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I began learning the kayagum in 1951, and began composing music for it in 1962, wishing to move beyond the traditional repertoire. Beginning with my composition Chimhyang-moo in 1974, I began to look beyond Korea into Asia, and my music began to be accepted worldwide. When I began learning the kayagum, even Korean people had no interest in their own countryfs traditional music, and were more interested in western music. But gradually, an increasing number of people began to rediscover the value of traditional Korean music, and the importance of traditional culture in each country began to be appreciated worldwide. The world has realized that true global culture does not arise from standardization of cultures, but from diverse traditional cultures maturing and flourishing.
The Fukuoka Prize has contributed greatly to the promotion not only of Asian culture but also of global culture. I am extremely honored to have been awarded this international prize.
I know of no city anywhere that has given such a concrete expression to the recognition of important contributions to Asian arts and scholarship. To be included among the famous laureates previously recognized in this fashion is both humbling and, I confess, also a source of pride.
This Prize has previously been awarded to people with academic abilities of whom Japan is extremely proud, people with global abilities in the field of Asian regional studies, and people whom I respect tremendously. I am extremely honored to be awarded the Prize alongside Professor James C. Scott this year, and I feel the weight of this privilege.
Since 1995, my company TheatreWorks has brought Asian artists together on the same stage, with Asian art forms and numerous languages coexisting. We have excavated the diverse memories of Asia such as the karayuki-san, examined the global movements of foreign workers between Asian countries, revealed the secret histories of migration in Asia, and reflected on the ambivalent relationship between the traditional and the contemporary. The nature of art has always been that it is a mirror held up to society and to politics. We have not attempted to shy away from difficult subjects, from traumatic wars, from difference of opinion. In a time when there is much discussion about ecological sustainability, it is apt to remember how art and culture have sustained the human being, sustained societies, sustained idealism and hope in cynical times.










