The Han of Pansori

          In the film Sopyonje, the word “han” is mentioned several times when Yubong instructs Songhwa on her pansori singing.  This word is translated as “grief” in English subtitles but in reality, there is no word in the English vocabulary that has an equivalent definition to “han”.  Thus, it is always translated accordingly to the context that the word is applied.  Han is a Korean concept involving the collective accumulation of unresolved oppression, isolation, and injustices.  Im Kwon-taek, the director of Sopyonje, adds to the definition by explaining that there is no set definition that all Koreans agree on but rather it is a specific emotion all Koreans go through.  Yubong’s obsession and love for pansori goes so far as to blind Songhwa in the attempt implant “han” into her so that she would be able to blossom into a master pansori singer.  In the film, women are depicted to be the ones preserving the cultural identity and along the suffering that comes with it.  This is evident when Songhwa, after realizing that she has gone blind, she reveals to her father that she wants to learn Simcheongga, a song about filial piety describing the story of the daughter of a blind father, Simcheong’s journey to restore her father’s sight.  Is the irony and suffering of Songhwa performing this song included in “han”?  From a foreigner’s perspective, just what exactly is this “han” that Yubong desperately wants his daughter to overcome?  And what is its significance in establishing a national identity?
          According to the pansori documentary video, “A sound beyond sound”, it looks into the vocal cords of a master pansori singer and it is revealed that it has bumps and nodules resulting from the bleeding with the harsh vibrations that is produced during their singing.  However, they mention that this kind of nodules are required to advance their performance in pansori singing.  Are these nodules in the vocal cord, the physical representation of “han”?  In the same documentary, it is also stated that unlike western music that has precise musical notes, pansori music has an erratic sound wave that is difficult to represent in writing.   As a result, pansori is passed down from teacher to student by mouth, with the nodules in the vocal cord being the only visual presentation of pansori.  In Sopyonje, after the reunion with her brother, and finally being able to overcome the “grief”, Songhwa is seen being lead by a daughter figure, strongly hinting that she would be succeeding Songhwa.  Would she put her successor under the same “han” as Yubong has done to her?  Is it the “han” that defines the “Koreaness” of pansori?  Are the bumps and nodules the scars of “han”?  Is it something that one feels, instead of comprehending it by means of words?  Is it something that people foreign to Korea could understand, or at least empathize with?

Lenin Amaya