Korea National Ballet’s `Splendid Leap`

The Korean National University Of Arts’ dance-director Kim Hye-Sik, who once took the office of 2nd director in 1993 after the 1st Yim Sung-Nam, is the figure that established the foundation of Korean ballet’s revival. As former head-dancer of Canada’s Les Grands Ballet and University of California’s professor of drama/dance, he applied his know-how learnt in 30 years abroad into Korea National Ballet (KNB). He also trained other figures like his successor, former KNB director Choi Tae-Ji, Lee Jae-Jin, Han Sung-Hee, and Kang Jun-Ha.

Kim said, “Korean ballet’s success resulted from devotion in basic skills training and westernization of physical conditions. Throwing away the old tradition of leading younger generation and casting capable dancers regardless of their experiences were effectual too.”

He also founded `Culture School Ballet` (present KNB Academy), which was a subsidiary educational institute of KNB, in 1993 for the first time to train future dancers. Analysts evaluated that it contributed in increasing ballet population, as the culture school’s Yim Jung-Yoon (Seoul Arts High.) won gold at Asia Pacific International Dance Competition’s junior-division.

Since 1996, when 3rd director Choi Tae-Ji came into office, KNB went through a leaping growth by achieving ballet-popularization. `Ballet with commentary` was prepared since 1997 to narrow the distance between dancers and the audience. `Ballet with commentary` was so popular that it recorded `Full-house for all shows` during the 6 years of Choi’s service.

Choi also settled `star marketing`. He provided opportunities for members like Kim Ji-Young, Kim Ju-Won, Kim Yong-Gul, and Lee Won-Kuk to win prizes at international competitions.

“Kim Ji-Young and Kim Yong-Gul won the 1st duet-prize in the 1998 France Paris Dance Concours, and this connected to increase in ballet audience. Cause for Korean ballet’s advancement also resulted from the fact that dancers work hard, as they recently held 90 performances annually,” said he.

Also, `KNB Supporters’ Association`, which consists of 20 political and financial personnel who support 70 – 80 million won annually, and `Ballet Association`, which is supporting with ticket-sales volunteers, also had become the foundation of today’s KNB.

“We have planned to introduce Korean creative ballet from 2004’s Europe performance, on the basis of what the past directors cultivated. We are to actively attract investors to create stability in activity foundation,” said 4th director Kim Kung-Su, who is newly leading KNB this year.

Dance personnel also appreciated KNB’s rapid growth. When it became independent as a foundation in 1999, KNB made decisive investments in invitation of foreign choreographers, stage devices, and costumes, raising its level one step up. For the `Don Quixote` performance in June, France’s costume-stage designer Jerome Kaplan and lighting director Bernard Eve, who was in charge of France’s Paris Opera Ballet for 58 years, will be invited to produce a European stage. Also in October, best European choreographer Jean-Christophe Mail Iot’s `Romeo and Juliet` will be on show, and `Nutcracker` in December.

Dance critic Jang Kwang-Ryol said, “Foreign choreographers’ direction improved performance and dancing. But there are still problems for lack of leading dancers and the task of improving group dancing.”

Tae-Hun Hwang beetlez@donga.com