The National Intangible Heritage Center’s 2026 opening production “San Hwa Bi” draws from the 22nd hexagram of the I Ching, translating its philosophy into a contemporary stage language. The hexagram conveys the idea of refined beauty built upon essence, a concept that shapes the entire performance. With the subtitle “Coloring the World Beautifully Through Intangible Heritage,” the production signals its intent to connect long-preserved traditions with present-day stage sensibilities.
The performance unfolds across seven thematic movements: breath, sound, line, light, ritual, art, and harmony. In “breath,” piri court music and daechwita open the stage with expansive, elemental energy. “Sound” centers on Seodo folk songs, while “line” transitions into gat dance. “Light” merges gold leaf craftsmanship with Taepyeongmu, highlighting visual elegance. The “ritual” segment builds intensity through Hwanghae-do Pyeongsan mask dance and Bukcheong lion play, while “art” layers Jongmyo ritual music with performance elements. The production culminates in “harmony,” where all performers unite in “Arirang.”
At the core stands holder artist Kim Gwang-suk, a master of Seodo folk songs, whose voice anchors the performance with its distinctive resonance and emotional depth. Her collaboration with piri performer Oh Chorong adds a refined interplay between vocal tradition and wind instrumentation, creating one of the production’s key listening points.
Yang Seong-ok, holder of Taepyeongmu, leads the “light” segment with a commanding presence. The dance’s regal costume aesthetics, measured footwork, and rhythmic tension are complemented by gold leaf artistry, as well as performances by haegeum player Kang Eun-il and percussionist Hansolip. Together, they construct a dense visual and sonic expression of Korean aesthetics.
In the later “ritual” sequence, holder artist Park Jeong-wook of Pyeongan-do Baebaengi Gut drives the narrative energy. His performance bridges ritual and play, where laughter and solemnity intersect. Combined with the dynamic forces of band 64ksana and Yeonhui Jeomchuri, the stage reaches its most explosive moment.
Director Nam In-woo frames the production with a clear perspective. He emphasizes that tradition is not confined to the past but continues to breathe within contemporary sensibilities. “San Hwa Bi” embodies this philosophy, bringing together distinct traditions such as Seodo songs, Taepyeongmu, and regional gut performances into a single, cohesive flow.
Rather than relying on superficial fusion, the production places its weight on the performers’ embodied mastery and accumulated discipline. The voices, movements, and ritual energies of the holders form the structural backbone of the stage. In doing so, the title’s notion of “refined beauty upon essence” becomes not just a concept, but a fully realized experience.
Set at Jeonju’s Sori Arts Center, the performance offers a rare intersection where past and present traditions meet in real time.
Reported by News Culture M.J._mj94070777@nc.press
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