It is apparent that Korea has been greatly influenced by Japan during the colonial period through its culture, mindset, and especially music. However, cultures, such as Japan and Korea, have overemphasized the importance of originality and individuality in order to create a boundary and separate themselves from their neighbors. Purportedly the Koreans incorporated Japanese enka, which is still debatable due to lack of sufficient evidence, and minyo (Korean “folk song”) into their music repertoire. After immersing myself in P’ansori, I comprehended the reason some Japanese thought of this form of Korean music as an extension of the Japanese noh play: the harsh sounds and vibrating singing parallel Japanese Noh theater drama and Bunraku music. While Japan prides itself as the mold for East Asia to imitate, Koreans attempted to detach themselves from the East Asian trends through music, customs, and dress. In spite of this endeavor for disconnect, the Chinese leading opera actor Chen Shi-Zheng, in coordination with the composer Eve Beglarian and the noh master Akira Matsui, confirms the significance and beauty of creating a conglomeration of the effective aspects of Korean, Japanese and Chinese traditional music and performances into a highly moving artwork. Chen is a prime example of a new mentality emerging in the East: an advocate for unity through his “Kopanese” music.
Chen confirms that imitation is not derogatory, and rather allows novel and improved music to form. Forgiveness is a traditional tale inspired by a classic Chinese ghost opera, The Punishment of Zi Du, about revenge and primarily focuses on the rift between East Asian generations post-war. The ghost represents the metaphor for the turbulent, intertwining histories of China, Korea and Japan; through the symbol of connection of a similar history and struggles, Chen attempts to unify East Asian mentalities by combining the music into a single form, which some report as “a visual theater poem.” Chen employed the opposing techniques of each culture’s dance: Japanese masked noh dance is defined by its restrained movements, Korean salpuri dance emphasizes vertical, up-down, movements, and Chinese jingju is an intricate yet free-flowing acrobatic dance with concentration on circular movements. It is apparent from reading the techniques of these cultures that the form would not incorporate all these ideas into a concise new form; however, Chen accomplishes his mission well and the play has been present globally.
By dissenting the crucial skills that represent each culture, the dance must be slow and restrained similar to noh, while swift enough to embody the mastery of Korea and China. The conflicting movements of circular jingju and the vertical salpuri pose additional qualms. Evidently, dance can signify the emotions and culture of each country separately with distinct styles. While Japanese culture is restrained and precise, China is the complete opposite with a whirlwind of movements, and Korea differs from the two as a combination, not too mind-numbingly sluggish and not too death-defying hurried. Chen was capable to prove his superiority over all nations music through his accumulation to represent of East Asia; he announces that “Forgiveness seeks to break through the passed-down, even unconscious hatred and suspicion that is prevalent among Chinese, Koreans and Japanese and find ways to acknowledge the brutal past in order to move more positively into the next century. In making Forgiveness, our group has initiated new friendships on a personal level that we hope will resonate into something much larger.” Through this statement, Chen is admitting that his selection of professionals’, from these three Asian countries, willingness to create music alongside each should inspire unity after a half of a century post-war to subside animosity. Additionally, Chen expounds that distinctiveness is pertinent to the establishment of a culture but by assembling a fusion of Asian music illustrates their ascendance to a more defined society. By recognizing the ideal aspects of each culture, harmony is created through music and a new mindset. Thus, music is more than an art and is capable of being employed as abating hostility, facilitating unity, and being the source for novel mentalities and notions.
Performers: Kang Kwon Soon, chungak singer (traditional Korean music); Zhou Long, jingju performer (Peking Opera); Song Hee Lee, traditional and contemporary Korean dancer; Kenny Endo, taiko drummer (Japanese drum); Wu Man, pipa player (Chinese lute); and Zhou Ming, dizi player (Chinese flute) complete the team of artists.
(EB)
