Credit
Audio Produced by Baek Da Som
Song Kyeong Keun on the Hun
Traditional Hanbok by Kim Young Seok

The daegeum, also revered as Manpasikjeok¹, has been a distinguished Korean woodwind since the Silla Dynasty. It is reputed to have the mystical power to quell all earthly sorrows. Through the corridors of time, it has been cherished as both an emblem of celebration and a precious diplomatic offering among nations.

Today's inaugural event, in which artist Kwak Hoon unites with the daegeum, traces its roots to the 1995 inaugural exhibition of the Korean Pavilion, titled Kalpa/Sound, What Marco Polo Left Behind. The experimental spirit of the Kwak, manifested in Kim Young Dong's daegeum performances and the involvement of twenty Buddhist nuns, has forged a legacy of innovation and resonance, continually inspiring future generations of artists. In the continuum of time, eternally circling back to its origins, we now interlace the threads of archived dialogues with a single photograph to signal a new beginning.

The year 1995 marked my first solo performance, where I played Pamun (1989) by Kim Young Dong. The recording of the daegeum from that pivotal performance, enriched with sounds dear to me for many years—the chants of Bongeunsa Temple, birdsong, and the tolling of bells—and the sublime melodies of Yeongsanhoesang² and Hun³, were interwoven in a prelude audio mix, complemented by an interview with the artist. Now, at this 30th anniversary event at the Korean Pavilion, we celebrate the occasion with a melody of unity and blessings for this distinguished gathering.

The significance we bestow upon today's event will give rise to new meanings. Unraveling and interweaving the themes intrinsic to Kwak's work, akin to piecing together a puzzle, serves to both assuage concerns and to presenting treasured offerings to the world.

2024.4.
Seo Seung Mi (Daegeum Player, Council Member of the Arts Council Korea)