal residence after Gyeongbokgung was destroyed during the Japanese invasions coronations and court assemblies took place, and delegations were received. Eight in the late 16th century. The archetypal Korean palace started appealing to people rulers of Joseon were crowned in this hall. The building is noted for plum blossom in other countries by way of its inscription on the World Heritage List in 1997. The patterns decorating the roof ridge. Moonlight Tour is expected to present a chance to people outside the country to further explore the many hidden charms of the palace. Fourth spot: Nakseonjae Hall Nakseonjae was built in 1847 as a residence of Gyeongbin Kim, a concubine of King Heonjong (r. 1834–1849), and had thereafter served as a residence for bereaved royal Moonlight Tour Program for the Second Half of 2015 ladies including Princess Deokhye and Yi Bang-ja, the daughter and the daughter-in- law of King Gojong (r. 1863–1907). The hall is redolent with memories of heartbreak Title: 2015 Changdeokgung Moonlight Tour and loneliness suffered by the royal ladies and widows of the Joseon Dynasty. Tour season: August through October 2015 Dates and entrance time Fifth spot: Hamyangmun Gate Division Aug. Sep. Oct. Through Hamyangmun enter into the Secret Garden of the palace, which occupies as Dates 27 25, 26 28 Foreigner much as 60 percent of the entire palace area, and functioned as a place of relaxation Time 20:00H 19:00H 19:00H for the king. Duration: About two hours Reservation period: Open between late July and early August Sixth spot: Buyongji Pond Reservation website: http://ticket.interpark.com/Global Buyongji—a rectangle-shaped pond with a round Tour location: Changdeokgung Palace (99 Yulgok-ro, Jongno-gu, Seoul) islet—reflects the East Asian cosmology that proposes, Tour fee: 30,000 won (about 30 U.S. dollars) “Heaven is circular, and the earth is rectangular.” Tour program Unlike the royal pond in Gyeongbokgung Palace, Nightly tour: Historical interpreters offer cultural and historical narratives and stories Buyongji was constructed in a private space, and throughout the course of the tour. Traditional performance: Traditional performance is delivered with refreshments of therefore served private purposes of the king. There rice cakes and tea. is Buyongjeong Pavilion straddling the pond and Tour route: Donhwamun Gate (assemble here) → Jinseonmun Gate → Nakseonjae Hall earth—two legs in the water and the other two on (appreciating the full moon) → Buyongji Pond (appreciating the full moon) the ground—presenting an impression of a half- → Bullomun Gate → Yeongyeongdang Hall (traditional performance) → afloat structure. The cruciform亞 -shaped pavilion is forest trail of the Secret Garden → Donwanmun Gate (departure) Buyongji Pond in the Secret Garden, the best spot to enjoy the beauty of the *The planned program may change subject to weather or other circumstances. full moon. Treasure No. 1763. Documentary Heritage 16 | 17

The Archives of Saemaul Undong Saemaul Undong Documents as Memory of the World Although the movement has been in operation for the last 45 years, the inscription Text & photos by Lee Hyeon-ju, Korea Saemaul Undong Center on the Memory of the World Register was restricted to the 1970s for the following interconnected reasons. First, the inscription efforts were geared toward emphasizing achievements—among others—in poverty reduction, which was the principal purpose of the movement during the 1970s. Second, the emphasis on the alleviation of poverty during the decade is the primary attribute that endows the movement with global recognition as a successful case of community development. Third, the modernization of rural areas of the 1970s, which was pulled off through the participation of the whole nation, is greatly praised and widely adopted as a role model for the eradication of poverty in developing countries in Africa and Asia. Fourth, documents from the 1970s have been systematically managed at the governmental level, offering an integrated body of information for evaluation.

South Korea is the only country in the world that has achieved both economic growth and democratization within a short course of time, rising phenomenally in the wake of Japanese colonial rule (1910–1945) and the Korean War (1950–1953). Rapid economic expansion was accompanied with rural development and poverty reduction: the average income of a farm household had skyrocketed from A national meeting of Saemaul village leaders held in the early 1970s. 825 U.S. dollars in 1970 to 4,602 U.S. dollars in Donated documents on display at the Saemaul History Museum. 1979. Behind this success was Saemaul Undong, Saemaul Undong (New Community Movement or New Village Movement) which began as a rural development program and, was initiated by the then President Park Chung-hee in a speech addressing a as the movement engendered conspicuous results meeting of provincial mayors and governors on April 22, 1970, and has been in in improving rural incomes, expanded into urban continuous operation until the present. The collection of documentary records areas, workplaces, and schools, ending up as a produced during 1970–1979 was inscribed on the UNESCO Memory of the nationwide modernization movement. As the spirit World Register in 2013 under the title “Archives of Saemaul Undong.” The of Saemaul Undong, highlighting “diligence, self- inscription covers approximately 22,000 documents, including presidential help, and cooperation,” was disseminated among speeches, official communications, books, photographs, and films created by farming communities, phenomenal changes came the Office of the President, reports and correspondence between central and about in terms of hygiene, living spaces, and farming Manuscripts of Saemaul leaders’ success stories. local administrative agencies, leaders and residents of villages, and the Saemaul facilities. Saemaul Undong is credited with laying Undong Training Institute. These materials are housed at the National Archives the foundation for catapulting a war-torn country into of Korea and the Korea Saemaul Undong Center; those stored at the Center one of the top ten world economic powers at present. ’s economic journey were registered as State-designated Documentary Material in 2011, subject to propelled by Saemaul Undong offers inspiration to the world: the United Nations special management and conservation by the central government. Documentary Heritage 18 | 19

adopted Saemaul Undong as a role model for poverty eradication, and a number of 3. Documentary materials produced by individual villages. developing countries are eager to learn from the county’s development. As the movement spread nationally, individual villages started to produce documents related to Saemaul Undong. These include village regulations, minutes of community meetings, worksheets, budgetary reports, and results reports, many of which are Major Contents of the Inscribed Documents handwritten and preserved as archival materials. The community meeting minutes, in particular, record in detail the dates and times of meetings, project names, agenda of The Archives of Saemaul Undong are categorized into the following: discussions, problems and countermeasures, and work results. They offer glimpses into how the movement was conducted in each village. 1. Documentary materials produced by the Office of the President. These were produced by a special policy division, established by the presidential 4. Documentary materials on success stories of Saemaul leaders and their letters. office for the implementation of Saemaul Undong. The materials include President Saemaul leaders, who functioned at village level, played a critical role in carrying out Park Chung-hee’s manuscripts and speeches, which detail the ideology, vision, and the movement. Their success stories vividly portray how Saemaul leaders overcame spirit that underpinned the movement; and official plans and reports bearing President hardships to lead the movement to success. These stories spread to other villages, Park’s signature in his own hand, which vividly illustrate the ways that the ideas contributing to the establishment of success models. Letters of Saemaul leaders to the about Saemaul Undong were organized and put into practice. These documents offer director of Saemaul Undong Training Institute show the difficulties they faced and eloquent testimony to the president’s staunch commitment to rural development and how they resolved these problems, benefitting from advice from the director of the suggest a clear overview of the movement’s implementation. institute.

2. Documentary materials produced by central and local administrative agencies. 5. Letters from citizens, organizations, In line with related laws and support measures introduced for successful and business corporations, and donation implementation of the movement’s programs, central and local administrative offices certificates. produced necessary documents within their respective roles and responsibilities. These Many citizens, organizations, and business documents provide insight on the government’s organization, functions, and roles corporations sent letters, cash donations, in the process of carrying out Saemaul Undong. In particular, the Ministry of Public and goods to the Office of the President and Information and the National Film Production Center produced motivational films and other government agencies to contribute photo albums for public relations and education in support of the movement. These to the movement, conveying hopes that visual materials contain graphic profiles of those who participated in the movement the movement would help the nation and of farming villages that underwent transformation through the movement. overcome poverty. The presidential office replied to every letter, contributing to active An official report by the presidential office on the provision of a grant to high-perform- ing villages. communication between the government and the public while the movement was underway.

6. Documentary materials produced by Saemaul Undong Training Institute. As the primary agency responsible for education of Saemaul leaders, the Saemaul Undong Training Institute produced training materials. Training at the institute emphasized the spirit of diligence, self-help, and cooperation through group discussion, field trips, and farm skills training. Relevant documentary materials include textbook manuscripts, slide presentations on success stories, tape recordings The Archives of Saemaul Undong on display. Documentary Heritage 20 | 21

of lectures, lists of training course participants, activity records, group discussion Importance of Saemaul Undong Records charts, and verbal testimonials from the 1970s. What buttressed Saemaul Undong were rural communities’ passionate aspirations, voluntary participation, and intellectual revolution to achieve a better life. The Values of the Archives of Saemaul Undong communities’ passion for a better life was not just confined to individual and familial levels, but was translated into collective efforts for constructing a better community. Authenticity The Archives of Saemaul Undong are original documents that authentically deliver The Archives of Saemaul Undong are a body of historic documents portraying information on the contextual conditions under which the movement was conceived; the lofty endeavors of farmers and farming communities. They are a record of how it was carried out at village level; and what kinds of changes ensued as a result. rural development that took place during 1970–1979, describing how poverty- stricken villages, numbering about 34,000 nationwide, overcame the vicious cycle of Rarity destitution and backwardness. The archives convey success stories of the farmers who The Archives of Saemaul Undong cover handwritten authentic documents created by broke from the hardship of poverty and serve evidence of the national leader’s strong diverse stakeholders including the president, farmers, village leaders, and citizens, will and civil servants’ dedication. They are chronicles of rural development enabled representing various perspectives on the movement’s operation and successful by building upon the tradition of communal farming work, the improvement of farm attributes. Few parallels are to be found in the world. roads, restructuring landscape and ownership of farmland, farm mechanization, and dissemination of novel farming methods. They are records of a social and intellectual Integrity revolution, which annihilated the age-old fatalistic mindset and ushered in ownership The Archives of Saemaul Undong are preserved and managed by the National and a pioneering spirit. In addition, the Archives of Saemaul Undong bear witness to Archives of Korea and the Korea Saemaul Undong Center. The materials produced strides for women’s social participation and status in the countryside, empowered by by government agencies are stored at the National Archives of Korea; those from breaking away from traditional customs and actively participating in the movement. the Saemaul Undong Training Center, villages, and individuals are housed at—and continuously collected by—the Korea Saemaul Undong Center.

World significance Saemaul Undong showcases a triumphant cooperation between public and private, which was realized through the government’s considerable support and farming communities’ proactive participation. The movement brought about remarkable achievements over a short period, in implanting scientific farming methods, enhancing women’s social status, modernizing rural areas, and nurturing democratic consciousness. Saemaul Undong is attracting global attention for its contributions to both rural and national social development.

The rural development initiatives driven by community participation, which are manifest in the Archives of Saemaul Undong, provide insights for global poverty alleviation and international development assistance. These are widely cited as a reference for international development agencies and developing countries intent to achieve improvement in famine eradication, poverty alleviation, rural development,

and gender equality. English editions of Saemaul Undong motivational picture books. Document files related to Saemaul Undong. Natural Heritage 22 | 23

with the two opposing but complementary of yin and yang: everything on Enchanting Sceneries of the ground comes into existence by receiving energy both from up above—heaven, or yang—and from down below—earth, or yin. A waterfall connects the up and Waterfalls the down, or yang and yin. A look at cascading water invokes a sense of freedom, magnificence, and sublimity, engendered by the all-through vertical stream and the

Text & Photos by Lee Won-ho, National Research Institute of Cultural Heritage, Cultural Heritage Administration symmetric division of the horizontal space. The spectacular view grabs our full attention, imparting catharsis that refreshes and renews all.

Waterfalls Captured in Paintings

Waterfalls were a frequent subject of paintings from the Joseon Dynasty. Professional and literati painters, including Yi Gyeong-yun, Kim Myeong-guk, Yun Jeong-rip, Jeong Seon, Yi In-sang, and Kim Hong-do, produced a number of paintings centering around the motif of cascading water, called gwanpokdo. Such paintings symbolized the literati spirit that put a distance from the mundane world to live a harmonious life with nature. Such a lifestyle was highly aspired to by the Joseon literati, metaphorically expressed through the theme of waterfalls. While the word gwanpok means “looking at a waterfall against the background of nature,” a gwanpokdo, or a picture of gwanpok, mainly depicts a waterfall and a human gazing at the falling water, expressing one’s aspiration to break from the mundane world to get close to the truth.

Thus, taking a primary position in gwanpokdo are a waterfall and a human figure Jeongbangpokpo Falls in Jeju (Scenic Site No. 43). observing the falling water. In paintings from an earlier Joseon period, the human looks at the waterfall at a distance; however, the human approaches closer to the The Korean Peninsula has long been famous for scenic mountains rising waterfall toward the end of the Joseon era, suggesting the waterfall—rather than a majestically through the length of the peninsula, including Mt. Seoraksan, Mt. conceptual utopia—as a landscape feature that enhances the aesthetics of the painting. , and on Jeju Island, Mt. Hallasan. Just as numerous are waterfalls noted Another landscape factor is a rock, which contrasts with the falling water, adding for spectacular landscapes. A waterfall is formed when a river or stream drops vitality and maximizing the spectacle of the view. A pine tree—expressive of the over a steep rocky height or down a series of shallow steps on its course. literati’s fidelity and integrity—also frequently appears ingwanpokdo , emphasizing the symbolism of waterfall. Magnificent Waterfalls

At a waterfall, a ferocious stream of water ceaselessly drops over a vertical slope. State-designated Waterfalls The cascading flow of fiercely running water, thundering sound, and delicate mist and foam as it hits the bottom combine to create a magnificent waterfall landscape. The The Korean Peninsula is dotted with countless waterfalls renowned for beautiful falling water can be regarded as a manifestation of duality in the Asian philosophy of landscapes. Among them are the four state-designated ones in South Korea: yin and yang. This way of thinking conceptualizes the cosmos as a space overflowing Jeongbangpokpo Falls (Scenic Site No. 43), Biryongpokpo Falls (Scenic Site No. Natural Heritage 24 | 25

95), Towangseongpokpo Falls (Scenic and colonies of evergreen trees, deciduous trees, vine plants, and shrubs. Literally Site No. 96), and Daeseungpokpo Falls meaning a “pond of the Jade Emperor,” Cheonjeyeonpokpo is associated with a (Scenic Site No. 97). number of legends. One of them is about chilseonnyeo, or seven nymphs, who were said to descend from heaven and bathe in the pond beneath the waterfall. The Jeongbangpokpo is one of the three Chilseonnyeo Festival is annually held in Seogwipo-si to the present. most celebrated waterfalls in Jeju Island along with Cheonjiyeonpokpo and Cheonjiyeonpokpo is another most celebrated waterfall in Jeju, recognized Cheonjeyeonpokpo. Situated in Seogwi- for the highest number of Natural Monuments concentrated in a single place. The dong, Seogwipo-si, Jeongbangpokpo waterfall, 22 meters long and 12 meters wide, merges with the rugged precipice and is one of the 10 most scenic sites in subtropical and warm temperate forests to form a spectacular landscape. The area Jeju. The headwaters of the waterfall is around the waterfall is protected as a Natural Reserve, subject to strict bans on plant Dongheungcheon Stream; a historical collecting, logging, and animal poaching. There are a number of rare varieties of flora Towangseongpokpo Falls in winter. record can be found of a pond growing in the forest, including dampalsu namu (Elaeocarpus; Natural Monument named Jeongmoyeon situated in the No. 163), gasi ttalgi (Rubus hongnoensis), skeleton fork fern, sanyuja namu (Xylosma upper Dongheungcheon in the 15th- congestum), coralberry (Ardisia crenata SIMS), sanhosu (Viburnum awabuki K. century atlas Dongguk yeoji seungnam Koch). Furthermore, a habitat of giant mottled eels (Natural Monument No. 27) lies (Augmented Survey of the Geography of within the 20-meter-deep pond beneath the waterfall, and the subtropical forest around Korea). Jeongbangpokpo is known as the Cheonjiyeonpokpo is designated Natural Monument No. 379. only waterfall in Asia that comes down directly into the ocean, mixing with the As one of the state-designated waterfalls in South Korea, Towangseongpokpo surrounding oceanic landscape to create a is one of the 10 most scenic sites in Mt. Seoraksan, having Yukdampokpo and breathtaking scene. Vertically 25 meters Biryongpokpo waterfalls in its vicinity. Situated in Towanggol Valley south of and horizontally 10 meters, the water Nojeokbong Peak, Towangseongpokpo is preeminent for its grand scale: the waterfall cascading over a cliff of columnar joints is composed of three tiers—at 150 meters, 80 meters, and 90 meters respectively—320 goes well with the coastal landscape, meters from top to bottom. Access to the waterfall is normally restricted, but in winter Cheonjeyeonpokpo, literally meaning “pond of the Jade Emperor.” and sometimes gives birth to rainbows when the water freezes, it is open to ice climbers. The name Towangseong is noted reflecting the sunshine. Among the in the 18th-century geography book Yeojidoseo: “Towangseong Fortress: Located columnar joints near Jeongbangpokpo are east of Mt. Seoraksan. Legend has it that King Toseong built the fortress. There is a sea caves, adding wonders to the overall waterfall, which runs over stone cliffs for a very long height.” Seen from a bird’s-eye scenery. view, the Towangseongpokpo falls, which cascade 320 meters, creates a mesmerizing view. It is said that the falling water looks as if a strip of white silk is stretched over Although not registered in the a rock. The water flowing from Towangseongpokpo feeds into Biryongpokpo and national heritage list, Cheonjeyeonpokpo Yukdampokpo waterfalls. makes picturesque scenery surrounded by subtropical forest, which is itself Robustly cascading flows of water create enormously captivating views. designated Natural Monument No. 378. Appreciating the otherwordly sceneries created by waterfalls, Korean ancestors Renowned as a three-tiered waterfall, dreamed of a utopian paradise they desired to reach. In the present, the spectacular Cheonjeyeonpokpo is home to solipnan streams of waterfalls seem to reflect the tremendous economic heights modern Korean Cheonjiyeonpokpo Falls, one of the three most celebrated waterfalls in Jeju. (or skeleton fork fern; Psilotum nudum); society has achieved as well as the people’s aspirations for even better lives. Photo Gallery 26 | 27

National Treasures: Royal Palaces

Text by Cultural Heritage Administration Photos by Cultural Heritage Administration

The Main Hall of Jongmyo Shrine, enshrining ancestral tablets of 49 Joseon kings and queens.

The wooden structures designated National Treasures epitomize the finest forms of art and cultural expression of the time of their production. Buildings in royal palaces, in particular, are the concise expression of architectural technology, governing philosophy, and political ideology of the day, signifying the dynasty’s authority and splendor. They include Geunjeongjeon Hall and Gyeonghoeru Pavilion in Gyeongbokgung Palace; Injeongjeon Hall in Changdeokgung Palace; Myeongjeongjeon Hall in Changgyeonggung Palace; and the Main Hall of Jongmyo Shrine. As the main hall of the main palace during the Joseon Dynasty (1392–1910), Geunjeongjeon was a place where royal rituals including coronations and celebratory ceremonies were held. The Main Hall of Jongmyo, with a floor space of 1,270 square meters, was arguably the world’s largest timber structure of the time, constructed in a modest and unpretentious style in contrast to the splendid and decorative architectural style for other royal buildings and Buddhist structures.

Geunjeongjeon Hall of Gyeongbokgung Palace, a two-story structure of five bays both in front and on the side. Photo Gallery 28 | 29

Injeongjeon Hall of Changdeokgung Palace.

Myeongjeongjeon Hall of Changgyeonggung Palace has a hipped and gabled roof.

Gyeonghoeru, a pavilion built in a manmade pond located northwest of Geunjeongjeon Hall. Design Heritage 30 | 31

Women during the Joseon Dynasty stitched together multicolored scraps of Aesthetic Beauty of Jogakbo fiber to makejogakbo , or patchwork wrapping cloths. The craft of making use of leftover cloth scraps developed exclusively among ordinary people, rather Design than the gentry. Socially and spatially confined to their quarters under rigorous Confucian rules, women applied ingenuity and attentive care in patching Text by Heo Won-sil, Director, Museum of Korean Embroidery together cloth fragments in diverse colors and shapes into artistic patterns on Photos by Heo Won-sil & Good Image eminently utilitarian wrappers of many uses.

History of Korean Wrapping Cloths

The history of wrapping cloths—and of embroidery—is assumed to date back to 2,000 years ago during the Bronze Age, when textile production began. Goguryeo mural paintings from 1,500 years ago, in particular, portray figures wrapped in voluminous cloths, giving evidence to an age-old history of wrapping cloth making on the Korean Peninsula. Wrapping cloths were essential in everyday life for storing many household belongings in a limited space. Four distinct seasons on the Korean Peninsula required the packing and storage of out-of-season garments and beddings several times a year; people used wrapping cloths to make efficient use of limited space for everyday items that were temporarily not in use. Besides, gifts were carefully presented to others covered in wrapping cloth. As such, wrapping cloths have long served multiple functions in the daily life of Koreans. Sewing together pieces of fabric one stitch after another, Korean women perceived the process of making patchwork wrappers as an act inviting good fortune.

Patchwork Wrappers on the Global Stage

Korea, along with and Turkey, are the three countries in the world that still retain cultural practices related to wrapping cloths. Turkey’s traditional wrapping cloths have embroidered designs; dyed ones are found in abundance in Japan. Patchwork wrappers are unique to Korea. This distinctive Korean cultural artifact has been shown to the world through special exhibitions. There have been about 60 such exhibitions since about 30 years ago, attracting about seven million visitors. It is estimated that a successful exhibition produces a ripple effect reaching 30 times as many people as the number of actual visitors.

The patchwork wrapping cloth is often described in parallel terms with abstract artworks by Paul Klee (1879–1940) and Piet Mondrian (1872–1944). Though the

Red-hued scraps of cloth add vibrancy to an otherwise monotonal brownish color composition. Design Heritage 32 | 33

patterns, colors, and sensibility may look similar, Korean patchwork wrappers predate made from ramie. The ramie patchwork the works of the prominent Western painters. The international appeal of Korean wrapper is celebrated for its superlative women’s patchwork has been proven in several occasions. After a six-month exhibition spatial composition and simple color of jogakbo at the Powerhouse Museum, Sydney, about 10 years ago, commentaries scheme. When set against a backlight of noted jogakbo’s influence on local design products. Reports on a similar trend were gentle illumination, the ramie patchwork also made in Turkey after an invitational exhibition of patchwork wrappers in the exhibits a unique aesthetic sensibility, country two years ago. These examples illustrate the potential of Korean patchwork which is attributable to the texture of wrappers to serve as a source of artistic inspiration in the international community ramie and the stitching on overlapping in the future. Born in the past and recreated in the present, jogakbo embody Korean patches. ancestors’ innate artistic vision and creativity, being both traditional and modern, practical and artistic. As such, patchwork wrappers possess as much artistic value as readily displayed as plastic art works. But Aesthetic Value of Patchwork Wrapping Cloth whereas plastic arts are executed by first securing appropriate materials with The cloth scraps that are sewn together to form which to create an intended design, the a traditional patchwork wrapper come in mostly crafting of a patchwork cloth wrapper Ramie; dress wrapper; 84 x 81 cm Ramie patchwork wrappers are usually made of fabric scraps of monochrome color in various circular, rectangular, and triangular shapes evoking takes off from the raw materials found shades. the philosophical symbolism of heaven, earth, and available at hand. Thus the wrapping humans, respectively. Designs featured in patchwork cloths are to be valued twice over considering that limitations on raw materials do wrapping cloths embody the unbridled imagination of not limit the aesthetics and harmony manifested in the finished product. The skillful ancient women: fish and birds swimming side by side needlework and excellent aesthetic sense to assemble scraps of fabric to create a new in a pond in some, and in others birds are blooming product are attributes that elevate the craft of patchwork wrapper making to an authentic on flowering trees. The lyrics of a Korean folksong art form. graphically portray their imaginative power: “On a tree The needle, thimble, and pin cushion are the main tools for making branch are growing the sun, the moon, and the stars. patchwork cloth wrappers. Pick the sun, and make the topper; pick the moon, and make the lining; pick a star, and make the embroidery. Cover the edges with a rainbow, and complete a wrapping cloth.” An ardent admirer of the value of Korean wrappers, Kim Chun-su, one of the leading Korean poets of the late 20th century, once noted that the artistic sensibility epitomized in traditional patchwork wrappers far exceeds that of the West; the artworks are expressive of freewheeling imagination liberated by anonymity. The wrapping cloth is also recognized as an exemplar of minimalist art.

Born out of frugal habits of mind that find uses for textile scraps, the craft of patchwork cloth making is an ecologically friendly art form, and therefore has

potential to appeal to a new world seeking sustainability. The patchwork wrappers Ramie; 62 x 60 cm Ramie; 86 x 86 cm Ramie; 67 x 65 cm transmitted from the southwestern section of the country are made of silk cloth A jogakbo patchwork wrapping cloth embroidered Creative irregularities in the configuration of cloth Made of black ramie, this jogakbo is notable for with flower patterns on its four corners, front and scraps and the change of colors are what patchwork a flower pattern in the center and a symmetrical remnants, while the Ganghwa Island region in the northwest is known for wrappers back. wrappers have in common with plastic artworks. design. Foreigner's View 34 | 35

the program with contemporary popular music styles: I remember when in 2014 I was invited to perform with my team, Expats Samulnori Team, at the Nangye Gugak Festival in Yeongdong, we were surprised to play on the main stage in front of a big crowd. Our performance was well received. The reason for that huge crowd though were not us, nor the Korean Experiencing Korean Traditional traditional dancers who had performed prior to us; it was the concert of a popular music star they were waiting for. A performance of traditional Korean music, or gugak, played by musical Festivals instruments including the haegeum (two-stringed zither), daegeum (long transverse flute),piri (flute), andjanggu (hourglass drum). Some festival concepts do take a different Text by Hendrikje Lange, Korean National University of Arts, Dep. of Traditional approach: for example, the Dongpyeonje Sori Festival in Gurye and the Jeonju Sori Photos by National Intangible Heritage Center & Good Image Festival. Their core element is the idea to stage (but also other gugak genres) in the intimate and traditional surrounding of a hanok house, but both also present Gangneung Nongak, a traditional farmers’ musical performance. larger productions. In Jeonju the scope of the festival gets broadened even beyond Korea, by inviting other countries’ folk music performers. Korea has an amazingly abundant festival culture. Ranging from traditional music gugak to western classical music or Jazz, from dance to film, from martial arts to Personally I hope that the latter approach—to present traditional music in a setting handcraft, from Korean food to snow or mud, it seems there's no topic which cannot which is suitable for it—could be seen more frequently. I believe that in the long run be made into a festival. it is a more sustainable way to highlight the value and particular quality of these arts than trying to align them with the modern entertainment industry. In that dazzling array of events there are quite many festivals which feature, or at least include in some way, traditional folk performing arts, most prominently A whole other category than the above-described or nongak and the modernized version of it, samulnori, but also mask dance, music festivals is the seasonal folk festivals, which the repertory, including tight rope walking, or even shaman ritual music are held according to the lunar calendar: the lunar and dance. The festivals are mostly held in a contemporary or Western style setting: New Year Seollal , the first full moon's celebration on a stage, with all the usual technical equipment, seats for the audience, a fixed Daeboreum, the harvest and thanksgiving holiday performance length and time, etc. Chuseok, Danoje, which is held at the beginning of summer, or the various shamanic village and I have experienced some of these festivals as a performer and some as a visitor. fishing rituals, dodanggut, pungoje, etc., which have A trend I recognize, is the attempt to make these festivals and the traditional arts they been held throughout centuries. They might even feature more showy. Which means: brighter, bigger, faster, and louder. Following not be advertised as “festivals,” but I regard them Donghaean Byeolsingut, a village shamanic ritual from the east coast. the setting of TV shows it seems now to be an imperative to have at least one as prototypes of what a Korean festival is and they famous figure serving as an MC. Almost a standard is also a row of tents set up on are for sure the matrix of many of the folk performing arts which are now taught at the festival site in which “culture experience programs” are offered, such as trying universities and are increasingly performed on the international stages. out some traditional handcrafts, instruments or plays. This is not meant to educate foreign visitors in particular, but a way to educate Koreans about their own traditions. What sets these festivals apart is that they were not thought out and staged by an Again another way to bring Koreans in touch with traditional music is to combine event organizer, but have developed out of the community life over several centuries Foreigner's View 36 | 37

and through changing cultures. Thus they allow a look into the community's cultural The festival started at 2:00 p.m. with the gathering and religious history and identity, not in the sense of a re-enactment of the past, but on the village square where the gi gut, the greeting of the as a living tradition. The intimately intertwined blend of religious rituals, seasonal flag was held, after which the colorful procession of the food and drink, music and dance, clothing and handcraft form what in German is nongak band and guests proceeded to the holy old tree at called Gesamtkunstwerk, or a total work of art. The distinction between ritual and the village- entrance to hold the dangsanje ceremony, where entertainment, as well as performers and audience is blurred. These festivals are offerings, prayers and entertainment were presented to the basically held by the people for the people. They are part of the community life and guardian spirit believed to dwell in the tree. After a good take influence in it and they help form a common identity by generating common deal of drumming and dancing which set everybody in high Dangsanje, a village ritual for bringing about good fortune experience and knowledge. spirits, a prayer was read and representatives of the village, and chasing away evil spirits. musicians, as well as visitors were invited to offer a ritual I would like to describe one example of such a seasonal festival: Imsil Pilbong cup of rice wine and three deep bows in front of the altar table which had been set Daeboreum Gut that I had been visiting in February 2014. up on the foot of the tree. The procession went then on to visit another spot of great importance to the village, the water well, to hold the saem gut. Next spot to visit was one of the larger homes, situated little above the village, where the band leader, Imsil Pilbong Daeboreum Gut sangsoe, symbolically asked to open the gate (mun gut), after which they entered the court yard to perform madang balbi, a ritual meant to expel the bad and bring in the It is not one of the “big” festivals, but it features pilbong nongak, which is one of the good fortune to a household. The house wife offered makkeolli rice wine, food was country’s most representative six styles of nongak, or “farmers drumming and dance,” shared, songs were sung, and witty talks were exchanged. When night had fallen, the and is registered as Important Intangible Cultural Heritage No. 11-5. The festival is whole bunch of people went back down to the village. It was by then that the feeling held to greet the new year's first full moon. It is still largely community-based, even of being an observer had changed to a feeling of “belonging to.” though young drummers are called in to complement and reinforce the local nongak team. I assume that it is an abridged version of the original village festival, but it still At about 7:00 p.m., the highlight of the day, the pan gut, was held. This was the shows the core elements of the custom and also still maintains its ritual elements, actual “performance” part, during which the team showed various dance formations, which are the chasing-away of evil spirits and the prayer for good fortune. solos were performed by musicians and dancers and a hand-clapping game was played. The audience, standing in a large circle formed the stage for the pan gut but The festival site was the Pilbong village itself. To welcome visitors, a small also got involved in dancing and cheering on the performers. Around 10:00 p.m. the information booth was installed and a flyer, introducingpilbong nongak and explaining bonfire was lit, accompanied by thenongak band and the sound of the teapyeongso, the different parts of the festival, was at while people were silently making a wish for the new year. hand. Some simple food and drink and some traditional activities to try out were This example shows that these folk festivals are not isolated islets of olden prepared as well. A microphone was times. They are influenced by contemporary lifestyle and modern festival formats. used only at two occasions, during the Intangible heritage does only exist as long as it is lived by the people. Living a dangsanje ceremony and during pan gut tradition means to fill it with meaning and purpose, be it as an individual or as a for the (conical oboe) player community. So inevitably a tradition will adapt and change according to the people and later the daegeum (long transverse who live it. Experiencing these genuinely Korean events is a whole other thing than flute) performance of a guest musician. A just seeing a great performance or being entertained. Being involved in the organism stage did not exist, though the large field, of such a festival in its multifold and complex entirety lets me grasp more than what where the pan gut was held at night, was is teachable and adds depth and meaning to the understanding of Korean traditional Imsil Pilbong Nongak, a farmers’ performance from Pilbong, Imsil in Jeollabuk-do Province. illuminated with floodlights. music. Intangible Heritage 38 | 39

Haenyeo Culture

Female diving began in the coastal areas of Jeju around the 4th century and had evolved into a full-blown occupation by the mid-19th century. Haenyeo life is structured around jamsuhoe, or self- organized associations, which decide their members’ work ethics and regulations. Working in groups, haenyeo—equipped with nothing but the traditional fishing basket taewak—dive into waters as deep as 20 meters while holding their breath for about two minutes; they do the diving, usually, for four hours a day, 15 days a month. As of 2012, there were 4,754 registered female divers belonging to 100 fishing village cooperatives, or eochongye, who are classified into high, middle, or low-skilled categories. From the late 19th century, women divers of Jeju expanded their operational boundaries, advancing into other sections of the Korean Peninsula and other

Haenyeo, or women divers, heading out to sea. countries for seasonal work. The term haenyeo culture encompasses a comprehensive range of tangible and intangible heritage which has accrued over time as women divers of Jeju have carried out their The Haenyeo and their Culture profession, generating a trove of tradition including shamanic rituals, songs, the way they make decisions, and lifestyles. The tangible and intangible heritage associated

Text by Go Chang-hun, Professor, Jeju National University with haenyeo is also referred to as bulteok culture, Photos by Go Chang-hun in that their work at sea—preparing for diving, taking a rest, finishing up the operation, and holding Jeju Island, a natural heritage site on the World Heritage List, is noted for meetings—centers around bulteok, their makeshift stunning natural landscapes. What attract as much attention as the island’s open-air dressing rooms at the seashore. breathtaking sceneries are haenyeo, female divers who plunge into the sea to harvest seafood. Female divers and cultural practices associated with them Female diving was actually prohibited during comprise a unique aspect of Jeju Island, which cannot be found anywhere else the Joseon Dynasty (1392–1910) under Confucian in the globe. strictures limiting women’s activities only to the indoors. Despite the constraint, the female diving A boatload of women divers set out to sea in this archival photograph. Intangible Heritage 40 | 41

practice developed into a professional vocation in the distinct socio-environmental of gender equality: The New York Times ran context of an island, where people, regardless of sex, should proactively face up to articles on female divers in Jeju’s subordinate whatever situations are available to them for survival. In the mid-19th century, as islets of Udo and Marado in 2005 and in 2007; marine resources in the waters of Jeju Island came to be overburdened by encroaching and the International Federation of Business modernized Japanese fishing boats, male divers turned to more profitable jobs, hiring and Professional Women (BPW International) on as fishermen for large fishing boats. Left on the island, women divers joined held a discussion on this practice in 2014. forces to form self-help associations, and worked to maintain and develop their diving practice into a professional female vocation. They did not just passively adapt Political value can be identified as well. to their given environment, but exhibited initiative to carry out their profession. As The way female divers in Jeju organize After diving in cold waters, haenyeo warm up around a bonfire on the beach. professional workers, Jeju female divers, in search of more lucrative livelihood, and operate self-organized associations, or advanced into other parts of the Korean Peninsula and out to other areas, as far as 10 jamsuhoe, can be analogized with citizens’ coastal regions of Japan, and also Shanghai and Qingdao in , and Vladivostok in assemblies, suggestive of the roots of the Russian Far East. democracy. Haenyeo’s political potential based on their democratic tradition was manifested when they staged a four-month-long protest Values of Haenyeo Culture in 1932 in order to protect their fundamental rights. Furthermore, it is also notable that Jeju One of the outstanding values of female diving practices in Jeju can be appraised female divers carried out operations in Dokdo

from the perspective of equitable gender roles. Women in Jeju drew on their labor every year in the 1960s, asserting Korea’s Their day’s work done, women divers pack up their gear to go home. to maintain the island’s fishing grounds, and created and retained a specific ownership of the disputed island. female profession. This value becomes more accentuated in light of prevailing Confucian ethics of the time, which imposed strict restrictions on outdoor activities of Female diving’s economic value is widely recognized. It is no exaggeration to women. The international community has noted the value of haenyeo culture in terms say that haenyeo used to support the entire economy of Jeju Island in the past. The amount of international remittances female divers sent to Jeju from many other Asian countries they were operating in was more than half of the island’s income in cash during the Japanese colonial period (1910–1945). When the island’s economy was left in tatters after independence in 1945, they gave donations and built an elementary school (Onpyeong Elementary School). When the economy of the entire country suffered a severe crisis in the late 1990s, the women divers of Jeju played a supportive role in the island’s recovery from the downturn. Their international operations in Japan and other countries are still ongoing, making contributions to the economy of the island.

Cultural value is found in haenyeo’s role as carriers of traditional knowledge and wisdom. While performing their job, female divers have safeguarded collective lifestyles, transmitted associated cultural practices, and embodied harmonious relations between humans and nature. From an ecological viewpoint, they serve as guardians of the oceanic environment through continuous efforts to maintain and conserve more than 100 fishing grounds in the coastal waters of the island. For the

Female divers in Jeju are organized around jamsuhoe, or self-organized associations. Intangible Heritage 42 | 43

purpose of safeguarding the marine environment of Jeju, joining the Marine Protected be applied for the support of female Areas (MPAs) is worth considering as a protection policy. divers. Along with these efforts, a diverse range of associated occupations should be fostered at the governmental Sustainable Transmission of Haenyeo Culture level, including a new generation of haenyeo, haenyeo culture transmitter, Statistics from the Jeju government indicate that the income generated by village village fishing ground manager,haenyeo fishing grounds plummeted from 30 billion won (approximately 30 million U.S. cultural interpreter, haenyeo safety dollars) in 1995 to half that amount 10 years later in 2005, which was attributable manager, sustainable oceanic ecosystem to worsening pollution in the fishing grounds. The coastal conservation policy manager, and sustainable fisher-women. A taewoo raft used in collecting the catch by haenyeo divers is displayed overhead at the Jeju implemented for more than six years pushed the income back to about 20 billion won To bolster the nurturing of various Haenyeo Museum. Made traditionally of fir logs trussed together, the rafts are very much a part in 2011. However, there are further factors that stand in the way of safeguarding the vocations, issues about coverage for of Jeju’s haenyeo heritage. female diving tradition of Jeju. More than 98 percent of the haenyeo are over 50 years occupational insurance and payment of old; the profession of diving is not covered by occupational insurance; the young occupational allowances should also be resolved. generation regards diving as a hazardous, difficult profession, and avoid succession to their elders’ vocation. Furthermore, worsening depletion of marine resources results Meanwhile, cultural practices associated with haenyeo have been shared with in decreasing incomes. other parts of the world through cooperative programs and international meetings. The Global Peace Bulteok Assembly was launched in July 2010, where students Various efforts are being made to inject vitality into the transmission and from Hokkaido and from Jeju National University made presentations. Since 2010, development of the female diving practice and its associated culture. Haenyeo schools the assembly has expanded the field of participants to include undergraduates and were established to nurture future female divers: one in Gueom-ri in the subordinate graduates from China and Poland, and in 2014 to cover international high school administrative region of Jeju-si, and the other in Beophwan-ri in Seogwipo-si. students. A certificate program forhaenyeo cultural interpreters was launched in Village-level programs are in preparation, where trainees live in the same space as August 2013, and has been operated in association with the Global Peace Bulteok professional female divers and gain first-hand lessons from them. Assembly. The BPW International Congress held in May 2004 allocated a session for Jeju female divers, where a video was shown, featuring young women in East Timor There are no divers in their 30s or younger to be found in most of Jeju, except for practicing primitive subsistence diving just as Jeju’s haenyeo had done. A proposal only a few areas including Udo and Marado. Policies should be put in place to support was made for international support for them. The World Association for Island the young generation of women to consider diving as one of their vocational options Studies, based in Jeju, put forward a proposal at the 2014 UN SIDS (Small Island and to inspire a sense of occupational Developing States) Conference held in Apia, Samoa, that international education pride about the profession of diving. programs for female divers should be carried out with the support of UNDP. Back in If haenyeo communities are willing to 2002, coinciding with the FIFA World Cup, academic exchanges for female divers implement training programs, these in Korea and Japan (called ) were initiated, and the Jeju Haenyeo Festival was efforts should be actively encouraged and launched. A Jeju conference on international haenyeo studies to be held in June 2016 fully backed in administrative terms. In is intended to bring the 2002 national event of the “First Jamnyeology Conference: consideration of severe threats facing the Values of Women Divers and Their Cultural Heritage” to an international level. An profession in terms of its continuation international film festival for oceanic peace will be organized to create an arena for into the future, the Ordinance on the sharing documentaries on Jeju haenyeo, made in Korea, the United States, Japan, Safeguarding and Transmission of Australia, and European countries, and for exchanges of opinions to take place. Haenyeo Culture, enacted in 2009, should Haenyeo in full diving gear head to their boat that would take them to the day’s diving spot. KOREAN HERITAGE Quarterly Magazine of the Cultural Heritage Administration

Cultural Heritage Administration, 189 Cheongsa-ro, Seo-gu, Daejeon, Republic of Korea Tel | 82-42-481-4735 Fax | 82-42-481-4759 http://english.cha.go.kr

Printed | June 15, 2015 Published by | Cultural Heritage Administration Republic of Korea Publication | Director of International Cooperation Division management Content | Shin Sung-hee coordination Translation | Park Jung-eun Copy editing | Teresita M. Reed Design ∙ Editing | Graphickorea Co., Ltd Printed by | Graphickorea Co., Ltd

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