Date: 8 August 2023
Time: 14:00
Location: Caravan, Coals Drop Yard
Park Su young (Gongwon) is not just an Artist Manager at the KBCE (Korean British Cultural Exchange), but an artist and a dancer in her own right. She describes herself as a lover of Pop Art & colour. I am, she said, having moved to the UK six months ago, ‘in a new chapter of my life.’ When I asked what that looked like, she replied, ‘this year is about making things happen. I’m really excited, but I’m nervous too.’ Naturally, our conversation turned to how she was finding living in the UK. ‘I like it’, she said, smiling. ‘London is such an international place, and I really like it here. I say pardon a lot now. I know to say football, and not soccer. Sometimes I feel like a child in Kindergarten because I’m learning so much. But, I’m really happy.’
We talked at first about Su young’s early career, and how she first discovered a love for traditional Korean art. ‘That’s a long story, she said happily. ‘Originally, when I was studying Art at university, my focus was actually Western Art, because I was drawn to bold colours’ – she is a huge fan of Andy Warhol. However, she changed her focus to Korean Art after a discussion with one of her teachers, who said ‘if I wanted to know about the world out there, then I should start by focusing on my roots,’ something which she confessed, is sometimes ‘really easy, but other times is really complicated.’ Previously, as her focus had been on the things that were “high edge” and new. She needed to find her own way first, her own artistic style and the best way to express her inner thoughts and feelings. ‘I learned to ask questions like why? How? What? Where?’
We talked about how artists work on developing their own style, and what she has benefited from the most. ‘Feedback’, she replied, ‘is what I have found has helped me develop as an artist the most. I’m so interested in what my teachers have to say.’ Su young shared with me the esteem and high regard she has for those who have steered and guided her in the right direction. ‘Actually’, she said, ‘I’m here today in London because of one of my professors. When I arrived here I sent her an email thanking her for her advice.’
“I’m really looking to find the next door as an artist. Life has so many doors, and it doesn’t matter which one I open. If I make a mistake, or its just not the right door for me, I know that I can always take a step back and close it. To take that as being a part of my journey, and my map. I’m always knocking on doors. Exploring. Learning. Trying. It’s all important. Especially if you feel shy, or scared. Questions are important to ask.” -Park Su young
Interestingly, the first time Su young considered dancing was also at university. She described this as one of her ‘light-bulb’ moments that arose from wanting to get exercise but not enjoying working out at at the gym, something which she realised she ‘hated fairly quickly. One day, when I was going to the gym, I spotted a small dance class, and when I saw them dancing, my eyes got really big and I thought, wow, I want to do that!’ Her face lit up when she talked of this memory in the way that one can only imagine someone who has found their calling might look back on where it all began. My thoughts however went to the type of dancing itself. ‘Jazz dance’, she replied, when I asked. ‘At the time, Jazz was a really hot trend in Korea, although I hadn’t thought about it much before.’ After a while, Su young ended up at a studio in a very expensive area of Seoul, training to be a back-up dancer alongside teaching dance. Su young worked with the first generation k-pop artists for a while but eventually, she realised that she didn’t want to just be a back-up dancer, she wanted to be the main performer in her own right.
My biggest takeaway from our conversation, is that Su young is kind and openhearted, and nothing confirmed this more than our conversation about her experience of working within the K-Pop industry, which she described as ‘really intense’. She talked to me candidly about her experiences and how she found it hard to deal with the fact that there were so many people who were unsuccessful and seeing the trainees spend a long time training, sometimes 7 and 8 years- ‘not to mention the level of effort that goes into that training. They start so young, sometimes even at 9 or 10 – they had such a hard time.’ By comparison, Su young described dancing as something she ‘always looked at as being something to do for fun, and for pleasure, so it was difficult for me to see the pressure these kids were under’. Then several years later when she left that role, which she found a difficult decision to make – ‘I was worried that it would be the end of my career. Some people said it would be. I was also worried about giving up a steady income but what kept me going was the belief in myself. My mind is more clear now, which is really good. I feel like I’m moving forward. Sometimes I also teach k-pop dances classes, so I’ve not completely left that side of me behind.’
When our conversation turned to how Su young gets inspiration for the choreography she creates, Su young says that the first thing she does is to visit a museum, turning to sculpture and fine art to create her first sketch or idea. Her ideas, she informed me, always come from movement. Although interestingly, she looks at the form, and the form’s movement. Whilst there is a stillness to the art itself, that stillness inspires her and motivates her thought processes. ‘I analyse the poses and think about why they did that. I then get my ideas and start my choreography. Culture is a great resource.’
We talked a little bit about her ongoing work, The Map Project, which Su young is currently working on a second version of, and the thought processes and theory that motivated its creation. ‘It’s about a journey, she said, which involves the world around me. For example, us being here today. It’s our first time meeting, yet here we are. I’ve never been here before. This is a totally new experience for me. Looking around, I can see the food, the objects, and I have connections with them through my past experiences. For example, if I take this glass of water, it reminds me of a memory I have when I was seven of my mother telling me to drink more water.’ Simply, the past is here, as it is everywhere. The connection we have stay with us throughout our lives. We also talked about how this extends from generation to generation – and the different atmosphere and the different understandings between the two, given their different life experiences and different political landscapes. ‘There are natural frustrations that arise but really we, as humans, are all the same, no matter where we are. If we experience one tiny connection, our maps spread together, leading to one destination: better understanding.’
I then asked if she would show me some of the art she has created, and as she happily obliged, there was one piece that caught my eye, and I asked her more about it.
F: What style of painting would you call that? Because, it’s not simplistic as such, that’s not the right word, I don’t know quite how to describe it – the artistic style leaves what I would describe as gaps.
S: Yes, that’s a theme in traditional Korean fine art. The gaps you see in many paintings are there because the gaps are meant to be life, and our ancestors wanted the viewer to have blanks to fill in. The gaps represent the moment, the wind, air, colour or life. These are yours to fill in. If you are looking at the painting, the creator wanted to feel enjoyable.
F: I love that. I enjoy feeling like there are blanks left to fill in, it makes the art dynamic and fits in with different days, different feelings. The waves, the sounds, the colours, the weather.
S: We describe that feeling as transcendence. Everything that you see as being blank in the image tie in nicely with the breathing. Western Fine Art, which is based on colour, and involves a lot of light. It strikes light and colour, and breathes it into paintings so that’s why there are so many bright colours, textures and layers. By comparison, the traditional art associated with Eastern culture, features strokes that are more simple. Each line is the start and the end. The root. The artists want to know that there is colour and life inside the. It makes a perfect sequence. That’s why I really like it.
We got into this topic in great detail, but in order to explain the concept of transcendence to me in more detail, Su young used the example of her experience of learning to play the traditional Korean drum that will form part of her upcoming performance in the ESEA Festival. ‘I found a teacher to teach me, Su young said, and she let me stay at her house. There were lots of early mornings, but there wasn’t really a schedule. She would play, and let me watch, then would say ‘practice!’, which I did, sometimes 5, 6 hours a day. I felt like I was just hitting the instrument rather than playing it.’ The reason for this style, was to get to know the instrument, its sounds, before her teacher went on to teach Su young properly (giving her the feedback she really felt she needed to improve) about three weeks later. Su young calls this a beginner’s guide to Transcendence. Essentially the point, I felt was, for the learner to explore, and play with a medium, which could be anything: brush, paper, instrument, etc. and if you like, to get to know what you’re working with. Questioning, Restarting.
S: I have so many different ways to express myself artistically. Sometimes its dance. sometimes its art. I don’t like to say job because that seems too ordinary.
F: Vocation?
S: That’s right, thank you. My vocation. I always really like to switch between things, to have layers and do different things. I like to question myself. I love exploring different things.
We talked more about her different styles of art, such as the picture on the left which is another of Su young’s beautiful creations. The character is a woman living in the Joseon Dynasty. The beautiful red flower you see is Su young’s loving tribute to the Camellia, a beautiful flower native to South Korea’s Jeju Island. ‘It blossoms in the winter, so it’s rare and special’. Su young describes the colour of this flower as lively. Su young informs me that the meaning behind the flower endless love. In the winter, Jeju is ‘cold and not lively there, but the red flower is impressive, especially against the white snow.’
Su young then asked if she could ask me a question. The question was: What is your favourite section of Korean Culture. Having just finished reading the memoirs of Lady Hyegyong, which I found incredibly interesting for many different reasons, I didn’t have to think on my answer for very long. I’ve always loved historical dramas and historical fiction, but reading Lady Hyegyong’s actual written words, thoughts and feelings about real people and real events was just been incredible to me, even if at times the subject matter is a bit difficult to digest. As a wider point of interest though it’s such a fascinating piece of literature / writing. To a modern reader it presents the opportunity of learning more about court life, which is really fascinating. The tensions, politics, factions and lots of things I really don’t know much about at all yet.
Talking of history, which Su young described as the mirror of the present, she smiled at me and said she loves sharing different sides of her country with people. Su young holds history, and story telling, as being things that are important, and she tells me how grateful she is for museums that allow us to have an easy way of understanding and learning about different things, different histories and different cultures. She also thinks its really great to see Korean Idols wearing traditional clothing such as the Hanbok, and using traditional Korean music.
Then, because lately no conversation I have is complete without mentioning him at least once, I was glad that the conversation turned naturally to Min Yoongi, or Suga of BTS / Agustd, and his hit song Daechwita (대취타), which is a huge hit both within Korea and internationally. Daechwita was traditionally a way of announcing that the King is coming (it was the music that would announce His arrival). ‘Suga’, Su young said, ‘was interested, through this song in remaking, redesigning the Daechwita in his own style. This is evident by almost everything that goes into the music video. The royal costumes, the setting, even right down to the hair style. It was even filmed in the royal palace.’ As a result of Suga’s efforts, Global fans have been exposed to and been interested in the musical style. Of course that’s not to say that Suga is the only artist using traditional music, but he’s very high profile. Blackpink has worn some traditionally inspired outfits. The set at BST Hyde Park had a traditional Korean design in some parts, it was incredible.
Suga I wanted to mention specifically because, in my opinion, I think he’s one of the most talented musicians of the newer generation and generally speaking seems like a really interesting person. He, like many others, is really keen to share his country with the world, and as many people as possible. ‘He’s really special,’ Su young agreed, ‘I love seeing how keen he is on exploring a balance between the two styles (Korean vs International) in his music. He also has a song called Hageum. The Hageum is a traditional Korean instrument, but the word itself has another meaning: which is to ‘do without inhibitions’, so not thinking too much. The rapping in this song is also a really good match to the much. When I first listened to the lyrics I thought they were amazing.’
In short: He’s great.
Daechwita:
Hageum:
Finally, when we realised the time, and that by this point we had been talking for nearly three hours, we finished by spending some time talking about the upcoming ESEA Festival taking place later on this year, which Su young is both playing a role in organising and performing in. She described the opportunity of being involved as one that arose through a conversation. ‘At the moment we are preparing for the ESEA culture event, which is really a gathering of different cultures. Lots of artists within Asia have struggled with the issue as to what is the best route to gain access to an audience, so we wanted to create a festival that will open these cultures to the wider society. It’s a really exciting new chapter for the KBCE.’
I met with Su young on what otherwise was a miserable, rainy and cold day in London. I left her company feeling privileged to have met someone so warm, articulate & thoughtful, as well as really funny. Her philosophical outlook on life was refreshing.
