To commemorate the 60th anniversary of Korea-Japan diplomatic normalization in 2024, a collaborative performance titled “Manghan-ga” (망한가) will grace the stage of Nogakudo, a traditional Noh theater in Tokyo, on December 11 and 12. The production, blending Korean and Japanese traditional arts, aims to foster reconciliation and harmony between the two nations while reflecting on their shared history.
Min Young Chi, a Korean-Japanese music director and percussionist, who played a key role in the production, described the piece as a “fusion of Japan’s traditional Noh theater with Korea’s improvisational Sinawi and Pansori.” In an interview, he shared, “This performance is a wish for the two nations to embrace understanding and avoid repeating the tragedies of modern history.”
Written by Tokyo University Professor Emeritus Tada Tomio, “Manghan-ga” tells the poignant story of Yi Dong In, a Korean man forcibly conscripted to work in a coal mine in Kyushu during Japan’s colonial rule. Yi dies after a year of grueling labor, leaving behind his wife, who eventually receives letters he wrote during his time in Japan. The narrative portrays her sorrow and longing as she grows old waiting for her husband, highlighting the pain of separation and loss.
The production is a collaboration between the National Gugak Center of Korea and Japan’s Atelier Kashu, demonstrating a blend of the two countries’ artistic traditions. It premiered at the Umyeondang of the National Gugak Center in Seoul on December 5, offering Korean audiences an early glimpse.
The cast includes prominent figures from both countries. The role of the wife is performed by Uzawa Hisa, a Japanese Noh performer recognized as an Important Intangible Cultural Property. Other roles feature members of Korea’s National Gugak Center Dance Company, Folk Music Group, and Court Music Orchestra, including dancer Lee Ha Kyung, who portrays the younger version of the wife.
The performance integrates elements of both cultures, incorporating Pansori, Jeongga, and Korean traditional dance while blending Japanese and Korean instruments. The program also features a prelude with Shishimai (獅子舞), a lion dance from Noh’s representative work Sakkyō (石橋), and a Sinawi ensemble performance, setting the tone for the main event.
Min emphasized, “This stage combines dialogue with Pansori and Jeongga, with traditional dances that interweave Korean and Japanese instruments. It’s a poignant reminder to confront the painful past and resolve not to repeat historical tragedies.” He added, “Performing at one of Japan’s most iconic traditional theaters symbolizes both reflection on the past and a hopeful vision for a shared future.”
Born in Osaka, Min began learning traditional Korean percussion instruments as a child before pursuing his studies at Seoul National University’s Department of Korean Music. He co-founded Korea’s first fusion gugak group, Sulgidung, and percussion ensemble Puri, while also collaborating with various artists, including Kim Duk Soo, Jung Myung Hoon, Psy, and Yang Bang Ean.
Min concluded, “Many Japanese cultural artists are acutely aware of the wrongs committed during modern history. As a Korean-Japanese artist, I am committed to strengthening cultural exchange between the two nations by embracing my dual identity.”
Sayart / Joy, nunimbos@gmail.com
