The Korean Embassy in Egypt consistently seeks to organize various events aimed at strengthening the bonds of friendship and cooperation between Egypt and Korea. On Saturday, October 12, I was fortunate to attend the 17th session of the Korea-Arab Countries Friendship Caravan, organized by the Korea-Arab Society in collaboration with the Korean Embassy and the Academy of Arts, under the auspices of the Korean Ministry of Foreign Affairs and the Egyptian Ministry of Tourism. The ceremony began at 7:00 pm with a speech from Ambassador Kim Yong Hyun, who always conveys warmth and gratitude towards the Egyptian people. This was followed by speeches from Dr. Hossam Mohsab and Mr. Kim Chang Mo, Secretary-General of the Korea-Arab Society, who expressed his joy at returning to Egypt after eight years due to the pandemic. He also shared his excitement about bringing two bands from Korea to showcase traditional Korean art alongside contemporary B-boy dance.
The atmosphere was vibrant from the very first performance by the Conservatory Percussion Ensemble Group, founded by Dr. Rehab Ali Shaker. The show demonstrated remarkable harmony among the members as they played various percussion instruments. The group participated in many festivals such as the Drums Festival, the Sphinx International, and the Al-Alamin Festival.
The second performance was by the Jindo National Gugak (Traditional Music) center, which hails from Jindo Island, renowned for its stunning natural beauty and its commitment to preserving its folk music heritage. The Jindo Centre focuses on presenting the folk art from the southern provinces of Korea, featuring both royal court and people dances.
The first dance, "Hwa Gwan Mu," was created in 1968 for the Mexico Olympics and was presented as a theatrical performance. The dancers wore royal court colourful costumes, gracefully carrying bouquets of flowers while dancing with elegance and gentleness. The dance radiated a sense of brightness and optimism that uplifted the audience's spirits.
The Samulnori performance, showcasing traditional Korean rhythms, was marked by its strength and stability right until the end. There are two types of Samulnori performance, depending on whether the musicians are seated or standing. When performed while sitting, it is called "An Jun Ban," and when standing, it's referred to as "Pangut." The Pangut performance began outside the concert hall, led by the Korean flute (Tae Pyeong So), before entering the hall. It was characterized by enthusiasm, power, and impressive balance, especially as the performers moved their long "Sangmo" hats while simultaneously playing percussion instruments. The Sogo dance in the middle added a unique beauty to the performance, enhanced by the vibrant colours of the dancers' costumes.
Amid the An Jun Ban and Pangut performances, there was a Seungmu (Buddhist monk) performance that sparked my curiosity regarding its symbolism. This was my first experience of a Seungmu performance in person. I admired the dancer's white outer robe, symbolizing purity and peace, contrasted with the red belt representing the monks attire. The dancer's skillful control of dynamic movements was striking, particularly when she raised the sleeves of her long robe skyward while holding the drumsticks creating an incredibly beautiful moment.
The performance of ATEEZ song “HALAZIA” by the K-pop Festival 2024 winners, bittersweet, was truly impressive, showcasing the brilliance and dedication of the Egyptian girls in mastering dance.
The evening wrapped up with a marionette performance by Expression Crew, the winners of the B-Boy World Cup, who play a significant role in cultural exchange between Korea and countries worldwide.
This was the Expression Crew's second performance in Egypt, but my first time attending. The marionette show is renowned for combining B-Boy dancing with puppetry, where the dancers effectively embody the moving puppets, telling touching stories through their expressive movements that deeply resonate with the audience.
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