Female Gukgeuk: Surviving and Reviving at the Brink

Meet Park Subin and Hwang Jiyeong from the Female Gukgeuk Studio

 

By Park Ju-yeon

Published: August 16, 2023

Translated by Julie Leigh

 

For me, there’s an artistic realm I simply cannot release from my heart: female gukgeuk. Merely hearing its name sets my heart racing, and the thought of its decline wrenches my soul so deeply that it haunts even my dreams. In those dreams, I find myself bustling about on stage alongside those who have passed. Female gukgeuk in Korea is deeply rooted in traditional musical performance, particularly pansori. It is here that female performers breathe life into a staged version of pansori, blending theater, music, singing [chang], and dance. Female gukgeuk stands as the quintessence of all Korean traditional theatrical arts.

-from the book Female Gukgeuk into the Mists of Time by Jo Yeongsuk, published in 2022 by Minsokwon

On July 26th, a special event took place at Emu, a cultural hub in Seoul, spotlighting a book written by Jo Yeongsuk, a member of the first generation of female gukgeuk performers and a master of baltal, the traditional foot mask theater designated as National Intangible Cultural Heritage No. 79. This event shone a light on Jo’s deep connection with female gukgeuk, offering insights into her illustrious performing career and the history of this distinctive art form. The evening was enriched by a brief showcase performed with her protégés, Park Subin and Hwang Jiyeong. Despite being over 90 years old, Jo’s robust vocal performance utterly captivated the audience.

 

After the event, my interest in female gukgeuk, which had its heyday in Korea during the 1950s, was rekindled. I found myself thinking of the various related cultural works I’d encountered: the 2011 documentary The Girl Princes by Kim Hyejeong; Wrong Indexing, a 2022 exhibition by artist Jung Eun-young at Post Territory Ujeongguk; the webtoon Jeong-nyeon, created by Seo Irae and illustrated by Namon; and a changgeuk adaptation of Jeong-nyeon, that premiered this past March, directed by Nam Inu and with musical direction and song composition by Lee Jaram. These reflections led me to ponder why female gukgeuk, which enjoyed serious popularity only for around a decade many years ago, continues to captivate audiences. What is it about this genre that still keeps it relevant and engaging today?

Hwang Jiyeong and Park Subin, the founders and performers of the Female Gukgeuk Studio, are set to perform Legend Chunhyangjeon on August 31st at the Dalmaji Theater within the Ansan Arts Center. (Provided by the Female Gukgeuk Studio)

Then, a moment of reckoning arrived. While searching for more information on the performance introduced at the book event, I came across the words “female gukgeuk keeps surviving and reviving at the brink.” This struck a chord with me. I had previously thought of female gukgeuk as something from the past, but I realized then that it had never truly vanished; it had continued. This oversight was mine. As I looked more into the information, I became more curious about the people dedicated to keeping female gukgeuk alive.

 

Meet Park Subin and Hwang Jiyeong, apprentices of Master Jo Yeongsuk and operators of the Female Gukgeuk Studio. They’ll be performing Legend Chunhyangjeon at the Ansan Arts Center Dalmaji Theater on August 31. Like Master Jo, who can't let go of the world of female gukgeuk, they too are deeply attached to this art form. As I interviewed them, my interest in Legend Chunhyangjeon, possibly their last show, grew even more.

 

- I understand that both of you have been apprentices of Master Jo for quite some time. Can you share with us how your relationship with her first began?

 

Subin: When I was nine, I started diving into pungmul, but my family wasn’t on board. So, by the time middle school came around, I had to put that dream on hold. Then, one day, I caught a glimpse of someone on TV—gat on their head, singing a pansori piece—and it just hit me: this is what I’m meant to do. Even though I had given up pungmul, I dug my heels in and told my family that learning pansori was a must for me. That strong will of mine led me to Ms. Park Gyehyang, who was teaching pansori in Insa-dong. At that time, my family was going through a tough financial spot, and Ms. Park knew that. So, she pointed me towards Jeongdong Theater, where I managed to snag a part-time job tied to their regular shows. It was there I met Master Jo. I got to play Hyangdan in the female gukgeuk version of Chunhyangjeon at the theater. That role was like a bridge, bringing me and Master Jo together, and that’s how I started my journey in female gukgeuk under Master Jo’s guidance.

 

Jiyeong: When I was eight, I had the chance to learn minyo at my elementary school. That’s how I first dipped my toes into the world of gugak, and everyone around me seemed pretty keen on the idea of me picking up pansori. So, I headed to a private music academy nearby and said, “I want to learn pansori,” They didn’t have a gugak teacher right then but promised to find one. And that’s how I met Master Jo. While diving into pansori, it was almost a given that I’d get a glimpse into female gukgeuk. Master Jo, she has this deep passion for female gukgeuk and carries so much pride in being a performer in that field. She would always weave tales of female gukgeuk into our pansori lessons. Before I knew it, I found myself performing on stage, slowly getting immersed in the world of female gukgeuk. Being up there, sharing the stage with veteran performers, was exhilarating. It was fun, and I couldn’t help but look up to them. That admiration sparked a dream in me—I wanted to be just like them.

From Girl Princes, a 2011 documentary directed by Kim Hye-jung and produced by the cultural production organization Play Girls Play.

 

- I imagine there might have been times when you considered whether to continue with female gukgeuk, especially since it’s not as popular or as widely recognized as it used to be. Despite this, what motivates you to keep pursuing female gukgeuk?

 

Subin: I’ve always dreamed of making it in this field, and I’ve stayed true to that path, so doubts rarely crossed my mind. My only thought was, “I want to excel in female gukgeuk and make my teacher proud.” Honestly, I never even considered any other career. However, around the time I turned 30, I had to think hard about whether to keep going with female gukgeuk. I became very sick and it affected my throat, which meant I had to go through five years of rehabilitation. It was a tough period, seeing my voice change. That was the moment I started to weigh my options between sticking with female gukgeuk or focusing solely on pansori, given that female gukgeuk is more physically demanding. It’s more than just performing solo; it involves teamwork, more resources, and definitely more funding. It’s something I'm still figuring out. But I didn’t want to live with any regrets. Before even thinking about stepping away from female gukgeuk, I knew I had to try to do something meaningful. That’s why I decided to open the Female Gukgeuk Studio three years ago.

 

Jiyeong: In the world of gukak, sticking exclusively to female gukgeuk just isn’t realistic. You need to have your hands in more than one pot. For me, I’ve always had a strong foundation in pansori and I’ve continued with it, but female gukgeuk holds a special place in my heart. Whenever there’s the slightest opportunity, I jump at the chance to perform or create something in female gukgeuk. I’m constantly brainstorming ways to get female gukgeuk more exposure. Since pansori is more familiar to people, I’ve been trying to figure out how to weave female gukgeuk into my pansori performances. Sometimes, I sneak a bit of female gukgeuk into a pansori piece (laughs). Of course, I know they’re different genres, but since opening the Female Gukgeuk Studio, my focus is shifting more towards female gukgeuk, hoping to showcase its unique appeal. However, I’m not just about keeping things traditional. I’m keen on exploring new ways to present female gukgeuk, like staging more intimate performances with just one or two performers.

 

- How do female gukgeuk, pansori, and changgeuk differ from each other?

Subin: Changgeuk, which draws heavily from pansori for its repertoire, used to handle its lines in a way that was much closer to opera, up until just a few years ago. It also does use the aniri technique (where, during transitions between passages, a vocalist weaves in lyrics freely outside of the set rhythm) though not as much as pansori does. On the other hand, female gukgeuk often explores entirely new stories. When vocalists employ the aniri technique, they’re typically discouraged from doing so. In female gukgeuk, the dialogue is delivered more like in traditional [non-musical] theater, though with a bit more of the aniri's improvisational feel than you’d find in standard theater.

In terms of songs, pansori can be tricky because the meanings are deep, and the pronunciation isn’t always straightforward. In female gukgeuk, there’s a technique known as the theatrical voice, where your singing style aligns with the narrative—sometimes that means adopting a beautiful tone or a more stylized form of vocalization. While some have underrated female gukgeuk for this reason, I believe it’s a huge plus. People often say female gukgeuk was Korea’s first form of musical theater, and it’s been a trailblazer in many ways. But, even with all its achievements, this genre has been somewhat overlooked, possibly because its name contains the word “female.” Unfortunately, there’s been a tendency to view female gukgeuk negatively in folklore circles.

Jiyeong: At one point, a folklorist remarked, “Just as it’s considered unfortunate when the hen crows instead of the rooster, women have overstepped by creating female gukgeuk.” This comment was clearly not a critique on its artistic or theoretical merits, but rather an unjust disparagement.

Photos from the show 2021 Retro K-musical: Female Gukgeuk Rising in Ansan (Provided by the Female Gukgeuk Studio)

 

- I’m curious about the continued love for female gukgeuk, especially after it has faced periods of being disregarded and excluded. Master Jo’s passion for the genre was palpable during her book event. What aspects of female gukgeuk do you find most appealing?

 

Subin: I’ve often wondered how someone could dedicate themselves so completely to something like she has to female gukgeuk. The answer, I think, is that it has kept her alive. Her journey started around the time the Korean War broke out, which led to her being separated from her parents for a while. I believe the genre might have eased her loneliness. Then there’s the allure of being on stage—a feeling that’s hard to let go of once you’ve experienced it. She’s also been driven by the immense love from the audience. And the breakthroughs we’ve achieved together, fueled by our relentless passion for the genre, have given us a deep sense of pride and love for it.

 

Actually, it was only the first generation of performers of this genre, like Master Jo Yeongsuk and Lee Soja, who truly experienced its golden age. Members of the second generation might have caught glimpses of that era in their youth, but not directly through their own performances. For Jiyeong and me, the heyday of the genre is something we’ve only heard about or seen in pictures; we’ve never experienced it firsthand. Despite this, we remain drawn to the genre because of the energy it embodies. I’ve had the chance to perform on many stages with various gukak veterans, but the vitality found among female gukgeuk performers is unparalleled.  You think they must be crazy. Performers in their 90s, who might normally struggle to walk, are stomping and standing tall on stage with remarkable vigor. And their voices. It makes us wonder where such energy and passion originate. This curiosity is what drives me to continue exploring their work.

Jiyeong: There’s a charm to it that you just can’t understand unless you experience it firsthand. It’s not only about being on stage yourself; watching their performances and female gukgeuk shows has a way of completely drawing you in. I mean it sincerely. Currently, as I watch the veteran performers in rehearsals for Legend Chunhyangjeon, I’m constantly amazed, my jaw drops, and suddenly, the performance is over before I know it. People often say the allure of the genre is seeing female performers take on male roles, but that’s not all. The artistic aesthetics, stage direction, music, acting, and sound—everything is so sensual and sophisticated. Though I’m a female gukgeuk performer myself, I, too, feel a profound sense of catharsis while watching the performances.

Cover image for Female Gukgeuk into the Mists of Time by Jo Yeongsuk, published in 2022 by Minsokwon

 

- I’m curious about how one becomes a female gukgeuk performer and what you need to learn for that.

 

Subin: To become a female gukgeuk performer, it’s crucial to have a high tolerance level for hardship (laughs) and a strong sense of community. Since these performances require a lot of teamwork, lacking patience or a sense of community can make things tough. Talent alone isn’t enough. As for singing, it’s all about practice. And if singing isn’t your strong suit, there are roles that don’t require singing. However, you’d still need to work on adapting your vocalization to suit the genre. But with practice, it’s achievable.

 

Jiyeong: You really need a fighting spirit, because pursuing this path means constantly working hard even when no one notices your efforts. From my own experience, I’ve often been asked why I bother with female gukgeuk—though that is something, I believe, that will change. But in those moments, it’s crucial to have the determination to prove them wrong. (laughs) Most importantly, you must genuinely love female gukgeuk. Not because it’s trendy or you see it as a way to make money, but because you have a true passion for this genre and it’s the only thing you want to pursue. That’s the kind of mindset needed here.

 

Subin: But once you get into female gukgeuk, you’ll definitely fall in love with it.

All: Wow! (laughs)

 

-In female gukgeuk, there’s a lot of emphasis on women playing male roles. However, it’s not necessarily true that playing male characters is always more challenging, or that taking on female roles is always easier.

 

Subin: Things have definitely changed from the past. We’re now in a time where the traditional binary view of gender is fading, and gender is interpreted in much more diverse ways. However, back when this genre was at its peak, there was a kind of catharsis and freedom that audiences felt seeing female performers take on male roles that they couldn’t have in reality. Even though the audience was aware these male characters were played by women, it likely felt akin to diving into a romance comic book, in my opinion.

 

In female gukgeuk, all performers, regardless of whether they’re playing male or female roles, tend to act in an exaggerated manner. It’s not about acting naturally. This applies to female roles too, where you’re expected to portray femininity in a more dramatic fashion. Details like finger gestures, the set of the shoulders, and even the positioning of the pelvis. Maintaining this exaggerated style while still engaging the audience deeply in the performance is something we constantly work on and is a hallmark of the genre. Voice range plays a crucial role as well, especially when two female performers need to depict different genders. This requires a clear distinction in acting to reflect gender differences. So, we train to modulate our voices, aiming for a lower pitch for male characters and a higher, softer tone for female characters. We need to perfect our voice to suit the characters through practice.

Female Gukgeuk: Samjil’s Hero, performed at the 5th Jongno Cultural Diversity Theatre Festival from November 18th to 20th, 2022, at Theatre Changdeokgung (Provided by the Female Gukgeuk Studio)

 

- It’s interesting that female gukgeuk performers are grouped into three generations.

 

Subin: Literally, the first generation consists of the pioneers who either founded the genre or were part of its golden era. The second generation grew up watching these trailblazers and, inspired by them, chose to pursue female gukgeuk themselves. Beyond them, there are those in their 40s and 50s, many of whom ended up leaving the field after struggling to get by. It doesn’t feel right to exclude them from our generation, so I’d consider them, along with us in our 30s, to be part of the third generation. My reason for dividing the performers into three generations is to highlight that the history of female gukgeuk has continued uninterrupted. Interestingly, just when it seems like the genre might be cut off or disappear, it manages to survive and even rejuvenate. So, the somewhat tragicomic reality is that female gukgeuk has been “on the rise” for the past 20 years. (laughs)

- In this upcoming performance, we’ll see performers from the first to the third generation. How did you go about planning this?

Subin: Years ago, we started thinking about putting together a show with these veteran performers. We even applied for arts grants, but  we were rejected, so we couldn’t get the show off the ground. However, we realized we couldn’t wait any longer, especially with the first-generation getting older. We decided to just go for it, even though funding wasn’t the only hurdle; we also had to deal with misunderstandings and conflicts. But especially after going through my own personal challenges, I was determined not to abandon this dream. We approached the veterans, explaining, “We might not be able to pay you much, but we really need your help.” Thankfully, they were on board, saying, “If it’s your show, we’re in.” We’re so thankful for their support.

 

That’s how the show got started, but it’s quite a challenge because there’s so much to do. Female gukgeuk has a unique style, but only a few people have direct experience with it. So, even though Jiyeong and I have brought some staff on board, we still end up doing a lot of the work ourselves. When we face these challenges, we realize the importance of training the next generation. If not formal training, then at least bringing together people who are passionate about female gukgeuk. This is something we’re thinking about for the future.

 

- Is there a generation following you and Jiyeong?

 

Subin: Currently, we’re not teaching any students. Although I was trained in the gukak field, I’ve felt there are many issues with the traditional apprentice system. So, I’ve decided not to take on apprentices until I feel more prepared mentally. Starting next year, I plan to gradually get ready. Instead of having apprentices in the usual sense, I’d like to establish a children’s female gukgeuk choir. We’ll focus on teaching singing primarily and then gradually introduce acting.

Hwang Jiyeong and Park Subin, the founders and performers of the Female Gukgeuk Studio (Provided by the Female Gukgeuk Studio)

 

- It appears that female gukgeuk is gaining more recognition lately, due to the popularity of the webtoon Jeong-nyeon. Have you noticed any changes?

 

Jiyeong: Yes, I have. For starters, more people are aware of female gukgeuk now. Even within the gukak community, there used to be questions like, “What was that genre you're involved in?” Now, however, many people recognize it. There’s also a growing interest from some individuals in creating new works using this genre.

 

Subin: There’s also a changgeuk adaptation of Jeong-nyeon, and a TV series version is in the works. So, I believe the popularity of this genre will continue to grow. Achieving this kind of recognition has always been our goal, and it feels like the pressure is lessening now. However, we do want to showcase the true essence of female gukgeuk for all these people who are just discovering the genre.

 

- Hearing you talk about it, I’m really eager to see your upcoming performance. Could you tell us a little about it?

 

Subin: This performance is a collaborative effort spanning several generations, and we want to ease the pressure on the veterans. That’s why we’re presenting Chunhyangjeon, a story they’re well acquainted with. But rest assured, you’ll get a real taste of female gukgeuk. We’re aware some audience members may be new to this genre, so we’re going to show a short video to introduce its history. Additionally, there will be a performance illustrating how the genre is evolving. Our goal is to demonstrate that female gukgeuk is dynamic, open to musical and theatrical innovations. We’d be grateful for your attention and interest.

 

Jiyeong: The veterans from the first generation might not be happy with me saying this, but I believe this performance could be our last one with them. So, I really hope you’ll come and see our show. Don’t worry if you’ve never seen anything like it before—just come and experience what we have to offer!

 

Subin: Actually, female gukgeuk was designed with popularity, inclusivity, and universality in mind right from the start. When the genre first emerged in the late 1940s, its main focus was on being widely popular. This shows that from its inception, female gukgeuk aimed to reach many people.

 

- I’m curious about what you aim to achieve as a female gukgeuk performer in 2023.

 

Subin: My goal is to set up a school where students can properly learn this genre, with female gukgeuk performers as the instructors.

 

Jiyeong: I wish for female gukgeuk to be widely loved. I also want it to become a regular entertainment choice just like a movie or a play. Ideally, people would casually ask, “Do you want to go see a female gukgeuk?”

 

※Early bird tickets for Legend Chunhyangjeon are available for purchase on Tumblbug until August 17th. https://link.tumblbug.com/XymUSVWk7Bb

 

*original article: https://www.ildaro.com/9701