WEBZINE ACC

• Gu Taeo

  Congratulations on your appointment as the Artistic Director for the 15th 2024 ACC World Music Festival. You previously participated in the 2018 festival as a musician with the “Won Il ACC Project,” so I imagine this appointment holds special significance and brings unique expectations for you. Could you please start by sharing what you’ve been up to recently?

• Won Il

  My term as the Artistic Director of the Gyeonggi Sinawi Orchestra has ended, and I’ve returned to working as a freelancer after quite some time. On July 21st, there was a performance at the National Theater of Korea as part of the Yeowoorak Festival, titled “Dionysus Robot: Reboot,” which was a homage to the artist Paik Nam June. I’ve had several opportunities to serve as a consultant for the ACC in the past, but being appointed as the Artistic Director of the ACC World Music Festival brings new emotions. At the same time, I’m also deeply considering how to shape the direction of the festival.

• Gu Taeo

  Beyond your impressive career as a musician, you have extensive experience as a planner and artistic director, having served as the General Director of the Hwaeom spiritual music ritual, Music Director for the Opening and Closing Ceremonies of the 2018 Pyeongchang Winter Olympics, Artistic Director of the 2017–18 National Theater of Korea’s Yeowoorak Festival, and General Director for the Opening and Closing Ceremonies of the 2019 National Sports Festival. I’m curious how Won Il, the musician, and Won Il, the artistic director, will harmonize and balance these two identities.

• Won Il

  I consider myself a practitioner. While most performers or composers tend to focus on the problems within music or their own musical styles, I believe what sets me apart is my inclination towards action, driven by the practical principles that emerge from my reflections on various books and philosophies. For instance, the concept of Shinawi (神我爲) reflects this. I’ve often thought that when talented musicians become part of public organizations, they tend to get trapped within existing frameworks rather than moving forward in a better direction. To challenge this reality, I’ve strived to be a practitioner who introduces new music and creates cracks in these established structures.

• Gu Taeo

  I was deeply impressed by your performance of the piri piece “Gan (間)” with Jung Jaeil in the group PURI, as well as “Sin Baennori” with the National Orchestra of Korea. As a certified holder of National Intangible Cultural Heritage who majored in Korean Traditional Music (Piri), you have consistently crossed genre boundaries and pushed the envelope of innovation in Korean music. In that sense, I have great expectations for what kind of innovations you will bring to the 15th ACC World Music Festival as its director.

• Won Il

  This year, I plan to take a more observant approach without rushing. I’ve structured the festival simply, with a focus on making clear choices and maintaining focus. There has been some criticism that the term “world music” feels outdated, and I believe we need to develop new branding or unique identity, direction, and character that better aligns with the identity of the Asia Culture Center. Especially with next year marking the 10th anniversary of the ACC, I think it's time to further solidify and clarify these ideas.

• Gu Taeo

  The lineup of musicians participating in the ACC World Music Festival seems like it might be another potential answer to the questions I’ve asked so far. Could you please introduce the lineup?

• Won Il

  The kind of concert I pursue is one of diversity, a concert without boundaries. I believe that festivals should always embrace diversity. Looking at the nationalities of the musicians participating in this year’s festival, we have artists from Iran, Taiwan, Mongolia, Georgia, Morocco, the Czech Republic, and more. It’s truly diverse.

  Starting with the international lineup, there’s a Mongolian band called Khusugtun, which may not be well-known in Korea but is widely recognized overseas. Their music is unique yet accessible. Personally, one of my favorite musicians is Kayhan Kalhor, a former member of Yo-Yo Ma’s Silk Road Ensemble and a master of Persian improvisational music. He offers a pinnacle performance that one might only have the chance to experience once in a lifetime. Then, there’s IBERI, a group from Georgia that performs polyphonic music—it’s like watching a blend of soldiers, medieval monks, and traditional dancers, all using ancient instruments. These days, one-man bands are becoming more popular, and the Czech artist OMNION stands out for creating a vast soundscape on his own using a computer and looping systems. Finally, Elements of Baraka is a group that represents the mainstream appeal of world music with its incredibly lively beats. As you can see, the international lineup truly embodies diversity.

  The domestic lineup features music collaborations centered around traditional Korean music, our heritage music. One standout performance is a collaboration between Chu Dahye, known for her renditions of Seodo minyo (folk songs of the Western Provinces), and the VRI String Quartet. Then there’s the Project “ghil.lo,” led by cellist and master of improvisation, Lee Okkyoung. This performance is one of my top four picks for the festival. Lee Okkyoung is a contemporary musician who has reached the highest levels of global improvisational music. It will be an experimental performance that showcases the pinnacle of improvisation. Next up is the collaboration between Park Dawool and Park Woojae. Park Dawool is a Geomungo player who is currently one of the most talked-about musicians in the Korean music scene. He is a member of the band KARDI, contributing to their unique identity, while Park Woojae, the artistic director of the Yeowoorak Festival, will bring a modern twist to traditional music. Together, they will present the most contemporary Korean music. TENGGER, a family music group, is an independent band known for delivering powerful and spiritual music with some of the finest quality that can be found in minority groups. Gayageum player Park Sunju offers a multimedia performance that is sure to resonate with the MZ generation. Lastly, the collaboration among Baek Dasom, Li-Chin Li, and Park Sungsoo pursues artistry. This team will debut their international collaboration at the ACC for the first time.

• Gu Taeo

  Popular appeal and artistic value. They may seem somewhat contradictory, but I believe they are essential goals to pursue simultaneously in music. I understand this is something you’ve reflected on deeply for a long time.

• Won Il

  While performances can happen anytime if there is sufficient funding, an artistic director has the responsibility to create a unique identity, beyond just financial concerns. Festivals should offer opportunities to discover joyful and intriguing uniqueness, which differs from the focused intensity required for over an hour of mainstream performances. Popular appeal addresses what the general public desires, but the artistic director must maintain a balance between artistic integrity and accessibility. In this festival, groups like Kim Chang-wan Band, Okdal, and KARDI are naturally popular and don't need much introduction as they are well-loved by the public. However, musicians such as Kayhan Kalhor, Yosi Horikawa, Khusugtun Band, and Lee Okkyoung’s project ghil.lo bring a level of artistry that completes the ACC World Music Festival’s artistic vision, representing world-class music.

• Gu Taeo

  The spatial significance of the ACC, as well as its location in the former Jeollanam-do Provincial Office, which was the center of the May 18th Democratic Uprising, likely influenced the direction of this year’s ACC World Music Festival. Could you share your thoughts on this?

• Won Il

  If something was missing from previous festivals, it might have been Gwangju’s history and its spirit. That’s why we’ve prepared a special stage as a pre-event for the main festival. At Wonhyosa Temple, with a view of Mudeungsan Mountain, we will present “Ilpa man-pah (Far and Wide),” a soundscape collaboration between world-renowned sound designer Yosi Horikawa and Korean media artist Mok Jinyo, featuring a lighting performance. I believe this will be a significant performance, both as an artistic event and a historical record. This is also one of the top four performances I highly recommend.

• Gu Taeo

  As part of ensuring the sustainability of the ACC World Music Festival, we are moving forward with a paid model. While the issue of paid versus free admission is secondary, I’ve heard that many festivals face significant challenges regarding sustainability, with only a few exceptions.

• Won Il

  This year, while we are making small changes without rushing, I believe that various innovations are necessary for long-term sustainability. For example, just as the Tongyeong International Music Festival has its own orchestra, I think the ACC should establish organizations like an Asia Music Ensemble or an ACC Music Ensemble. The upcoming performance by Baek Dasom, Li-Chin Li, and Park Sungsoo could serve as an example of this. It’s a performance that I proposed and produced, and I believe we should strengthen the network of Asian musicians and composers, expand the ACC World Music Festival’s in-house productions, and eventually take these productions to international stages.

• Gu Taeo

  Lastly, could you please give us a brief introduction to the 15th 2024 ACC World Music Festival?

• Won Il

  I believe a festival should embody a diverse range of unique elements. This year’s festival is designed to harmoniously blend popular appeal, tradition, experimentation, and artistry. From the rare and extraordinary sounds of Kayhan Kalhor, a performance one might experience only once in a lifetime, to popular bands like Kim Chang-wan Band and KARDI, I hope many people will come and enjoy the rich variety of experiences we have planned.

Music is something we hear, not something we can touch or hold. Yet, it can pierce through our hearts, stirring us, lifting us, making us feel deeply or nostalgically. This is why I look forward to the heart-stirring symphony of sounds that the ACC World Music Festival will offer from August 30 (Fri) to September 1 (Sun), as summer draws to a close.