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[0:10]

Video by courtesy of Bok, Jin Oh

(Save Our Saemangeum – Defending a Korean Tidal Flat, KFEM)

Breathing the Earth: Bodily Exploration of Relationality in Eco-rituals and Dances

Cho, Kyoung Mann (Emeritus Prof., Mokpo National University)

Choi, Haeree (President, Korea Dance Resource Center)

[Narration: Lee Minah, Art Action EARWIG]

[Narrator:]

This video essay is on the body movement, bodily exploration to make relationality with earth. Earth, beyond the meaning of geological entity, means the collective entity of all lives and nature. In many First Nations, the earth is collective representation of people’s ontology on concretely embodied entity of all lives and inclusive nature.

Bok, Jin Oh 2003 video documentation footage (personal archive)

‘Breathing’ is a metaphor for eco-phenomena of interactions between human beings and more-than-human beings in/with earth. In a Korean song there is a phrase telling about a fish’s interaction with ocean, ‘breathing the cold water’. All lives exist in their ecological niche breathing the niche.

Hwang, Kyoung Hwan 2012, video footage & editing (KDRC archive)

Cho, Kyoung Mann & Choi, Haeree, concept of video documentation

This article is on the relationality quested, sustained, and created in people’s bodily exploration into earth as they breathe the niche. The article is composed of three parts. In different situations the three parts manifest people’s breathings, interactions as the eco-phenomena with different themes. But these parts in common, tell about people’s bodily access, encounter, sensing and communication with earth.

Hwang, Kyoung Hwan 2018, video footage & editing (KDRC archive)

Cho, Kyoung Mann & Choi, Haeree, concept of video documentation

The article describes common and different themes in people’s bodily interactions. For the focus on body reactions, bodily thought and sensing, the article does not use any verbal explanation, sounds, and music except for marking the entrances of parts, except for sounds and musics directly attached at the real fields.

[02:40]

Part 1: Body to Earth, Three Steps One Bow

-65 days in Spring, 2003, from Saemangeum to Seoul-

Bok, Jin Oh 2003 video documentation footage (personal archive)

Cho, Kyoung Mann, concept of video documentation

[Narrator:]

The author Cho, Kyoung Mann had participated as a scholar, conceptor & environmentalist in the environmental activism of ‘Three Steps One Bow’ (Samboilbae, 三步一拜) in 2003. Samboilbae was the bodily action and voice. It had the meanings: cutting off human greeds through three steps; surrender and respect to earth & all lives through one bow. The body actions with penance, suffering and respect were done under the eco-phenomenon ‘lowering mind’, in Korean Buddhist word, hasim (하심.下心). People realized the focus on bodily voice, cutting off verbal voices, in Korean word, mookeon 묵언, 默言).

On March 29th 2003, 2nd day of Samboilbae, at the downtown, Buan-gun. Artists, local NGOs, Reporters and Cho, Kyoung Mann held a spontaneous hosting ceremony.

Bok, Jin Oh, Save Our Saemangeum-Defending a Korean Tidal Flat (KFEM archive)

In Saemangeum tidal flat, located in the southern part of west coast Korean peninsula, we can note huge biodiversity and cultural diversity. Especially estuarine ecosystem deserves to be paid consideration. Tidal flats, reeds and other vegetations of the estuarine ecosystem ensured the food availability of biologically diverse ‘marine and river’ lives and migratory birds throughout the year. The ecosystem is covered by the sea twice a day when the tides are at flood, and uncovered at ebb. People have used quite adaptive subsistence patterns like the gleaning shell technology in ebb. But in the late 20th century huge anthropocentric intervention and development destroyed the active ecology of human and more-than-human beings. Saemangeum seawall construction and reclamation are the worldly representative case. At last the seawall, total length 33.9km was completed in 2010.

Cho, Kyoung Mann 2006, Saemangeum Photos (personal archive)

From April 21st, 2006 when seawall basements were finally connected, inner mud flats began to dry. The scenes of the tidal flats in front of Haje-ri village, close to Gunsan City told it. People’s living had been seriously endangered. Clam shops stopped. Fishing boats were laid down on drying flats.

Bok, Jin Oh, Save Our Saemangeum-Defending a Korean Tidal Flat (KFEM archive)

This article tells about the people’s reaction in early 2000s. Protests were diverse and high. Especially before the seawall basements from both ends were connected in 2006, diverse actions unfolded. Activists threw their bodies at the last spot of connection. Local villagers, students, activists marched. At a huge tidal flat people performed body-to-body link, making ‘SOS’ sign. Samboilbae was the most empathetic one. Beyond protest it made people think about the world and self, made people realize deep ecology. The practice became a pedagogy for activists, intellectuals, and all common people. This video article focuses on the Samboilbae in spring, 2003. On body to earth, relationality, and meanings, this article focuses.

Bok, Jin Oh 2003, video documentation footage (personal archive)

On March 28th 2003, Catholic priest Moon Gyu-Hyun, Buddhist priest Sukyoung, Protestant Christian minister Lee Hee-Woon, Won Buddhism priest Kim Kyoung-Il launched a penance march from Haechanggetbul(해창갯벌, a tidal flat area in Saemangeum) to Seoul. People walked around Korean totem pole(장승, jangseung) site. Buddhist prayer and walking led the launching ceremony. For many years Haechanggetbul, especially the place of jangseungs, had been the site of gathering, environmental activism, people’s pilgrimage, ecological arts and rituals. Here, in early 2000s, the word mutsaengmyoung (뭇생명, all lives) emerged to connote the concept of ‘human being and more-than-human beings’. At the time many people had been doing habitual walkings to the ocean at the ends of tidal flats. These walkings would be defined as ‘visiting neighbors’, and as ‘looking after’… mutsaengmyoung.

Four religious priests started ‘Three Steps One Bow’ from Haechanggetbul to Seoul, walked over 320 km way on the road. Vietnamese priest Thích Nhất Hạnh, after his teaching of ‘walking meditation’, joined the sending off ceremony.

Bok, Jin Oh 2003, video documentation footage (personal archive)

Cho, Kyoung Mann, concept of video documentation

On May 3rd, 37th day, at a breaktime, Cho, Kyoung Mann talked about cultural sharing plans of Samboilbae issues. But even at this breaktime the priests did not utter any words. During the penance practices, thoughts were highly restrained. Priests allowed to themselves only pertinent thoughts for this penance, pertinent expressions for this practice. Body movements of walking and bowing down were the main ways for concentration, pertinent thoughts, and actions. Following the Buddhist tradition the priests called this practice ‘mookeon’(묵언, 默言) which means ‘silence’, ‘blocking up utterance’.

Bok, Jin Oh 2003, ed., video handout (KFEM archive)

Generally in Korea, Samboilbae is explained as resilience through returning to three treasures: Buddha, Buddha’s discipline, and priest. For that, three toxins should be cut off: greed(탐, 貪), anger(진, 瞋), blind mind or foolishness (치, 癡).

‘What does it mean Samboilbae?’. Sukyoung answered with quite simple words. He said ‘what I can do is just body to earth’. He meant bodily work is just what he could do…Samboilbae is his bodily devotion to earth. With this bodily work he repents of human misdeeds on earth. And he repairs or cures; he said on a day in February, 2003, preparing his body with some exercises. Samboilbae in the spring, 2003 was based on the concept ‘hasim’(下心) in an ecological sense. The somatic process was in an ecological context; ‘body to earth’. With this corporeal thought they walked, followed, bent down their bodies and bowed on the road to Seoul.

Bok, Jin Oh 2003, video documentation footage (personal archive)

Woynarski (2015) talks about bodily connection between subjects, “sensorial/corporeal reciprocity with the world”. The priests’ Samboilbae was reciprocity between subjects, between immersing bodies to earth and earth as inclusive subject. Here the interacting matters are not inanimate or lifeless ones. They are vibrant agencies (Bennett 2010). On May 21st, 55th day. Sukyoung fell down after so long time of suffering. On May 23rd, 57th day. Sukyoung kept on…On a road at Seoul people performed silence. Papers with the signs of ‘mookeon’ closed their mouths. People said with posters “Remember the voices” of these Samboilbae participants. The bodily voices, they meant.

[11:40]

Part 2: Immersion and Embeddedness

-May 19, 2012, Maehyang Ritual in Muan-gun, Southwestern Sea of Korea-

[Narrator:]

The authors Cho, Kyoung Mann & Choi, Haeree had co-worked as directors & dramaturges in the ritual & dance performance of Maehyang (매향, 埋香). The authors as directors tried to activate the eco-phenomena; encounter with earth, embeddedness, and immersion of non-human & human beings into the tidal flats. These ritual and dances were newly invented by the villagers and artists following the tradition of Maehyang.

Monument for Maehyang, (A.D. 1584), Namchon-ri, Muan-gun, Jeollanam-do

Monument for Maehyang, (A.D, 1387), Heungsa-ri, Sacheon-gun, Gyeongsangnam-do

Monument for Maehyang, (A.D. 1405), Amtae-do Island, Shinan-gun, Jeollanam-do

Engraved record for Maehyang, (A.D. 1344), Eomgil, Yeongam-gun, Jeollanam-do

On May 19th 2012 at Yongsan Village, Muan County, Korea, there was a Incense Burial Ceremony. Cho, Kyoung Mann, Choi, Haree, artists, Eco-Horizon Institute designed the whole process of the ritual, which was totally invented to make voices for current environmental, social, cultural situation.

In the past, people buried logs at the places where fresh water stream and ocean met. Tidal flat was one of the places. People might believe, after long, long time these woods could be transformed to precious ones to use. There are no written records on peoples mind and event processes. But some engraved words enable historians to define the custom, beyond the secular story, as the one for social cohesion and resilience. People believed the logs would float after thousand years. Then next generation Buddha called Mireuk(미륵, 彌勒, Maitreya) would come down. New world would open to save suffering people, The custom usually prevailed in the socially unstable time. A kind of millenarianism.

Kim, Hyung Joo 2000, photos in

‘Stewardship for Saemangeum Tidal Flat & Maehyang Belief <2>’, Buan 21.

Corresponding to the concept ‘invention of tradition’(Hobsbawm, 1992), people in Saemangeum held new ritual, by creating with adoption of old tradition, to adapt to, and to confront current situations, and to make new cultural ways.

Monument of Gangwha Maehyang 2001,

Cho, Kyoung Mann 2007, Gangwha Maehyang Monument(2001) Photo (personal archive)

Gangwha Lives & Culture Festival Committee 2007, Maehyang Photo

On October 6th, 2001 & October 28th, 2007, environmentalists, villagers, and students performed burials ceremony at a tidal flat in Gangwha Island, west coast of Korea. In 2007 at Maehyang, Dongmak tidal flat in Gangwha-gun, we can see the issue of more-than-human beings; ‘beyond human rights, let’s proceed to the rights of all lives’.

Cho, Kyoung Mann 2012, Muan Maehyang photos (personal archive)

The ritual in this article was held at the tidal flat in Hamhae Bay, southwest coast of Korea. For cultural intervention with ecological arts, for empowering ecological relationality, Maehyang ritual and performances were created. Toward Yongsan-ri, neighbour Woldu-ri villagers carried the juniper logs. Flags with the words: ‘people’s lives in mud flats’, ‘millennial promise’, ‘scent of mud flats’, ‘new earth’, etc. Elementary school & university students joined as carriers. They closed their mouths to block verbal words. Performers created a purification ceremony for the logs and the carriers.

Hwang, Kyoung Hwan 2012, video footage & editing (KDRC archive)

Cho, Kyoung Mann & Choi, Haeree, concept of video documentation

Woldu-ri villagers and Getdol Theater have a long run piece. Madanggeuk (open air theater) ‘Voices of Mud Flats’ (Bbeolsori). It is to understand villagers’ concept of their lives embedded in mud flats. The villagers are playing the lives in muds. For the villagers ‘Mud flat is bankbook’, a woman says. ‘Bankbook?’ others wonder. ‘Everytime we need, we can withdraw variety of resources for living’. The analogy of bankbook is familiar discourse in this bay. It tells people’s ideas on affulent life embedded in mud flats. A woman pulls out working people’s culture; ‘after working season, enjoy tour bus trip to Seoul !’. With rubber boots for step on muds, rubber wares for walking in muds, they play the buffoon of body movements, enjoying peer group culture.

Audience carried wood panels. Everybody wrote some words of wishes. It was invented to unite individual efforts for Maehyang. On the day, the main issues of sustainability were abstracted in the words ‘thousand years’. The logs became to embody the concept of time.

The things and bodies in performing nature (Giannachi and Stewart, 2005) unfold themselves. They are the material and corporeal media. “The body is our general medium for having a world”(Merleau-Ponty, 1962). The performers at the invented burial in 2012, might dream or perceive interconnecting self and world. Buried logs; embodied with new aspiration for ecological turn to new world, for eternal relationality and sustainability.

[Cho Kyoung Mann:]

Our tidal flats are co-living place with human being. At this time under the theme ‘bodies being buried in the mud flats, human lives in mud flats’, we have considered. We have considered about the dances that could correspond to the theme. We have considered ‘How bodies meet the mud flats, As incense wood meet the flats how it embodies human mind…’.

Dance: ‘Bodies being buried in mud flats, human lives in mud flats’

Korean sacred community pole ‘sotdae’ (솟대)

This artifact represents the relationality among sky, earth, and human being. Human bodies in four directions; bodies and landscape meet. Breathing earth and air… dancing the tension between body and mud. The dancers applied typical gleaning actions of villagers by operating steps in sticky muds, bending bodies, and moving forward. Like the gleaning, their bodies here were explorating or scanning the world of mud.

“We experience the sensuous world only by rendering ourselves vulnerable to that world” (Abram, 2010, p. 58).

On experience of body movements, Ji-suk Ahn, male dancer, recalled his feelings after the event. He was suddenly driven by fear as he felt the grey earth and sky coming to his body. By this encounter, he even felt religious awe. He surrendered himself into this aura, sensing muds and sky through his body. Through vibrant, material symbol of human immersion in mud, being connected with earth and sky, they embedded the pole into the mud flat. Following the terms of Fraleigh(2015), the perceptions through ‘soma’ and ‘psyche’ matter significantly. For the male dancer who felt religious awe, ecosomatic perception occured about all beings’ ontological interconnectedness(Keller and Golley. 2000). The earth, beyond his previously expected ‘conventional stage’, was the ecological theater (Chaudhuri, 1994).

“Ecosomatics can also help us to reawaken to our interconnection with nature” (Bauer, 2008).

Villagers’ creation of ritual ‘seeding clam spats’. It tells their aspiration for sustainability of human subsistence depending upon mud flats and all lives.

[20:14]

Part 3: Interaction between Dancing Self and Animated World

-October 18th, 2018, at Guggyedeung Forest Grove and Beach, Wando Island, Southern Sea of Korea-

Hwang, Kyoung Hwan 2018, video footage & editing (KDRC archive)

Cho, Kyoung Mann & Choi, Haeree, concept of video documentation

[Narrator:]

The authors Cho, Kyoung Mann & Choi, Haeree had co-worked as directors & dramaturges in the ritual & dance performance of Gaetje (갯제)

The authors as directors tried to activate the eco-phenomena of reciprocity, sensing and being sensed between human beings and natural beings in the invented tradition & ritual Gaetje.

[Cho Kyoung Mann:]

Thus ecological arts are artistic behaviors that build up…all lives. We are now producing this event to express these forest, ocean, marine forest and people in the Wando ecosystem…to define (these beings-authors add) by the various sensual media (in artistic behaviors-authors add). Then we are now producing the event to strengthen local societies, to build up new consciousness toward nature.

Ambiguous Dance Company performers animate their bodies in the forest grove, animating all lives.

Korea Dance Resource Center 2018, video documentation (KDRC archive)

Cho, Kyoung Mann & Choi, Haeree, concept of video documentation

At the forest of village shrine, Seo, Jung Sook, who leads ceremonial dance, distributes bowls filled with rice to the movers. They deliver the bowls to the beach. Artists created the movement path from the forest to the beach for Gaetje. New interpretation and transformation of villagers’ way. Performers improvise movements on the way to the beach. Sensing the air, swinging in the air, touching the leaves.

Korea Dance Resource Center 2018, photo documentation (KDRC archive)

Cho, Kyoung Mann & Choi, Haeree, concept of photo documentation

Gaetje is a ritual to be held at the beach. The main community ritual is held at the forest shrine in Guggyedeung(구계등) on one of first days of January in lunar calender. Gaetje is held after the main one is over. But on the day in October 18th, artists and village elders planned different, quite created one. For the revitalization of the villagers’ environmentalism, they focused on the interaction between people and Guggyedeung forest-ocean continuum.

On the day dancers set up the rice bowls on the beach.

Hwang, Kyoung Hwan 2018, video footage & editing (KDRC archive)

Cho, Kyoung Mann & Choi, Haeree, concept of video documentation

Traditionally the offered food and offering processes are called ‘heonsik’ (헌식, 獻食). Artists and village elders talked together to make heonsik as the one valuing the villagers’ precious communal ocean, beach, and forest grove. Thus more-than-human beings became main interactive agencies. At the Gaetje Seo, Jung Sook mainly improvised, following bodily perception at the field. She was questing for interaction through sensorial, bodily encounter with forest and ocean. Her actions remind of Rufo’s ‘reciprocity’, ‘weaving threads between sensing and being sensed’ (Rufo, 2021, pp. 26–27).

Bending curves of fingers and arms are typical complex of expression; introvert orientation toward self and intra-relational inclusiveness. In tradition, winds, sounds, things and their movements are considered as signs of coming in. In rituals a boat appearing at the horizon is considered as spirits coming in.

Substitute entity of spirits, anthropomorphic figure comes in. Choreographed action of hosting (영신, 迎神). Park, Pil-Soo, Artistic Director of Gaetje, invites all lives with his voice. Bowing down, soothing, feeding, and feast (오신, 娛神). The elders remember the culture of dancing the figure’s body. They are soothing all beings in the figure’s body. By this interaction, all lives are connected. Interdependence becomes active. Sending the lives back to the ocean (송신, 送神).

[25:21]

Convey: Reinterpretation of Gaetje

-Interaction between ocean and performers-

Korea Dance Resource Center 2018, photo documentation (KDRC archive)

Choi, Haeree as conceptor, dramaturge, and director reinterpreted and directed ecological, site-specific meanings for the performance. Art director Park, Eunyoung directed this dance and media performance.

Hwang, Kyoung Hwan 2018, video footage & editing (KDRC archive)

Cho, Kyoung Mann & Choi, Haeree, concept of video documentation

Carrying moon in media lamps.

Carrying moon as a substitute for heonsik process.

Human body and dance for ecosomatic processing of interaction.

Swinging between ocean and human place.

All lives’ coming in and human beings’ moving to the lives.

How to feel the ocean toward me and bodies toward the ocean?

Park, So-jung & Han, Sangryul posed these thematic questions as they proceeded their exploration.

[26:37]

Performers and Staffs

1. Performers

Samboilbae Priests: Priest Moon, Gyu-hyun; Sukyoung; Lee, Hee-Un; Kim, Kyoung-Il.

Maehyang Ritual & Villagers’ Dance; Woldu-ri villagers, Getdol Theater & Audiences (students from Mokpo National University & elementary students from Haenam-gun).

Maehyang Contemporary Dance: Han, Sangryul; Lee, Boramie; Heo, Hyoseon; Oh, Kyung-suk; Ahn, Ji-suk.

Gaetje Dancers: Seo, Jung Sook; Kim, Boram & Ambiguous Dance Company; Park, So-Jung; Han, Sangryul.

2. Staffs

Authors, General Artistic Directors & Dramaturges: Cho, Kyoung Mann; Choi, Haeree.

Artistic Director of Maehyang & Gaetje: Park, Pil Soo.

Artistic Director of “Convey” in Gaetje: Park, Eunyoung.

Editing: Kim, Hyeon Hui (Media Education Cooperative); Jeong, Yeonwoo (SFU).

Narration: Lee, Minah (Art Action EARWIG).

Film Director & Resource Contribution on Samboilbae: Bok, Jin Oh (KFEM).

Film Director & Resource Contribution on Maehyang & Gaetje: Hwang, Kyoung Hwan (Teuloh Production).

Film Documentation: Korea Dance Resource Center (KDRC).

Photography: Cho, Kyoung Mann (Saemangeum & Maehyang); Korea Dance Resource Center (Gaetje).

Choreography: Park, So-jung (Maehyang); Seo, Jung Sook & Kim, Boram (Gaetje).

Composition: Lee, Keun Yong (Maehyang).

Maehyang Ritual Processing: Lee, Su-Bin; Getdol Theater; EcoHorizon Institute.

Gaetje Ritual Processing: Kim, Jung Sam.

References Cited

ABRAM, D. (2010) Becoming Animal: An Earthly Cosmology. New York: Pantheon Books.

BAUER, S. (2008) Body and Earth as One: Strengthening Our Connection to the Natural Source with EcoSomatics. Conscious Dancer 2: 8–9.

BENNETT, J. (2010) Vibrant Matter: A Political Ecology of Things. Durham: Duke University Press.

CHAUDHURI, U. (1994) There Must Be a Lot of Fish in That Lake: Toward an Ecological Theater. Theater 25(1): 23–31.

FRALEIGH, S. (2015) Introduction, In FRALEIGH, S. (ed.), Moving Consciously, Somatic Transformations through Dance, Yoga, and Touch, Urbana, Chicago: University of Illinois Press. pp.xiii-xviii.

GIANNACHI, G., STEWART, N. (2005) Introduction, In GIANNACHI, G., STEWART, N. (eds.), Performing Nature; Exploration in Ecology and the Arts. Bern: European Academic Publishers. pp. 19–62.

HOBSBAWM, E. (1992) Introduction; Inventing Traditions. In HOBSBAWM, E., RANGER, T. (eds.), The Invention of Tradition, Cambridge: Cambridge University Press. pp. 1–14.

KELLER, D., GOLLEY, F. (2000) Ecology as a Science of Synthesis, In Keller, D., Golley, F. (eds.), The Philosophy of Ecology, From Science to Synthesis. Athens: University of Georgia Press. pp. 1–19.

MERLEAU-PONTY, M. (1962) Phenomenology of Perception. London: Routledge & Kegan Paul.

RUFO, R. (2021) Danced by the Tree: Explorations in the Reciprocity of Perception. Unpublished article. doi: 10.13140/RG.2.2.26044.97923.

WOYNARSKI, C. L. (2015) Towards an Ecological Performance Aesthetic for the Bio-Urban: A Non-Anthropocentric Theory. PhD. Dissertation, University of London.

Resources

1. Videos and Photographs on Rituals and Performances

Bok, Jin Oh, Save Our Saemangeum-Defending a Korean Tidal Flat (video, year unknown, Korea Federation for Environmental Movements, KFEM archive).

Bok, Jin Oh, 2003. ed.,video handout (KFEM archive) on Samboilbae.

Bok, Jin Oh 2003, video documentation footage (personal archive) on Samboilbae.

Cho, Kyoung Mann 2006, Saemangeum Photos (personal archive).

Cho, Kyoung Mann 2012, Muan Maehyang photos (personal archive).

Gangwha Lives & Culture Festival Committee 2007, Maehyang Photo.

Hwang, Kyoung Hwan 2012, video footage & editing (KDRC archive) on Maehyang.

Hwang, Kyoung Hwan 2018, video footage & editing (KDRC archive) on Gaetje.

Kim, Hyung Joo 2000, photos in ‘Stewardship for Saemangeum Tidal Flat & Maehyang Belief <2>’, Buan 21.

Korea Dance Resource Center 2018, photo documentation (KDRC archive) on Gaetje.

Korea Dance Resource Center 2018, video documentation (KDRC archive) on Gaetje.

2. Photographs on Monuments for Maehyang

Cho, Kyoung Mann 2007, Gangwha Maehyang Monument(2001) Photo (personal archive).

Cultural Heritage Administration, Epigraph for the Incense Burial Ceremony in Eomgil-ri, Yeongam – Heritage Search | Cultural Heritage Administration (cha.go.kr), (Mar. 20th, 2024).

Cultural Heritage Administration, Photo of Monument for the Incense Burial Ceremony in Heungsa-ri, Sacheon – Heritage Search | Cultural Heritage Administration (cha.go.kr), (Mar. 20th. 2024).

Daum Blog Photo of Monument for Maehyang, Namchon-ri, Muan-gun – 무안 남촌 매향비 – 검색 이미지 (bing.com), (Mar. 20th, 2024).

Honam Institute for Korean Studies (2020), Photo of the monument for Maehyang (Amtae-do Island) from Lee, Hae Joon (1982) photo on his rubbed copy of the monument – https://www.hiks.or.kr/HonamHeritage/22/read/410, (Mar,19th, 2024).