Podcasts about pansori

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

La Corée du Sud met l'art contemporain à l'honneur. La plus grande biennale d'art contemporain d'Asie réunit plus de 70 artistes internationaux ainsi que les pavillons de 31 pays. Le commissaire d'exposition est français. Nicolas Bourriaud a été choisi pour orchestrer cet événement qui marque son 30e anniversaire, sous le thème du Pansori, une forme dramatique d'art musical coréen. À lire aussiBiennale d'art contemporain de Lyon: «Les voix des fleuves» est «en apparence une biennale paisible»

La Corée du Sud met l'art contemporain à l'honneur. La plus grande biennale d'art contemporain d'Asie réunit plus de 70 artistes internationaux ainsi que les pavillons de 31 pays. Le commissaire d'exposition est français. Nicolas Bourriaud a été choisi pour orchestrer cet événement qui marque son 30e anniversaire, sous le thème du Pansori, une forme dramatique d'art musical coréen. À lire aussiBiennale d'art contemporain de Lyon: «Les voix des fleuves» est «en apparence une biennale paisible»

Jocelyn Clark is a performer and scholar. Before becoming a professor at Pai Chai (培材) University in South Korea, she founded and directed the CrossSound new music festival in Alaska, and the new music touring ensemble IIIZ+ (guzheng, koto, gayageum, and percussion), organizations through which she commissioned and/or premiered over 30 new works for Korean gayageum. Next to her work in contemporary music she is the first foreigner without Korean heritage to become an official government disciple in the National Heritage system, in the genre gayageum sanjo and byeongchang [伽倻琴散調/竝唱]. As a scholar, Clark has spent over 25 years in Japan, China, and Korea studying traditional musics. She holds a Ph. D. from Harvard University in East Asian Languages and Civilizations where she wrote on the language of pansori, focusing on the tension between its oral transmission/low social standing and its tenuous relationship to Chinese classical poetic texts of the High Tang. Other research interests include music of place, aesthetics, and contemporary “national music” performance practices in Northeast Asia in the age of AI. She has published in academic journals such as The World of Music, Asian Musicology, and Perspectives on Korean Music. She writes an opinion column for the national newspaper the JoongAng Daily. The introduction music is taken from Jocelyn playing here: https://www.youtube.com/watch?v=hAQ6u3-N0YY Discussion Outline 0:00 Starting a Korean Journey 14:05 Understanding Korean Music 22:00 Explaining Pansori 33:45 Pansori, Gender, and Change 38:36 Cultural Transmission and Education 45:15 Concepts and Social Recognition of Korean Culture 51:55 Seopyeonjae (서편제) and The Sound of a Flower (도리화가) 58:30 Korean Sounds 1:04:40 Aesthetics: More than Music 1:17:40 The Korean Language 1:22:30 3 Minutes Speaking Korean 1:25:45 Live Concerts 1:35:10 A Chinese Lesson   Korea Deconstructed by David Tizzard ▶ Get in touch: datizzard@swu.ac.kr ▶ David's Insta: https://www.instagram.com/datizzard/ ▶ KD Insta: https://www.instagram.com/koreadeconstructed/ ▶ Yunseo Jeon: https://www.instagram.com/y_jeon_s/ ▶ Support us on Patreon: https://www.patreon.com/user?u=62047873 ▶ Watch us on Youtube: www.youtube.com/@UCXcdboOUCnCFnrAOF5dV1sg ▶ Listen on iTunes: https://podcasts.apple.com/kr/podcast/korea-deconstructed/id1587269128 ▶Listen on Spotify: https://open.spotify.com/show/5zdXkG0aAAHnDwOvd0jXEE ▶ Listen on podcasts: https://koreadeconstructed.libsyn.com

The final TCAF interview special! In this episode, you'll hear the 1:1 panel that Jimmy moderated with Mylo Choy. They talked about Mylo's debut graphic novel MIDDLE DISTANCE, running, music, humor in the book, balancing the mind and just what is Pansori? Thanks to TCAF for a great time and to all of my interviewees for taking the time to hang and talk. One last TCAF interview special is on the way next! Also, get a hold of us! Thanks for listening!

“Pansori” (판소리) heißen die ältesten korenischen Volkssagen . Sie werden sowohl erzählt, als auch gesungen. Warum sind Pansori so interessant? Die Geschichten vermitteln die traditionellen Werte Koreas, die bis heute noch wichtig sind. Hört rein in die Geschichte der schönen Chunhyang (춘향)!

Heute gibts wieder eine koreanische Geschichte für euch! Genauer gesagt, eine Geschichte des traditionellen Pansori. Simcheongga 심청가 oder "Die Tochter des Blinden" führt euch ein, in die Welt der Pansori!

En Corée du Sud s'est tenu mardi 21 novembre le premier festival international du pansori, un art traditionnel coréen mêlant histoires chantées et percussions. Trente chanteurs se sont relayés pendant 20 heures de représentation, dont parmi eux Laure Mafo. Une Franco-Camerounaise qui a appris depuis 2017 le pansori. C'est après avoir découvert cet art à Paris qu'elle a décidé de s'y former à Séoul où elle vit aujourd'hui. Un parcours exceptionnel entre trois cultures, camerounaise, française et coréenne, qui se mélangent dans son chant. De notre correspondant à Séoul,Derrière cette voix, non pas une diva coréenne, mais bien la Franco-Camerounaise Laure Mafo. Nous l'avons rencontré après sa performance au premier festival international de pansori à Séoul. Si elle a appris cet art en 2017, son amour des chants traditionnels remonte à son enfance au Cameroun.« Maman a toujours adoré chanter donc depuis toute petite, j'ai toujours chanté avec elle », raconte Laure Mafo. « Toutes les vacances, elle nous envoyait au village pour aider ma grand-mère pour les récoltes et apprendre la langue maternelle. Et pendant la récolte, on a tout le temps des chants folkloriques qu'on chantait. Quand on allait aux champs, on chantait sur le chemin. Aussi loin que je me souviens, j'ai toujours adoré chanter. Donc, le pansori, c'est juste une continuité dans mon amour du chant. »Une proximité entre le pansori et les chants bamilékésDe ces chants bamilékés de son enfance, Laure Mafo en a fait un lien avec sa pratique du pansori aujourd'hui, comme une continuité dans les cultures camerounaises et coréennes.« Par rapport au pansori, mon grand-père me racontait toujours des histoires dans lesquelles il y avait une morale. La différence, c'est qu'il n'y avait pas de rythme, c'était juste une histoire », se souvient l'artiste. « Mais dans le pansori, il y a le rythme associé au chant. Il y a les parties parlées puis les parties chantées. Derrière chaque chanson, chaque histoire du pansori, il y a toujours une morale. Donc, c'est aussi une proximité qu'on a avec le Cameroun. »Fusion des culturesDans sa représentation au festival international de pansori, Laure Mafo y a intégré une partie chantée en français. Son parcours mélangeant trois cultures, elle souhaite aujourd'hui les combiner dans sa pratique du pansori.« Je dois encore apprendre beaucoup de choses ici pour le pansori. Mais de temps en temps, lors de concert, je chante un peu les chants traditionnels camerounais », souligne Laure Mafo. « Avec le temps, quand j'aurai fini d'apprendre le pansori, j'aimerais bien faire de la fusion entre les différentes chansons. Faire même de la collaboration avec des chanteurs traditionnels du Cameroun et en France aussi puisque j'ai les trois cultures. Pouvoir travailler avec ces trois cultures, je pense que ce serait quelque chose de bien », ambitionne-t-elle.Aujourd'hui, Laure Mafo est une véritable star du pansori, en témoigne l'ovation après sa performance.

As broadcast October 23, 2023 with a boatload of shiny new goods and cellophane scents.  Tonight, as we are wont to do, it's time to unwrap what's been dropped from the audio multiverse and see what we liked, starting with our dear friend out of San Diego Scoobert Doobert, whose new album MOB just dropped on Friday.  We also had new jawnies from Haley Johnsen, Kurt Vile, and BADBADNOTGOOD to take us through hour one in style.  Part 3 the big new tunes out this week had some decent selections, with Sampha's new album Lahai being a notable new record (and the artist's first in years), just out days ago.  For the final stanza we had more from the local Korean realms to finish things off with heart signs, big highlights being Say Sue Me's latest single (what a banner year they've had), along with Balming Tiger's new record that slapped down to earth on Friday. #feelthegravityNew Muses Monday10/23/2023Tracklist (st:rt)New Faves - Part 1 & 2Part 1 (00:00)Scoobert Doobert – Department of Motor Vehicles (DMV)Pelicat – Still AroundQ – HelloKevin Abstract – What Should I Do?BADBADNOTGOOD feat Charlotte Day Wilson – SleeperBombay Bicycle Club feat Damon Albarn – Heaven  Part 2 (31:30)Haley Johnsen – That Ain't LoveDallas Tamaira – LevelsJapan, Man – Why Do People ChangeBeabadoobee feat Laufey – A Night to RememberKurt Vile – Another good year for the rosesLEENALCHI – Ultimate Prescription  Part 3 – Poppin' Off! (62:38)Charli XCX feat Sam Smith – In The CityThe Chainsmokers feat GRACEY – Think of UsSampha – SuspendedKali Uchis – Te MataFuerza Regida – EXCESOS The Rolling Stones – AngryThe Rolling Stones – Mess It Up Part 4 – Fresh K Cuts (93:56)Sung Si-kyung feat Naul – Even for a momentYuna – Bad IntentionsSUNMI – STRANGERBalming Tiger – Moving ForwardKACHISAN – Rock, Paper, Scissors!Say Sue Me – 4amcotoba – water blue indigo

Legends from the Pacific: Book 1 is available on Amazon. Get your copy today. https://amzn.to/3CIYo6m (Amazon Affiliate link) What is Chunhyang? Chunhyang, also known as Chunhyangjeon, Chunhyangga, is a treasured Korea love story about a couple in the Joseon time period, from different classes. Discover this cultural treasure and how it reflected Korea's Joseon period.   Featured Song: "Lifetime", by The Kapena Kids, courtesy of HI*Sessions Join our email list https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Visit our store: https://legendsfromthepacific.com/store Theme Song: "Mystery" by Tavana, courtesy of HI*Sessions Sound Effects: Sound Effects Factory Music Coordinator: Matt Duffy AKA DJ TripleBypass Link to this episode on our website: https://legendsfromthepacific.com/147-chunhyang Please give us a rating, write a review, subscribe, follow us, and share us with your friends and family. ***** Join our email list and claim your exclusive unaired episode today: "Hawaii's Faceless Ghost - Mujina" (Unaired Episode) https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Listen to unaired Hawaiian stories, and Kamu's paranormal experiences by becoming a Patreon supporter today: https://www.patreon.com/legendsfromthepacific Send your unusual Pacific experience to be shared on a future episode. https://legendsfromthepacific.com/feedback  Visit our Fan Art Section: https://legendsfromthepacific.com/fan-artwork Instagram: legendsfromthepacific Twitter: LegendsPacific Follow Legends from the Pacific wherever you listen to audio. → Follow via Apple Podcasts: https://podcasts.apple.com/us/podcast/legends-from-the-pacific/id1501091122 → Follow via Google Podcasts: https://podcasts.google.com/search/legends%20from%20the%20pacific → Follow via Spotify: https://open.spotify.com/show/5qhdkYUl8R7hSw6OZYJLye → Here's our RSS feed: https://legendsfromthepacific.libsyn.com/rss www.LegendsFromThePacific.com

Wir reisen in die 90er Jahre. Was waren die 90er für eine Zeit in Südkorea? Es war eine Zeit des schnellen Wandels. Die Demokratisierung des Landes Schritt voran, man holte die technische Entwicklung auf, das Internet war das neue Tor zur Welt, es entstanden erste Multiplex-Kinos und große kapitalistische Unternehmen wurden zu den großen Playern in der Filmwelt. 1993 wurde der bis dato erfolgreichste Film der südkoreanischen Filmgeschichte veröffentlicht. Seopyeonje von Regisseur Im Kwon-taek, ein Film über eine Familie von Pansori Musiker*innen. Der Film dreht sich nicht nur diese traditionelle Kunstform und die Frage, wie weit Menschen gehen, um künstlerische Perfektion zu erlangen. Seopyeonje ist auch ein Film über sozialen Umbruch. Er spielt in den 60er Jahren, als die klassischen koreanischen Künste noch unter den Spätfolgen der Kolonialzeit litten und zugunsten des westlichen Einflusses auf die Popkultur verdrängt wurden. Der Entstehungszeitpunkt des Films in den 90er Jahren war ebenfalls eine Zeit des Umbruchs: Mit Kim Young-sam hatte zum ersten mal seit Jahrzehnten wieder ein Zivilist das Amt des Präsidenten inne. Südkorea war auf der Suche nach einer Identität in der globalisierten Welt und durch Seopyeonje konnte man sich auf seine traditionsreiche Geschichte besinnen - was den großen Erfolg des Films erklärt. 2003 wurde Pansori von der UNESCO in die Liste der Meisterwerke des immatriellen Erbes der Menschheit aufgenommen. In der Folge argumentieren Fiona Caesar (Project K) und ich, dass der Film daran wohl nicht ganz unbeteiligt war.E-Mail: kinokorea@gmx.deTwitter: @kinokoreaInstagram: @kinokorea_podcastLetterboxd: kim_chiHomepage des Korean Film Festivals Links und Literatur:Seopyeonje (1993) - der ganze Film auf dem Kanal des Korean Film ArchiveChung Sun-ill, Im Kwon-taek (2007)Südkorea: Comeback des Pansori-Gesangs (Arte Doku)

Vǫluspá - The Prophecy of the Seeress from the Poetic Edda is one of the most well known texts from Norse mythology. But how could this oral poem have been performed? Kersti Ståbi, Swedish folk singer and oral storyteller explored this question in her master's degree. Searching for a way to be a tale-singer in her own mythological tradition, she looked to living practices in Korea, India and Kyrgyzstan. In this episode she discusses this process with us, the interplay between copying and creating, and the paradox of trying to recreate something that's not possible to recreate. Kersti Ståbi kerstistabi.comThe Vǫluspá projectkerstistabi.com/voluspa Vǫluspá Pansori first listener: Göran Hemberg Vǫluspá Pandvani first listener: Mikael ÖbergVǫluspá Pandvani freebass accordionist: Leif Ottosson Pandvani storytelling tradition clip: Ritu Verma with ragi (first listener) Uday Ram Gandharvahttps://www.youtube.com/watch?v=JrdPPuTaWagManas storytelling tradition clip: Nazarkul Seidahmanovhttps://www.youtube.com/watch?v=ibtAcZvcgk4Pansori storytelling tradition clip: Jen Shyuhttps://www.youtube.com/watch?v=LnKg7_gqV-4 REFERENCESVǫluspáhttps://en.wikipedia.org/wiki/VöluspáManashttps://en.wikipedia.org/wiki/Epic_of_ManasPansori https://en.wikipedia.org/wiki/PansoriPandvani/Pandavani/Pandwanihttps://en.wikipedia.org/wiki/PandavaniBifrǫst festival https://www.bifrostfestival.comFornyrðislaghttps://en.wikipedia.org/wiki/Alliterative_verse#FornyrðislagHexameterhttps://en.wikipedia.org/wiki/HexameterOld Norsehttps://en.wikipedia.org/wiki/Old_NorseWalter Ong (Orality and Literacy - book)https://en.wikipedia.org/wiki/Walter_J._OngThe Singer of Tales (Book) https://en.wikipedia.org/wiki/The_Singer_of_TalesHomeric Questionhttps://en.wikipedia.org/wiki/Homeric_Question

Le second épisode : https://anchor.fm/seoul-connect/episodes/31-bis---Laure-Mafo-Chanteuse-de-Pansori-professionnelle-e1fum22 Dans ce nouvel épisode, j'ai le plaisir de vous retrouver en compagnie de Laure Mafo. Une vie professionnelle déjà entamée, Laure découvre le Pansori et prend la décision d'en faire son métier. A plus de 30 ans, elle quitte tout et s'en va apprendre ce type de chant traditionnel en Corée du Sud. Dans cet épisode en 2 parties, Laure nous partage son expérience en Corée du Sud ! La chaine youtube Bonjour Pansori : https://www.youtube.com/channel/UCQUkXxc5lxfyRczrUK1JbLg Instagram de Laure : https://www.instagram.com/lacameraseoul

Le premier épisode : https://anchor.fm/seoul-connect/episodes/31---Laure-Mafo-Chanteuse-de-Pansori-professionnelle-e1fulvc Dans ce nouvel épisode, j'ai le plaisir de vous retrouver en compagnie de Laure Mafo. Une vie professionnelle déjà entamée, Laure découvre le Pansori et prend la décision d'en faire son métier. A plus de 30 ans, elle quitte tout et s'en va apprendre ce type de chant traditionnel en Corée du Sud. Dans cet épisode en 2 parties, Laure nous partage son expérience en Corée du Sud ! La chaine youtube Bonjour Pansori : https://www.youtube.com/channel/UCQUkXxc5lxfyRczrUK1JbLg Instagram de Laure : https://www.instagram.com/lacameraseoul

Today, we are honored to be speaking with musician and professor Dong-Won Kim. Our discussion begins with his formative days, forged from the turmoil of 20th century Korea, onward to his realization of the depth of meaning found at the heart of traditional commoner's music; and entryways to his creative space. We also discuss the chemistry of creation, intention, emptiness, the act of re-booting oneself, and the serendipity found in the flow of time and events. The twists and turns of this uncommon path blazed by Dong-Won Kim leave us with no other way to sum up this inspiring personage than alchemical. Join us on this adventure of transmutation. If you like what we do, please support your Usual Pets on Patreon: https://patreon.com/usualpets.You can also find us at https://usualpets.com and visit us on Instagram, Facebook, or at Podbean. Please let us know what you think of our independent production. Dong-Won Kim—Links FILM Intangible Asset Number 82 ( Emma Franz, Dir., 2009). Trailer; Film on-demand ($8.00 USD):  SILKROAD ENSEMBLE (with Yo-Yo Ma) https://www.silkroad.org/about Bio: "Since 1984, Dong-Won Kim has studied various forms of traditional music, such as farmer's drumming and dance, and shamanic music. His main instrument is Janggu (aka Jang-go, janggo, changgo, seyogo (slim waist drum), the most representative drum in traditional Korean music), Vocals, Composer. He is a practitioner of Pansori accompaniment, and expositor of music theory inspired by great Korean music masters. By participating in many intercultural projects, he is committed to sharing the profound beauty of traditional Korean culture and music with the world. Kim currently teaches music online as a professor at Wonkwang Digital University. He has also written several fairytales for children and was featured in the documentary film, Intangible Asset Number 82 (2009)." https://www.silkroad.org/artists-dong-won-kim MUSIC Performance: Chuncheon Arts Festival (2021) https://youtu.be/NVhu_yqHJhU Live Performance CD: "Over the Mountain," Dong-Won Kim and James McGowen (2018) https://amzn.to/3BUfFXs Live Performance CD: Trio CaBiKi "Wild Silence" (2016) https://bit.ly/304Kig8  (Jeff Cairns, Jeff Bird, Dong-Won Kim. Mixed by: Jeff Cairns / Richard Gilbert, BigFish Studio, Kumamoto, Japan, mastered by Richard Gilbert) SOCIAL Facebook: Dong-Won Kim

Mila Konomos is a wife, mother, artist, poet and activist. She is also an transracial and international adoptee. Mila was adopted as a baby in South Korea by a military family and brought to the United States. As she grew and began school, she quickly realized that she was not like the other children. Mila gives us unique insight into what it feels like to be an international, transracial adoptee. She shares her struggle of feeling like she didn't fit in, and her extreme loss of identity. Even though her parents loved her they could not understand or help her work through this pain. She turned to writing poetry as a way of trying to make sense of what she was feeling. This is Mila's story of coming to terms with being adopted, connecting with her Korean heritage and the search for her birth mother. Her latest project “Empress Han” is a testament to that journey. It is an experimental exploration where Mila adapts her poetry to music and vocals. Inspired by the traditional Korean art form of storytelling called Pansori, "Han" is a direct reference to the Korean cultural concept of han, which has been defined as "a traumatic loss of identity," both collectively and individually. It has also been described as an intense angst and longing due to unresolved injustice, pain, and suffering. Mila expects to launch Empress Han early next year. To learn more about Mila, and to get updates on release dates visit: https://theempresshan.wixsite.com/empresshan --- Send in a voice message: https://anchor.fm/sowpodcast/message Support this podcast: https://anchor.fm/sowpodcast/support

Christian ist wieder da! Für einen Gastauftritt konnte das Gründungsmitglied nochmal vor das Mikrofon gelockt werden. Und wir reden über einen Film voller Gesang. Das Gespräch dreht sich um die vertrackte Familiensituation, um (geplatzte) Träume, dem sich Annähern an Traumata - Auch das Wiedersehen bzw. das Wiederhören (um das hier auch richtig doll auf eine Metaebene zu hieven) ist zentraler Bestandteil des Films und auch unseres Austauschs. Zu der Musik empfohlen sei folgende Episode von Thea Suh: DonnaSori KBites: Die fünf Pansori - traditionelle koreanische Musik. Sopyonje - Die blinde Sängerin bei der OFDb* | letterboxd * Wenn ihr über den Link etwas im OFDb-Shop kauft, erhalten wir eine kleine Provision. Unser bescheidener Dank gebührt euch. Neben physischen Veröffentlichungen ist der Film kostenlos und legal in der Originalversion mit englischen Untertiteln beim YouTube-Kanal des Korean Film Archive zu sehen: HIER. Wiederaufführung: Webseite | Twitter | Instagram | fyyd | Apple Podcast | Spotify | letterboxd-Liste der besprochenen Filme

We're all still transitioning to 2021 and I do believe that all of us are hoping for a better year. Let's all hope for the best while focusing on the things we can control. As for me, right now, the only thing within my control is what content I put out on this podcast and so here we go with a new K-drama that is still airing as of date. Hopefully you've seen it already, but if not, don't worry. There are no spoilers in this episode. The K-drama is none other than Mr. Queen ;)00:00 monologue, introduction, and we're still not over with new year greetings02:40 proper discussion begins here, general info about Mr. Queen, some other historical dramas I've seen in the past08:35 Korea adapting TV show concepts or ideas from other countries, also who's excited for Korean Money Heist10:40 general plot discussion (NO spoilers ^^), some personal theories about where this is going, what is Bonghwan's struggle, cast21:10 language, culture, song, and whatever discussion - please see below for more detailsand more!!!For more information about the drama you can check out its Asian Wiki page: Mr. Queen - AsianWikiDid you like this episode? Or perhaps, do you have questions?Send us a tweet @RomeJuanatas or @kingkapodcastYou can also follow this Facebook Page: https://www.facebook.com/kingkapodcastor follow the podcast on IG: 킹카 King of K-Drama (@kingkapodcast)For those of you who are interested to check out my YouTube channel: Rome Juanatas - YouTube-----**Vocabulary Words of the Week**1.  마마 綾綾 Your[His, Her] Majesty[Highness]a word used to acknowledge the concubine of a government officiala term formerly used after the title of king and his family in the sense of honor2.  대왕대비 大王大妃 grand queen dowagerking's grandmothersample sentence:대왕대비마마, 용서하여 주시옵소서Our grand queen dowager, please grant me forgiveness.3.  선비 classical scholarsample sentence:좀 선비님 같네요.You do look like a classical scholar4. 야생마 野生馬 wild horse, mustang, baroombysample sentence:It is almost impossible to train a baroomby.야생마를 길들이는 것은 거의 불가능하다.5.  협박하다 脅迫하다to threaten, intimidate, blackmailsample sentence:단지 그를 협박해라, 그를 때리지는 마라.Just threaten him, don't beat him.**Song/Music Recommendation of the week**Still the same song recommendation this week LOL봉환아 by 노라조 Check out Pansori music too!#StudyTip - Use Korean Karaoke to help you with speed reading ;)**K-drama Words of Wisdom**기회라는 건 갑짜기 내리는 소나기처럼 찾아와서 준비된 사람만이 곧 잡을 수 있다Opportunities come without a warning and you must be prepared to take advantage of it.**Further Readings**Here's the link to the article mentioned in the show if you're interested to read about it further: "Mr. Queen" Under Fire For "Mocking Korean History" - KoreabooAlso, I mentioned in the show that I wasn't sure if there really was a king named Cheoljeong in the Jeoseon period and apparently this is. Here's a Wiki link if you'd like to read further: Cheoljong of Joseon - WikipediaWhat is a baroomby? - Brumby - Wikipedia

Happy new year! Happy 2021! To start this year, I present to you a really good Korean movie from 2007. The movie is called 아들 or My Son. It's our first time discussing a movie in this podcast so I'd really appreciate any feedback or suggestion from all of you 킹카 and 퀸카 friends ^^. For more detail about the show, please check below.Spoiler alert not needed this time ;)00:00 monologue, introduction, greetings, and initial impression05:30 proper discussion begins here; plot discussion; first impressions 11:30 what did I like most about the movie? how did the actors do?12:45 how did I relate to the characters? stories of prisoners, finding meaning, familial love18:30 my biggest take away from the show21:45 language discussion - please see below for more detailsand more!!!For more information about the movie, you can check out its Asian Wiki page: https://asianwiki.com/My_Son_(Korean_Movie)Did you like this episode? Or perhaps, do you have questions?Send us a tweet @RomeJuanatas or @kingkapodcastYou can also follow this Facebook Page: https://www.facebook.com/kingkapodcastor follow the podcast on IG: 킹카 King of K-Drama (@kingkapodcast)-----**Vocabulary Words of the Week**1.  살인 殺人 murder, killing, homicide sample sentence:He was charged with being an accessory to murder.그는 살인 방조 혐의로 기소되었다.2.  방화 放火 / 방화 2 防火  방화 放火 / 방화 2 防火 sample sentence:This looks like the handiwork of an arsonist.이것은 방화범의 소행으로 보인다.3. 성폭행 性暴行 rape, sexual assault [abuse], sexual violence   sample sentence:Four women have been sexually assaulted in the area recently.최근 그 지역에서 네 명의 여성이 성폭행을 당했다.4. 납치 拉致 kidnapping, abduction, hijacking sample sentence:The kidnappers are demanding a ransom of $1 million.납치범들이 100만 달러의 몸값을 요구하고 있다.5.  강도 强盜 robbery, mugging - there are other meanings for different hanjasample sentence:He did six years for armed robbery.그는 무장 강도 혐의로 6년을 복역했다.**Song/Music Recommendation of the week**봉환아 by 노라조 Check out Pansori music too!**Favorite quote of the week** Like a dayfly, you give meaning to what you've been given

In this episode, Adam and Budi interview Chan Harris a true renaissance man of the theatre about his career in the theatre and how life can be circuitous and fortuitous at the same time.Chan Harris studied at the Juilliard School with classmates that included Renee Fleming, Audra MacDonald, and Laura Linney. He studied voice with Beverley Peck Johnson, graduating in 1990 with a Bachelor of Music.After graduation, he worked for Theatre Under the Stars (West Side Story, La Cage Aux Folles, the world premiere of Kopitt & Yeston’s Phantom, Evita, the Merry Widow), the Alley (Forever Plaid, Robert Wilson's Danton's Death) and in Houston Grand Opera's historic production of Astor Piazzolla's Maria de Buenos Aires. He has been cast in several national tours (Evita, Big River, Into the Woods) and worked in New York, both Off-Broadway and Off-Off-Broadway, and in regional theatres all over the country in Forever Plaid, Brigadoon, Old Wicked Songs, Beauty and the Beast, Godspell, and was a resident actor at the Mountain Playhouse (Don't Dress For Dinner, The Winslow Boy, Funny Money, Inherit the Wind, Broadway Bound, The Lion In Winter, Joseph and the Amazing Technicolor Dreamcoat). Internationally, Chan was cast in a German-language tour of Phantom of the Opera, for which he toured Germany, Belgium, Austria, and Switzerland. In Berlin, he worked for the prestigious Theatre Des Westens and Berliner Ensemble. He also created the role of Young Kafka in Kafka: In the Penal Colony for the Polish National Opera.In 1997 he was asked to play Jesus in the Korean-language Jesus Christ Superstar for the Hyundae Theatre Company in Seoul, South Korea. For this role, he was the first foreigner to work as an actor in Korean-language theatre and the first foreigner to win a “best actor” award at the Korean Theatre Awards.In 1999, he was asked to direct the national tour of Forever Plaid. At the Mountain Playhouse, Chan has directed over 20 plays, including four world premieres, three of which were commissioned through a grant by the Pennsylvania Council on the Arts. He has continued to direct in New York and for theatres all over the country.During his career as a director, Chan has continued to study. He enrolled in The Actors Center conservatory program, studying under Ron van Lieu (acting), Earl Gister (acting), Felix Ivanov (stage combat), Grace Zandarski (voice), Per Brahe (mask), Katherine Fitzmaurice (voice), Christopher Bayes (clown) and Frank Deal (improv). He spent time in Bali, Indonesia studying Balinese dance, mask work, and kecak, and in Korea studying Pansori. As a teacher, he has taught all over the world. In addition to teaching masterclasses in New York City, at the University of Alabama, the University of Montavallo, the Foxcroft School, Bowdoin College, and the University of Texas, he taught drama and theatre development as a “sustainable” resource in the Transvaal area of South Africa through a U.N. Sponsored program.To submit a question, please visit http://www.speakpipe.com/theatreofothers for voice recording or submit an email to podcast@theatreofothers.com Messages may be quoted by name unless the writer stipulates otherwiseIf you enjoyed this week´s podcast, we´d love for you to leave a review on Apple Podcasts. It helps with our visibility, and the more people listen to the podcast, the more we can invest in it and make it even betterMusic credit: https://www.purple-planet.comhttp://www.theatreofothers.com

Mila Konomos is a wife, mother, artist, poet and activist. She is also an transracial and international adoptee. Mila was adopted as a baby in South Korea by a military family and brought to the United States. As she grew and began school, she quickly realized that she was not like the other children.  Mila gives us unique insight into what it feels like to be an international, transracial adoptee. She shares her struggle of feeling like she didn’t fit in, and her extreme loss of identity. Even though her parents loved her they could not understand or help her work through this pain. She turned to writing poetry as a way of trying to make sense of what she was feeling.  This is Mila’s story of coming to terms with being adopted, connecting with her Korean heritage and the search for her birth mother. Her latest project “Empress Han” is a testament to that journey. It is an experimental exploration where Mila adapts her poetry to music and vocals. Inspired by the traditional Korean art form of storytelling called Pansori, "Han" is a direct reference to the Korean cultural concept of han, which has been defined as "a traumatic loss of identity," both collectively and individually. It has also been described as an intense angst and longing due to unresolved injustice, pain, and suffering.  Mila expects to launch Empress Han early next year. To learn more about Mila, and to get updates on release dates visit: https://theempresshan.wixsite.com/empresshan

Who better to lead you through today's post-truth apocalypse than two renowned purveyors of nonsense? Mike, that blessed innocent, has been blithely investigating the Philuminati at Milton Keynes Henge, and their shadowy links with the Cadbury gorilla's magic break. Tracing the sinister web to the balmy tropics of Walter Mitty's secret Iceland, he's been stubbing his toe and screaming at waterfalls Pansori-style while marvelling at The Biebster's ecological trail of destruction. In the meantime, Jon's been learning some blindingly obvious archeoacoustics from Ozzy's anechoic bat-trap, as well as doing ASMR cheese-grating with the anti-Kenny-G. After a hard day's international punditry, however, it's time to relax with a secret nostril-based gig for our new band, Fluffy Gauze Of Noise, in the never-ending quest for cult-like status. (No AutoTune was used in the making of this podcast. Just orange juice with the bits left in.) Fancy more of this nonsense? Then please support the podcast at https://www.patreon.com/projectstudioteabreak For more episodes and links relating to each episode (via our zero-spam but 100-percent-idiocy mailing list), check out https://www.projectstudioteabreak.com. And if you'd like to submit an entry to our Q Tombstone Epitaph Competition, or suggest merch ideas, then email teabreak@projectstudioteabreak.com.

Who better to lead you through today's post-truth apocalypse than two renowned purveyors of nonsense? Mike, that blessed innocent, has been blithely investigating the Philuminati at Milton Keynes Henge, and their shadowy links with the Cadbury gorilla's magic break. Tracing the sinister web to the balmy tropics of Walter Mitty's secret Iceland, he's been stubbing his toe and screaming at waterfalls Pansori-style while marvelling at The Biebster's ecological trail of destruction. In the meantime, Jon's been learning some blindingly obvious archeoacoustics from Ozzy's anechoic bat-trap, as well as doing ASMR cheese-grating with the anti-Kenny-G. After a hard day's international punditry, however, it's time to relax with a secret nostril-based gig for our new band, Fluffy Gauze Of Noise, in the never-ending quest for cult-like status. (No AutoTune was used in the making of this podcast. Just orange juice with the bits left in.) Fancy more of this nonsense? Then please support the podcast at https://www.patreon.com/projectstudioteabreakFor more episodes and links relating to each episode (via our zero-spam but 100-percent-idiocy mailing list), check out https://www.projectstudioteabreak.com. And if you'd like to submit an entry to our Q Tombstone Epitaph Competition, or suggest merch ideas, then email teabreak@projectstudioteabreak.com.

This week we're taking a side step from Kpop to learn all about Korean Trot music! Find out what makes a trot song, the history and debate over who 'owns' Ppongjjak, and a quick lesson on Pansori singing. Then, we take a quick cruise through the best in trot music from the 1950s to 1990s, and meet some of today's modern trot superstars. Finally, trot's resurgence in pop culture and the sudden explosion of trot competition shows. Grab your sparkliest jacket, it's time to get down to some legit bops! See acast.com/privacy for privacy and opt-out information.

Korea ist nicht nur KPop und BTS - heute nehme ich euch mit, wie alles anfing, und zwar mit traditioneller, koreanischer Musik: Pansori! Was genau bedeutet Pansori? Wie führt man es auf und was macht sie so besonders?

Best-selling Irish novelist Cecelia Ahern discusses her new short story collection, Roar, which features 30 stories about 30 different women.India has unveiled the world's tallest statue, which cost £330 million to build. The 182m high structure in the western state of Gujarat is a bronze-clad tribute to independence leader Sardar Vallabhbhai Patel. Pratiksha Ghildial in the BBC's Delhi bureau reports on reactions within India. Lecturer in Korean Studies, Dr Anna Yates-Lu, explains the origins of pansori, a traditional form of Korean opera, and why legendary pansori singer Ahn Sook-Sun, currently in the UK, is its leading exponent.Julia Roberts stars in the television adaptation of the hit drama podcast series, Homecoming. The series looks back at her work as a counsellor at a mysterious company assessing the mental health of returning soldiers as they rehabilitate into society. TV critic Sophie Wilkinson reviews.Presenter: Janina Ramirez Producer: Edwina Pitman

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Learn the ins and outs of gugak-singing methods from Anna's very own teacher, master singer Mun Suhyeon, who teaches pansori and minyo to foreigners at the National Gugak Center and National Theater of Korea. We'll cover everything from minyo vocalization, jangdan, and pansori, so that you can sing along to our playlist!

Screaming and singing her heart out, set to a rhythm, a drum and a family drama underneath… it's what's depicted by legendary director Im Kwon-taek in Sopyonje from 1993. Running Times:  00m 00s – Intro/production background/Im Kwon-taek bio 30m 02s – Pansori background 33m 00s – Sopyonje review Contact the show via email at podcastonfire at googlemail.com, on […]