The History of Korean Female Soloists from the 20th Century: Episode 11/?
The eleventh episode of 'The History of Korean Female Soloists from the 20th Century' focuses on notable Korean musicians who emerged during the early 20th century, a time significantly impacted by Japanese occupation. The historical records pertaining to these artists remain largely incomplete. This scarcity of thorough documentation can be attributed to the nearly century-long gap since their contributions, which predates the Korean War and resulted in the loss or inaccessibility of vital records. As a result, the limited information on this singer may render this episode a (8th) mini-sode within the broader series 'The History of Korean Female Soloists from the 20th Century.'
It is important to highlight that the available information is limited, and there is no image of the singer. The photo I have included may be associated with Lee So-hee, but the only connection appears to be their names, indicating that they may or may not represent the same individual.
Lee So-hee (이소희; 李素姫)
Lee So-hee (이소희) was a Korean folk vocalist and a Jinju gisaeng during the period of Japanese occupation in Korea. She showcased her talent by performing Namdo Sori alongside Lee Ok-hyang (이옥향) and Kim Hwa-seon (김화선) at the Female Master Singers' Competition of the All-Joseon Local Entertainment Competition on May 3-4, 1938, and later participated in the Hanhaeguje Master Singers' Competition on March 18, 1940. Between 1940 and 1943, she collaborated with Im Jong-seong (임종성) and Jeong Won-seop (정원섭) on the Gyeongseong Broadcasting Station (京城放送局), where they presented a variety of short songs and folk pieces, including "Pak Taryeong," "Sugungga," "Undam Punggyeong," "Jukjang Mang-hye," and changgeukjo.
Sugungga (수궁가; 水宮歌)
Sugungga is one of the five recognized pansori madang, also referred to by various names such as Tokki Taryeong, Byeolju Bujeon, Byeolju Buga, Tobyeolga, and Toebyeolga. This pansori narrates the tale of the Dragon King of the Water Palace, intertwined with the fable of the turtle and the rabbit, a narrative that has been preserved through generations and is traditionally performed by clowns. The plot centers around the Dragon King of the South Sea, who, afflicted by illness, sends Byeoljubu (Jara) to entice a rabbit for its liver. However, the clever rabbit outsmarts Jara and escapes to the outside world.
Key elements of Sugungga include the Dragon King's ailment, a Taoist priest's pulse examination, the rabbit's artistic representation, and the ensuing conflict among beasts over territory. The narrative unfolds with Jara's attempts to lure the rabbit, the rabbit's cunning evasion of the Dragon King, and its subsequent mockery of Jara. The story is rich in allegory and humour, characterized by a light and cheerful tone, which distinguishes it as one of the more accessible forms of pansori.
The text of Sugungga (序唱), particularly the version known as Toebyeolga, was compiled by Shin Jae-hyo (신재효; 申在孝), reflecting the performance style of clowns of that era. Notable segments include the preface sung to a jungmori rhythm, along with various thematic pieces such as Yongwangdeukbyeong (龍王得病: Jinyang, Jungmori, Eotmori) and Gogocheonbyeon (皐皐天邊: Jungmori), all performed in the same rhythmic style. The five-line score, recorded by Park Cho-wol (박초월) and transcribed by Kim Gi-su (김기수; 金琪洙), appears in Volume 5 of ‘Korean Music’. Contemporary performers like Kim Yeon-su (김연수; 金演洙), Jeong Gwang-su (정광수; 鄭珖秀), and Jeong Gwon-jin (정권진; 鄭權鎭) have gained recognition for their interpretations of Sugungga, with the former two continuing the legacy of Yu Seong-jun (유성준), while Jeong Gwon-jin (정권진) upholds the tradition of Gangsanje.
Pansori Sugungga Jo Sang-hyeon (조상현)
A performance scene of Sugungga at the 1988 Korean Traditional Music Festival. The singer is Jo Sang-hyeon and the drummer is Kim Myeong-hwan (김명환). Sugungga is one of the five madang of pansori. (Source: Encyclopaedia of Korean Culture)
