By Sho Chang-young
In Korean, “Baebaengigut” is a compound word of “Baebaengi” and “gut.” The former, sometimes written as “Baebaengyi,” is a person’s name. And the latter, also romanized as “goot,” is a traditional religious ritual for health and longevity. However, the word "Baebaengigut" means a traditional Korean play and music.
It belongs to “seodo sori,” our traditional performing style of the western region. It is comparable to the southern style called “namdo chang” or “pansori.” As a result, folk songs, martial songs and jokes are combined to convey the plot, and a single singer leads the drama by switching between various roles.
The story of "Baebaengigut" is about Baebaengi, the daughter of a "Jeong-seung" (the highest government position in the Joseon Dynasty). She falls in love with a noble monk who must remain single. After she dies from severe heartbreak, her father calls in shamans from all over the country to comfort her soul.
Then, a cunning young man makes a windfall by pretending to be a competent shaman. It is a singing drama about birth, growth, love, separation and death, which all human beings face, and can be comforting due to the emotions of the joys and sorrows of life through folk songs.
When we talk about the performance history of "Baebangigut," we can't forget about Lee Eun-kwan. Born and raised in Gangwon Province, he learned traditional folk songs and "Baebaengigut" from his master, Lee In-soo. From 1936 to 2014, he was loved by the public for his impressive performances. At that time, there were several musicians who performed "Baebaengigut," but his popularity surpassed them all.
He became so famous, he starred in the movie “Baebaengigut” in 1957. His appearance and songs were easily seen in various media. Since my school days, I also have heard and watched him playing on the radio and black-and-white televisions, and have been deeply awestruck. Many baby boomers probably have similar experiences.
To the public, Lee Eun-kwan's works were not just folk music but also an important cultural heritage, deeply reflecting the life and emotions of the time. In 1984, he was designated a "Human Cultural Asset for 'Baebaengigut.'"
On the second weekend of last month, at the outdoor concert hall of Children's Grand Park in Seoul, there was a performance of Baebaengigut. It was a commemorating concert on the 10th anniversary of Lee Eun-kwan’s death.
The occasion was hosted by the Baebaengigut Preservation Society and sponsored by the Seoul Metropolitan Government and other cultural organizations. Over the course of two days, the audience had a great time enjoying the authentic traditional performances.
I sincerely praise the enthusiastic performances of the players of this show, including Kim Kyung-bae, a disciple of Lee Eun-kwan, who was the general director of the event. Even though it was an outdoor performance, the costumes, stage composition and sound of the performers were excellent, so the audience felt as comfortable as the indoor recital. The weather was also nice.
The thrilling tightrope walking (namsadang show), as well as the traditional farmers' music (nongak), were enough to heighten the interest of the spectators, too. These were done before and after the main part, "Baebaengigut."
Overall, it was a remarkable concert that allowed us to rediscover the artistic achievements of Lee Eun-kwan and reflect on the preservation and development of our traditional performance genres.
I look forward to the day when our unique performing arts like this can be naturally combined with the modern Korean wave and attract the attention of people around the world.
Sho Chang-young is a retired high school teacher and former principal of Gunsan Girls' High School.
English (United States) ·