33 Keys to Decoding the Korean Wave #15 SING 

#14 People who enjoy eating, drinking, singing and dancing

<3> SING (노래하고/가/歌)

 

#15 음주가무-노래하고 SING <Korean version>

https://www.nyculturebeat.com/?mid=Focus&page=2&document_srl=4079092

 

 Soprano Hei-kyung Hong (“The Marriage of Figaro,” from left), tenor Yonghoon Lee (“Aida”), soprano Kathleen Kim (“The Abduction from the Seraglio”), bass Kwangchul Youn (“Manon”) Photo: The Metropolitan Opera

 

 

President Yoon Seok-ryeol, who visited the United States in April 2023, became a hot topic by spontaneously singing Don McLean's 'American Pie' during a state dinner at the White House. The New York Times reported that President Joe Biden gifted President Yoon a guitar signed by McLean. From farmers and fishermen to housewives and presidents, Koreans enjoy singing passionately.

 

 

<3> SING 

 

“Koreans are generally extroverted and emotionally intense, sometimes hot and sometimes cold. We are highly emotional individuals known as the ‘Italians of the East.’ We are a nation that was born with faces and physiques suitable for singing, and with voice boxes (larynx) that house our souls. Both singing and acting come from within our blood.”

-Soprano Hei-kyung Hong, in an interview with Sukie Park of The Korea Daily of New York, 2007-

 

 

#Korean Singers at the Metropolitan Opera House

 

In 2007, Hei-kyung Hong and Wookyung Kim took on the roles of Violetta and Alfredo in "La Traviata," becoming the first Asian leads in the 127-year history of the Metropolitan Opera. A photo taken from the dress reheasal. Photo: Sukie Park/ The Korea Daily of New York

 

In January 2007, Korean opera singers made a new mark in the 127-year history of the Metropolitan Opera in New York. Soprano Hei-kyung Hong and tenor Wookyung Kim appeared as Violetta and Alfredo in Verdi's "La Traviata," becoming the first Asian leads in the history of the Met.

 

The activities of Korean opera singers shine brightly at the Metropolitan Opera House. Since soprano Hei-kyung Hong debuted in 1984 with Mozart's opera "La Clemenza di Tito," Youngok Shin and Sumi Jo have also graced the stages of the Met. Additionally, sopranos Kathleen Kim, So Young Park, Hyesang Park, Haeran Hong, tenors Yonghoon Lee, Wookyung Kim, Alfred Kim, Yosep Kang, Andrea Shin, Won Whi Choi, bass Kwangchul Youn, Andrew Gangestad, Jongmin Park, baritones Hyung Yun, David Won, bass-baritone Kihwan Sim and Jeongcheol Cha have all performed at the Met. Furthermore, in the 2023-24 season, tenor SeokJong Baek and countertenor Siman Chung are making their debuts at the Met. It is not easy to find Chinese or Japanese names in the Met Opera chorus. However, there are many Korean singers. Seunghye Lee, Catherine MiEun Choi, Christian Jeong, Juhwan Lee, and Yohan Yi also participate in the Met Opera Chorus. Koreans have proven themselves to be one of the best singing nations in Asia.

 

Furthermore, at prestigious competitions such as the Tchaikovsky Competition, baritone Hans Choi (1990), bass Jongmin Park, soprano Sunyoung Seo (2011), and at the Queen Elizabeth Competition, soprano Haeran Hong (2011) and soprano Sumi Hwang (2014) won first prizes.

 

 

#Pansori, Korean Opera 

 

William Hogarth’s painting depicting scenes from Monteverdi’s opera “Orfeo” (1609, left) / “The Beggar's Opera” (1728). Collection of Tate Britain, London. 

 

The world’s first opera was Claudio Monteverdi's “Orfeo” composed and premiered in 1607 at the Ducal Palace in Mantua, Lombardy, Italy. Monteverdi, known as the “Father of Opera,” synthesized aria, recitative (sung dialogue), ballet, polyphonic chorus, and instrumental interludes to establish the foundation of opera. “L’Orfeo” is often regarded as a milestone in the development of opera, and remains a beloved and frequently performed work. “Opera” means “work” in Italian. 

 

The first musical was “The Beggar's Opera,” written by John Gay (1685-1732) from England, with music by German composer Johann Christoph Pepusch (1667-1752). It premiered in 1728 at the Lincoln’s Inn Fields Theatre in London. “The Beggar’s Opera” satirized the form of Italian opera and the aristocracy, gaining tremendous popularity from the public. John Gay challenged Handel’s Italian-style opera, and “The Beggar's Opera” marked the beginning of London’s West End musicals. The most famous adaptation is Bertolt Brecht and Kurt Weill’s “The Threepenny Opera” (1928), which reimagines the story with a more contemporary setting. Furthermore, the history of New York’s Broadway began with performances of Shakespeare’s plays and “The Beggar's Opera” at a theater near Nassau Street in lower Manhattan in 1750.

 

Unknown artist, Pansori singing by Mo Heung-gap (牟興甲), a master singer of the Joseon Dynasty (detail), <Pyongyang Do 10 folding screen>, 19th century, Collection of Seoul National University Museum

 

On the other hand, Korean Pansori is believed to have originated much earlier than previously thought, dating back to 1754 during the reign of King Yeongjo (1724-1776) of the Joseon Dynasty. It is attributed to Yoo Jin-han, who adapted the Pansori called “Chunhyangga” that he heard and witnessed firsthand during his travels in the Honam region (Jeolla Province) into a seven-line poem in Chinese.

 

“Pan” refers to a gathering of people for entertainment, and “sori” means music. The singer, known as the kwangdae, holds a fan while singing and providing explanations, occasionally incorporating theatrical gestures and movements. The skilled drummer, called gosu, beats the drum and provides interjections like “Eolssigu!” (meaning “Right on!”) and “Jota!” (meaning “Good!”). The audience also participates in the performance by adding interjections like “Eolssigu,” “Jalhanda” (meaning “Well done!”), and “Geureoji” (meaning “That's right!”). Unlike Western performances, Pansori does not separate the stage from the audience. Pansori is a unique Korean opera that combines literature (storytelling), music (singing and instrumental performance), and drama (gestures and movements).

 

Originally performed in rural marketplaces and embraced by the common people, Pansori gained popularity among the yangban (aristocratic) class starting from the reign of King Jeongjo of Joseon (Jenogjo the Great) (1776-1800) in the 18th century. Shin Jae-hyo (1812-1884) standardized 12 stages of Pansori into six stages: “Chunhyangga,” “Simcheongga,” “Bak Taryeong,” “Tobyeolga,” “Jeokbyeokga,” and “Byeongangsoega.” He played a significant role in solidifying Pansori as a form of folk literature. He also discovered the first female Pansori master, Jin Chaeseon, and nurtured the talents of young performers. However, Pansori faced a decline in popularity due to the influence of Western music starting from the late Joseon Dynasty. 

 

 

“Seopyeonje,” directed by Im Kwon-taek, became the first Korean film to surpass one million viewers in 1993.

 

Although Pansori was designated as the fifth National Intangible Cultural Property of Korea in 1964, it was a disappearing traditional art form. The reassessment of Pansori began after the release of the film “Seopyeonje” in 1993, which was directed by Im Kwon-taek. Adapted by actor Kim Myung-gon from the novel by Yi Cheong-jun, “Seopyeonje” premiered at the first dedicated cinema for Korean films and attracted over one million viewers, making it the first Korean film to achieve this milestone. The success of “Seopyeonje” not only revitalized Pansori, but also sparked interest in Korean traditional culture.

 

 

Pansori performance at Busan Cultural Center in 2016. Photo: Wikipedia/Steve46814

 

Ten years later, Pansori made its way to the Lincoln Center in NYC. In the summer of 2003, as part of the Lincoln Center Festival, the Pansori performances “Five Korean Song Narratives with Drums” and Kim Geum-hwa’s shamanistic ritual dance “Daedong Gut” were invited. The performances of “Heungboga,” “Sugungga,” “Simcheongga,” “Jeokbyeokga,” and “Chunhyangga” were presented with English subtitles.

 

At the time, James R. Oestreich of The New York Times described “Heungboga” as: “The music begins in speech, rises to a chantlike recitative and often breaks into full-blown song. The style is hypnotic and captivating, though it takes time to attune the ear to a purposefully rough-hewn vocal timbre and the metabolism to a glacial pace. Fear not; there is time aplenty. ‘Heungboga,’ at two hours, is the shortest of the five pansori. It is also said to be the most humorous, though the humor is mostly subtle and understated.” That year, Pansori was selected as a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO.

 

Pansori and hip-hop music share similarities. In Pansori, the singer sings along with the drummer’s rhythms, while in hip-hop, the rapper raps to the beat provided by the DJ. In 2013, the first Redbull RapPansori battle took place at Hongik University in Seoul, where singers and rappers competed against each other.

 

 

#Songs and Anti-Japanese Songs during the Colonial Era

 

 

During the period of Japanese colonial rule, Koreans used songs to soothe their hearts amidst the trials of history. Adults sang songs expressing the sorrow and resentment of losing their country, such as “Praise to the Dead.” Around this time, Sofa Bang Jeong-hwan and Yoon Seok-jung published magazines and songbooks for children, nurturing the young generation of the nation.

 

Sopa (“little wave”) Bang Jeong-hwan (1899-1931) organized the “Saekdonghwe” children's literature research group in 1923 and educated children and women through magazines like “Children” as well as “New Women” and “Student.” Bang Jeong-hwan was also known as the person who first proclaimed Children’s Day in 1922, making him the first known person to do so in the world. Using numerous pen names (Janmulgyeol, Mulmangcho, Bukgukseong, Gildongmu, etc.) to evade Japanese censorship, Bang Jeong-hwan tragically passed away at the age of 33 due to overwork. In 1932, children’s literature writer Yoon Seok-jung (1911-2003) published a collection of original songs titled “Original Children’s Songs,” which included 35 songs like “The Half-moon in the Daytime,” “Side by Side,” and “Children of the New Country.”

 

During the Japanese occupation, the Korean people sang anti-Japanese songs. The book “330 Anti-Japanese Songs” (Minjok Issue Research Institute) compiled by Noh Dong-eun, a former professor at Chung-Ang University, in 2017, includes national anthems, revolutionary songs, protest songs, patriotic songs, enlightenment songs, yearning songs, and tribute songs from that era. The book includes original compositions, songs adapted from traditional folk tunes like “Gwangbokgun Arirang” (Arirang of the Independence Army), and songs with Korean lyrics added to foreign tunes like “Auld Lang Syne.” The Korean independence activist Dosan Ahn Chang-ho wrote lyrics for anti-Japanese songs such as “Geogukhaeng” (To the Homeland), “Hakdoga” (Students), “Hanbando” (Korean Peninsula), and “Hyeolseongdae” (Monument of Blood), while Lee Beom-seok composed “Manghyanggok” (Yearning Song).

 

 

#TV singing competitions: 'Korean Idols' on TV

 

Long before the UK’s TV program “Pop Idol” (2001-) and the US’s “American Idol” (2002-), a children’s song contest called “Nuga Nuga Jal Hana” (Who’s the Best) started airing on Korean TV in 1964. College students participated in the “University Song Festival,” and adults showcased their singing abilities on programs like the “National Singing Contest” and “Housewives Singing Out.”

 

Early on, amateur singing competitions were aired on Korean TV, catering to different social strata. Even today, singing competitions are held at department stores, supermarkets, and local festivals in small cities, acting as a catalyst for vocal talent. It could be said that  “the entire nation has become a singer.”

 

 

-“Nuga Nuga Jal Hana” for children

 

Korea’s TV singing competitions began with a children’s song contest. In 1964, KBS-TV launched “Nuga Nuga Jal Hana” targeted for children. It has been continuously broadcasted for 56 years and counting. The program was created to popularize children’s songs, promote their activities, and introduce memorable children’s songs. The program has not only featured children’s songs but also introduced various genres of music, including classical, traditional Korean, musicals, and pop, through special guest performances.

 

The program’s title changed over time to “Moi Ja Nore Haja” (Let’s Gather and Sing), “National Children’s Song Contest,” “Songs Are My Friends,” and “Open Up, World of Children’s Songs.” However, since 2005, it has reverted to its original title, “Nuga Nuga Jal Hana.” The program holds preliminary auditions at broadcasting stations every month, recommending that contestants select songs from school textbooks and well-known children’s songs.

 

Meanwhile, MBC-TV started the “Changjak Dongyoje” (Original Children's Song Festival) on Children’s Day in 1983, which became widely known for songs like “Four-Leaf Clover,” “Dad, Cheer Up,” and “Baby Goat.” This program continued until 2010 and even produced child participants who later became professional singers. Korean children who honed their skills through singing have grown up to become adults ready to sing anywhere, anytime.

 

 

-“National Singing Contest”

 

“Greetings to all the families participating in the National Singing Contest throughout the country. To our overseas compatriots and foreign workers living with new hopes around the world, as well as the seafarers guiding the blue seas, naval personnel, and all aviation professionals, and the soldiers of the Republic of Korea, and the citizens who have filled this place, and the tourists who have visited this land, I, Song Hae, the host of the Sunday’s National Singing Contest, would like to begin with greetings.”

 

The National Singing Contest on KBS-TV, which was hosted by the nationally acclaimed MC, Song Hae (1927-2022), began in 1972 as the “KBS Cup National Singing Contest” and continued as the “National Singing Contest” from 1980 until today, providing Sunday afternoon entertainment. Mr. Song was born in Jaeryeong County, Hwanghae Province, during the Japanese colonial era. He attended the Haeju Arts School, majoring in vocal music, but fled to the south when the Korean War broke out. He debuted as a singer in 1955 and as an actor in 1963 before establishing himself as a TV comedian and MC. From 1972 to 1989, he hosted the radio show “Walking Through the Trees” for 17 years and then hosted the “National Singing Contest” for 34 years until his passing. He was affectionately called the “National Brother” by the public. In 2013, a film with the same title was made, directed by Lee Jong-pil, and Song Hae made a special appearance.

 

The “National Singing Contest” is a traveling concert that showcases the singing and talents of ordinary people in every corner of the country. It provides an open stage where anyone, regardless of their social status, can participate. Through the simple emotions and lively songs found in overlooked areas, the entire nation could find solace amidst the dark realities. Overseas performances, world competitions, and special episodes featuring foreigners were also produced. The original program “Korean Idol” provided thrills and excitement, with the evaluation of “Ding! Dong!” If a performer sings the song correctly to the end, the judges announce passing by playing ding dong deng dong (Domi Soldo) with a xylophone. This program emerged from the eating, drinking, singing and dancing culture of the Korean people.

 

 

After the Ban, University Student Song Festivals

 

The songbooks published by Segwang Publishing Company were popular among a generation. 1978 (left), 1983 magazines.

 

The 1st University Song Festival (1977, left) and the 9th Kangbyeon Song Festival (1988) award-winning album.

 

-Housewives Singing Out

 

 

“Desperate Housewives” (2004-2012), a popular drama series on ABC-TV in the United States, depicted the rebellious lives of middle-aged women. What dramas do Korean housewives fall for? Morning soap operas mostly revolve around themes of infidelity, betrayal, revenge, family conflicts, hidden births, incurable diseases, and more. Korean housewives not only indulge in watching soap operas, but are also desperate to sing.

 

In 1988, during the Seoul Olympics, MBC-TV launched a program called “Housewives Singing Out.”  This program gained enthusiastic popularity as it provided stress relief for Korean housewives. In 1993, with the emergence of karaoke rooms, the program format changed to a talk show and entertainment program called “Housewives Fantasy Show.” It was briefly revived as a Lunar New Year special in 2012.

 

With the popularity of “Housewives Singing Out,” housewives singing trends spread even to rural areas, giving rise to housewives’ singing classes and performances at local festivals. In 2019, cable network MBN launched a singing survival show called “You Are the Voice Queen” hosted by Kang Ho-dong, host and comedian, a former traditional wrestler.

 

 

-The Heyday of TV Audition Programs

 

 

In 2009, Mnet, a cable broadcaster, produced the live singing audition program “Superstar K,” which imitated “American Idol” and “Britain’s Got Talent.” This program became a success through internet voting during live broadcasting and achieved a production boom. These audition programs focused on how well participants could sing established songs rather than creating original songs.

 

 

KBS produced programs such as “TOP Band,” “My Last Audition,” “Global Super Idol,” and “Immortal Songs: Singing the Legend.” MBC aired “Star Audition: The Great Birth” and “I Am a Singer.” SBS presented “K-pop Star,” while Mnet produced “Voice Korea,” the “Produce 101” series, “Mydol,” “MIX & MATCH,” and “Show Me the Money,” among others, in rapid succession.

 

#Karaoke Singers in Korean Films

 

Karaoke scenes in the films “Friend,” directed by Kwak Kyung-taek featuring Yu Oh-seong (left) and “Poetry,” directed by Lee Chang-dong featuring Yoon Jeong-hee.

 

Karaoke or “empty orchestra,” is a music playback machine invented by musician Inoue Daiske in Kobe, Japan in 1971. In the 1980s, with the introduction of video karaoke machines that could display lyrics on music videos, karaoke became popular in entertainment venues such as nightclubs and lounges in Japan. It later spread to Korea, Asia, and even the United States. Karaoke first appeared in Busan, Korea, and then spread throughout the country.

 

Noraebang (“a song room”), Korean karaoke, is often the final destination for social gatherings involving alcohol. Although karaoke may have originated in Japan, many karaoke bar owners in the United States are Korean. There are numerous karaoke bars in Manhattan’s Koreatown and near the Empire State Building, as one can see by searching “Karaoke NYC” on Google. The weekly magazine “Time Out, New York” mentioned places like Insa, a Korean restaurant with a karaoke room in Brooklyn, and Maru and 32 Karaoke in Manhattan’s Koreatown as popular karaoke spots for birthday parties, after-work outings, and lonely nights. Websites like www.Eater.com have recommended karaoke bars in Koreatown’s 32nd Street such as Chorus, Gagopa, and Maru.

 

Karaoke scenes are often portrayed in Korean films and serve as a device to express characters’ emotions, similar to musical song scenes.

 

In the film “Friend” (2001) directed by Kwak Kyung-taek, Joon-seok (played by Yu Oh-seong), the leader of a gang, sings Frank Sinatra’s “(I Did It) My Way~” before murdering his friend Dong-soo (played by Jang Dong-gun). In “You Are My Destiny” (2005) directed by Park Jin-pyo, Eun-ha (played by Jeon Do-yeon), a coffee shop employee, meets Seok-joong (played by Hwang Jung-min), a young man in the countryside who has a crush on her. At the noraebag, Jeon sings Wax’s “Oppa, Only Look at Me,” a rendition of Cyndi Lauper's hit song “She Bop.” And in the film “Poetry” (2010) directed by Lee Chang-dong, Mija (played by Yoon Jeong-hee) sadly sings Choi Yuna’s “Wine Glass” while waiting in a karaoke room for Gim-beom’s father (played by Ahn Nae-sang), unaware that he has already arrived. Mija went to borrow money from her grandson's friend’s father, who is the owner of a karaoke bar, to seek settlement money for the sexual assault of his grandson and his friends.

 

#The Singing Nation: “Ttechang” (Group Singing) in Protests

 

 In November 2016, during the candlelight protest at Gwanghwamun Square calling for the resignation of President Park Geun-hye, Yang Hee-eun sang “Morning Dew,” “To the Land of Happiness,” and “Evergreen Tree.”

 

Why do Koreans sing better than Chinese or Japanese people? The Korean people, who have enjoyed eating, drinking, singing and dancing (음주가무) since ancient times, are a nation of enthusiasm, where they synchronize their chopstick movements with drinking and use spoons as microphones while singing. Before the existence of karaoke, impromptu singing sessions often took place during drinking gatherings.

 

Moreover, Koreans also enjoy singing during protests. Protesters always sing together, and occasionally guest singers use songs to boost morale. Dialogues with authors are conducted in the form of book concerts, where music accompanies the meeting of books and songs. When the movie “Bohemian Rhapsody,” which depicts the life of Freddie Mercury, the lead singer of the rock group Queen, was released in 2018, sing-along screenings were organized in Korea, drawing sold-out crowds. Sing-along screenings first appeared in Korea with the musical movie “Mamma Mia!” in 2008, featuring songs by the Swedish group ABBA. In 2014, the sing-along version of Disney’s animated movie “Frozen,” with the popular theme song “Let it Go,” was also screened in Korea. 

 

 

In the 2016 revival of the musical “The King and I,” Daniel Dae Kim and Marin Mazzie, along with Kelli O’Hara and Hoon Lee, portrayed the characters of the King and Anna. Photo: Credit Paul Kolnik

 

Korean actors have also made their mark in the history of Broadway and London musicals. “The King and I,” a musical by Richard Rodgers and Oscar Hammerstein II, depicts the romance between the King of Siam (now Thailand) and Anna, a British widowed governess. When it premiered on Broadway in 1951, Russian-born actor Yul Brynner played the role of the Siamese King and later won an Academy Award for his portrayal in the 1956 film adaptation costarring Deborah Kerr as Anna. In 1999, a film adaptation starring Jodie Foster and Hong Kong actor Chow Yun-fat was also produced.

 

Since then, revivals of the musical “The King and I” on Broadway and London’s West End have featured white actors, including Russian ballet dancer Rudolf Nureyev, portraying the role of the Siamese King. However, in the 1996 Broadway revival at the Neil Simon Theatre, the role of the King was played by Filipino-American actor Lou Diamond Phillips (known for his lead role in the film “La Bamba”), and Lady Thiang, one of the King’s wives, was played by Taewon Yi Kim. Korean-American actor Randall Duk Kim portrayed the character of the Kralahome, and Joohee Choi played the role of Tuptim. This production showcased the “Korean Power” and received eight Tony Award nominations, including Best Featured Actress for Joohee Choi. In the 2000 London Palladium revival, Chinese-American actor Jason Scott Lee (known for his role in the film “Jungle Book”) played the role of the Siamese King, and Taewon Yi Kim reprised her role as one of the King’s wives in the West End.

 

 

Ruthie Ann Miles (Photo: Paul Kolnik), who played the role of Lady Thiang in the musical “The King and I,” became the first Asian actress to win the Tony Award for Best Featured Actress in 2015.

 

In the 2009 London Royal Albert Hall revival, the role of the Siamese King was finally portrayed by a pure Asian actor. Daniel Dae Kim, who rose to popularity with the ABC TV series “Lost,” took on the role, and Jee Hyun Lim, a soprano who had previously played the lead role in the New York City Opera’s “Madame Butterfly,” joined the cast as Lady Thiang, showcasing the “Korean Power” once again. In a 2009 interview with the me for The Korea Daily of New York, Daniel Dae Kim stated, “I believe ‘The King and I’ is the best role written for an Asian male.”

 

In the 2016 Broadway revival at the Vivian Beaumont Theater at Lincoln Center, Japanese actor Ken Watanabe played the role of the King, while Korean-American actress Ruthie Ann Miles played Lady Thiang, and Ashley Park played Tiptum. As the production continued for an extended run, Korean American Hoon Lee and Daniel Dae Kim took on the role of the King. This revival of “The King and I” received nine Tony Award nominations, and Ruthie Ann Miles became the first Asian actress to win a Tony Award trophy. Ruthie Ann Miles’ mother, Esther Wong, is Korean and worked as a music teacher in elementary schools in Hawaii. 

 

 

#“KPOP” Musical on Broadway

 

 

In September 2017, the “KPOP” original musical was performed at the Off-Broadway A.R.T. Nova Theater (99 seats). Written by Jason Lee and co-composed by Helen Park and Max Vernon, the musical depicted the process of major entertainment agencies grooming K-pop artists to enter the American market. The cast included Korean artists such as Jung Jin-woo, Ashley Park, Deborah S. Craig, Jiho Kang, Deborah Kim, Sun Hye Park, John Yi, and a total of 19 Asian artists.

 

Ben Brantley of The New York Times stated, “the show is best when parody blurs into the already surreal dimensions of what’s being parodied.” “KPOP” was nominated for multiple Drama Desk Awards in 2018, including Outstanding Musical, Direction, Music, Lyrics, Lead Actress, Lighting Design, and Sound Design. It also received the Lucille Lortel Award for Outstanding Musical, Outstanding Lead Actress (Ashley Park), and Outstanding Supporting Actor (Jason Tam) for Off-Broadway productions. Additionally, it received the Richard Rodgers Award for best new musical.

 

About five years later, the musical “KPOP” made a leap from the 99-seat Off-Broadway theater and began its performances at the Circle in the Square Theater (776 seats) on Broadway in October 2022. It was the first Broadway production with Korean lyricists and composers in history. The lead role was played by Luna, a former member of the K-pop girl group f(x), and other Korean artists such as Kevin from U-KISS, Min from miss A, and Bohyung Kim from SPICA. “KPOP” had high box office sales and received mostly positive audience reviews.

 

However, a negative review from Jesse Green of The New York Times, (“In ‘KPOP,’ Korean Pop and Broadway Meet (Too) Cute”), included racially insensitive comments about the  “squint-inducing lighting design” and conclude that non-Korean speakers won’t be able to enjoy the show. The producers of “KPOP” sent a protest letter to The New York Times, stating, “Starting with the headline, “(Too) Cute,” Mr. Green’s choice of words to critique a work created primarily by API artists plays to harmful stereotypes and the historic infantilization of Asian people in media, immediately devaluing and diminishing them. Using ‘squint-inducing’ to describe the work of a Korean lighting designer, whatever the author’s intent, is a particularly egregious example. ...” The producers’ letter urged the Times to acknowledge and apologize for the offensive language and racist implications in Mr. Green’s review.

 

Despite initially scheduled performances until April 14, 2023, “KPOP” officially closed on December 11, just two weeks after its opening. It was an event that confirmed Broadway as still being the “Great White Way,” dominated by white culture.

 

 

<Update>

 

Broadway 2024: "The Great Gatsby" & "Maybe Happy Ending"

 

In April 2024, Korean musical producer Choonsoo Shin and OD Company opened "The Great Gatsby" at the Broadway Theatre, with Shin as the sole lead producer. The musical adaptation of F. Scott Fitzgerald's novel features costume design by Linda Cho, who won the Best Costume Design of a Musical award at the 77th Tony Awards. This marks Cho's second Tony, following her win for "A Gentleman’s Guide to Love and Murder" in 2014. The Tony Award for Lighting Design in a Musical went to the team of Hana S. Kim (Kim Sooyeon) and Brian MacDevitt for "The Outsiders." Meanwhile, Jang Ji-yeon, the lighting designer for "Stereophonic," which won the Tony Award for Best Play, was also nominated, but did not win.

 

Additionally, in October 2024, the Korean musical "Maybe Happy Ending" will premiere on Broadway at the Belasco Theatre. With lyrics by Hue Park and music by Will Aronson, this sci-fi musical, which originally debuted in 2016 at Yes24 Stage in Daehangno, Seoul, tells the story of the relationship between two robots, Oliver and Claire.

 

 

 

Koreans are undoubtedly a nation that enjoys music and excels at singing. The global success of not only opera and musicals but also artists like Psy, BTS, and Blackpink along with the K-pop phenomenon, can be attributed to the passionate spirit for music and dance ingrained in our DNA.

 

Thanks to the global popularity of K-pop, a dedicated K-pop arena with a seating capacity of 20,000 is scheduled to be established in Goyang City, South Korea. In August 2022, the American sports and entertainment company AEG and CJ LiveCity formed a joint venture. The construction of the K-content complex, CJ LiveCity, in Janghang-dong, Ilsandong-gu, Goyang City, on a site of approximately 100,000 pyeong (330,578 square meters), is underway with the aim of completing it by 2024. This venue is expected to become a mecca that attracts, over 150 million K-pop fans worldwide.

 

 

Sukie Park

A native Korean, Sukie Park studied journalism and film & theater in Seoul. She worked as a reporter with several Korean pop, cinema, photography and video magazines, as a writer at Korean radio (KBS-2FM 영화음악실) and television (MBC-TV 출발 비디오 여행) stations, and as a copywriter at a video company(대우 비디오). Since she moved to New York City, Sukie covered culture and travel for The Korea Daily of New York(뉴욕중앙일보) as a journalist. In 2012 she founded www.NYCultureBeat.com, a Korean language website about cultural events, food, wine, shopping, sightseeing, travel and people.

 

*33 Keys to Decoding the Korean Wave, Hallyu: contents <English> 

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