Jongmyo Jeryeak to tour Singapore, Japan, Hong Kong
The National Gugak Center is set to embark on a tour across Asia this year, with performances of Jongmyo Jeryeak planned for Singapore, Japan and Hong Kong.
Jongmyo Jeryeak is a royal ceremonial performance that combines song, music and dance. It was originally performed during ancestral rites at Jongmyo Shrine, where the tablets of Joseon kings and queens are enshrined, honoring the eternal repose of royal ancestors. The music was originally composed in 1447 during the reign of King Sejong for performance at royal banquets and was modified in 1464 during the reign of King Sejo for performance at memorial rites.
The NGC will perform on April 4-5 in Singapore as part of the Tapestry of Sacred Music festival at Esplanade. Singapore's National Performing Arts Center, reflecting the country's multicultural identity, hosts an annual festival that features religious music from various countries, creating a unique platform for cultural exchange.
Following this, Jongmyo Jeryeak will be part of a special exchange performance celebrating the 60th anniversary of Korea-Japan diplomatic relations. This will include UNESCO Intangible Cultural Heritage performances from both nations, with Jongmyo Jeryeak taking the stage on April 19 at the Bunkyo Civic Hall in Tokyo. In return, Okinawa's traditional music drama Kumi Odori will be performed in Seoul in June. Jongmyo Jeryeak and Kumi Odori were inscribed on the UNESCO Intangible Cultural Heritage of Humanity list in 2001 and 2010, respectively.
In November, the NGC will head to Hong Kong for its final international performance of the year. Invited by the Korean Cultural Center in Hong Kong, the performance will take place as part of Festive Korea on Nov. 8-9, marking the first time this ritual music will be introduced to audiences in Hong Kong.
hwangdh@heraldcorp.com
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Korea Herald
2 days ago
- Korea Herald
Delve into Hangeul's beauty through crafts
National Hangeul Museum to offer hands-on program in Japan The National Hangeul Museum is launching a new educational program dubbed "Atelier Hangeul" in Japan in June as part of a cultural exchange marking the 60th anniversary of Korea-Japan diplomatic relations. The hands-on educational program will familiarize participants Korean writing system while making unique leather craft items using Hangeul letters and traditional Korean patterns. Ten sessions will be held from Tuesday to Saturday at the Korean Cultural Centers in Tokyo and Osaka. More details about the registration are available on the cultural centers' websites. "Hangeul is not just a way to write words or share information, but it can also be seen as a form of art and culture, and it helps connect people with each other. We hope that Japanese people will be able to discover the modern value and beauty of Hangeul through this program," Kang Jeong-won, head of the National Hangeul Museum, said in a press release.
Korea Herald
5 days ago
- Korea Herald
Son Suk-ku reflects on his winning streak
TV, streaming clout discusses his latest project 'Nine Puzzles,' his sharpening acumen Son Suk-ku's hit series streak is showing no signs of stopping. His latest project, "Nine Puzzles," debuted on Disney+ on May 21 and quickly soared to become the second most-watched Korean title on the platform during its premiere week, trailing only behind Disney+ Korea's record-breaking series "Moving." Meanwhile, JTBC's fantasy human drama "Heavenly Ever After," which premiered on April 19, has emerged as one of the most buzzworthy dramas of the first half of 2025. This is thanks in part to its unexpected yet touching romantic storyline between Son and 83-year-old veteran actress Kim Hye-ja. Reflecting on his career, which includes back-to-back hits from "A Killer Paradox,' (2024) 'D.P. 2,' (2023) 'Big Bet' (2022) and 'My Liberation Notes,' (2022), and his criteria for choosing projects, Son said during a press roundtable in Seoul on Thursday that he thought his instincts were sharpening with experience. 'My standard when selecting projects is that it has to be fun,' he said. 'That word might sound light, but I think creating something genuinely fun is one of the hardest things to do. But I feel like I'm slowly developing an eye for spotting that kind of thing.' He added, 'If I can summarize the premise of a script in a sentence or two to a friend or family member, like, 'Hey, this story is about this' — then I see that as a sign it has a strong foundation. But if it's hard to do that, then I see it (as having a lower chance of success)." "Nine Puzzles" stars Kim Da-mi as Yi-na, a woman haunted by the unsolved murder of her uncle, for which she was the sole witness and a prime suspect. A decade later, Detective Han-saem (Son) remains convinced of her guilt. The case takes a turn when Yi-na receives a mysterious puzzle piece, echoing one discovered at the original crime scene. The series fuses heightened, stylized visuals with a noir-inflected mystery narrative, embracing a cartoon-like aesthetic that pulls viewers into an otherworldly world. According to Son, the creative team and the cast intentionally crafted that unique atmosphere throughout the production. 'The visual aspects — especially the costumes — were largely influenced by the established world that the director had already created. We followed the mise-en-scene that was carefully crafted to fit that world,' said Son. 'If we had placed this story in a purely realistic tone, I don't think it would have had the same charm, and it might have felt less convincing,' he added. He continued, 'The design choices stemmed from the metaphor of puzzles. Since the crimes unfold through puzzle pieces, the production, from costumes to set design, was built to reflect that imagery.' As for the show's ambiguous final moment, which teases the appearance of another puzzle, Son said he did not see it as an ending meant to open up another season. 'There were no discussions about a second season,' he said. 'I didn't view the ending as a lead-in, but more as a symbol of continuity — life goes on in that world, and new crimes emerge. That puzzle could be interpreted as a copycat case, but for me, it simply represented another incident.' On the possibility of returning for season 2, Son was measured: 'I think the chances are very slim. Not just due to scheduling conflicts, but because of various other circumstances. I don't think it's likely.'
Korea Herald
02-06-2025
- Korea Herald
MBC's decision to broadcast Disney+'s 'Big Bet' met with internal dissent
After airing 'Moving' in January, TV network increasingly looks to fill slots with content from streaming services MBC, one of South Korea's leading television networks, is facing mounting backlash from its own producers following the decision to broadcast Disney+ Korea's hit original series "Big Bet," beginning in July. The series, which stars veteran actors Choi Min-sik and Son Suk-ku, originally ran on Disney+ for two seasons between 2022 and 2023. MBC has confirmed that "Big Bet" season 1 will air Fridays and Saturdays at 10 p.m. throughout July, while season 2 will move to a regular Sunday night slot starting in August. The series will retain its original 19+ rating, though MBC said some edits would be needed to meet broadcast review standards. MBC said the broadcast of "Big Bet" reflects its ongoing effort to offer strategic curation of carefully selected, proven programs, adding that it aimed to broaden viewers' content choices. However, the move has triggered significant internal dissent. A total of 53 producers and production staff from MBC's drama division recently issued a joint statement condemning the decision. Via the statement, the producers criticized the management's push to delay its upcoming series — "Judge Lee Han-young" — originally slated for the same time slot as "Big Bet." 'The seriousness of the matter is heightened by the fact that the originally planned drama production was postponed to next year, in order to artificially create a budget surplus for this year,' the statement said. As a result of MBC's decision to air "Big Bet," "Judge Lee Han-young," an adaptation of a popular Naver webtoon, has been pushed back to early 2026. The drama, which features a cast including Ji Sung, Won Jin-ah and Park Hee-soon, follows a judge who, after his unjust demise, returns to the past to deliver righteous judgments. The statement accused MBC of bypassing producers in making the programming decision, and warned of a potential fallout with the series' cast. "Due to the management's decision to schedule 'Big Bet,' 'Judge Lee Han-young' now requires renegotiation with its lead actors,' it read. The producers are demanding a full reconsideration of the "Big Bet" rollout, the restoration of decision-making authority to drama teams, and reforms to what they call profit-centered management practices. Meanwhile, this is not the first time MBC has broadcast content from streaming services to fill its drama slots. In January, the network aired the Disney+ blockbuster "Moving," broadcasting two episodes every Sunday. The strategy reflects an emerging trend in Korean broadcasting, where legacy networks are increasingly looking to partner with streaming platforms to mitigate soaring content production costs and appeal to broader demographics. The shift comes amid growing financial strain across Korea's terrestrial broadcasters. KBS has reported a cumulative net loss of 14.1 billion won ($10,228,768) over the past three years, while SBS posted an operating loss of 19.2 billion won in 2024 -- its first deficit since 2016 -- and MBC's operating profit plunged from 56.6 billion won in 2022 to 6.6 billion won last year.
