Originally published Kyoto Journal, No. 25, 1993, and subsequently in Mountain Spirits of AsIa (Shambhala, (Bolder CO)
Hi-ah Park Manshin*, Korean
shaman, specializes in ritual dance. Original artist, healer and teacher, she
works at the level of the primordial state through ecstatic trance. Skilled in
the healing arts, she communicates the needs of humans to the spirits and
oracles of the spirits to humans.
I met Hi-ah Park during the
1990 Los Angeles Festival during which she participated in a multi-cultural
program about spirit and art, along with several native Americans and a bevy of
Buddhists. I had heard a report that the Native Americans earlier had tried to
cancel their plan to do several sacred ceremonial rituals at this program if TV
cameras or newspaper photographers were present. What is ritual for, she
remarked, but to engage the spirits on behalf of people. “Sharing the
experience of rapture I have nothing to hide.” She seemed a wise, old person,
though she looked only 40. She told me she had “died many times.”
The night of the
presentation, she “performed” several dances of a traditionally longer kut,
ritual, going into a trance and deftly wielding a sword and a rainbow of flags
before an altar resplendent with dogk, the many-layered Korean rice cake,
fruit, sticks of incense and other offerings placed on the altar in front of a
gilded statue of Buddha.
Out of whirlwind of colorful
costumes, loud drums (native American and Korean), cymbals and gongs, and some
200 people dancing ecstatically, the “performance” stopped into complete
stillness. It was the trailhead, the ken,
keeping still, of the I Ching , that great mountaineer’s bible. The buzz
of mountain-top seeking mind dissolved into silence, then plunged through
formless ecstatic trance, leaving no footprints, taking the memories, too! It
was as if a weather front moved in and blew the clouds away.
At that point all I knew
about Hi-ah Park was that she was born in Seoul and is considered the finest
Korean traditional classical dancer of her generation. The first woman to be
admitted to the National Classical Music Institute and into the esteemed ranks
of Court Musician, she gave by any standards an exquisite “performance”, but
this was not just a dance recital on the second floor of a downtown Buddhist
temple. She literally went a giant step further.
I have since come to realize
that her life mirrored that of an intimate of Sanshin. As Canda explains in
Korea Journal, Sanshin is a “tangible, specific and personal entity,” evident
to human senses through vitality, power and mystery of the physical landmass as
well as in dreams and visions. This, I was to learn, this was Hi-ah Parkʼ s history. His observation of Sanshinʼs “having awesome natural power in service of
sacredness and wisdom,” became her destiny.
* A mountaineering “sports”
term usually refering to trying to get to the top of a mountain and back down
on ego strength alone. Sort of “the tao be damned”. At best youʼ ll get callouses.
* Manshin is a title of
respect identifying a mudang, Korean shaman For centuries manshin had been openly persecuted, their
practices disrupted and shrines destroyed, their artistry desecrated to
entertainment. The prevailing religious and social order forced the practice of
shamanism “underground”. It is still considered a curse to suggest that someone
would grow up to be or to marry a mudang.
That one of Koreaʼs most acclaimed artists, an American citizen and
university lecturer became a mudang has had impact in Korea as well as
globally.
After a number of years of
quiet reflection, Hi-ah Park decided to fulfill her destiny as Manshin, to put
her art in service of the spirit and the people who seek her out. She currently
works in Europe and the USA, teaching through performances, workshops and
lectures, including many prestigious universities and mental health centers.
Whether clad in Manshinʼs colorful robes performing a formal kut to the
accompaniment of changʼgo, hourglass drum, and cymbals and gongs, or in a
simple flowing white tunic dancing to the sounds of steel cello, bow chime,
Chapman Stick, Mongolian drum or a wall of gongs, HI-ah Park shows us how the
shaman warrior climbs the mountain, and dances atop the peak in mu-a , ecstasy.
What was your earliest memory
of Sanshin? From very early
childhood, I loved mountains. My memory of childhood is playing in the tiger
cave near my neighborhood. Often there, I lost time and space while my family
was looking for me. One day I climbed into the mountain deeper than usual, as
if somebody invisible being was guiding me into the unknown world, and I found
the big tree surrounded by piled with lots of stones. There unknowingly I bowed
to the ground after respectfully gathered stones top of the piles. Definitely
that was my first encounter with Sanshin .
Of all the Sanshin in Korea,
why do you think you are relating particularly toTangun? During my illness before my initiation,
I had several visions. In one, I saw Tangun, the Korean heroic founder of the
nation who later became Mountain Spirit, sitting in a meditation posture within
a yurt and wearing a red hat and robe. As I gazed at intensely at that figure,
we became one; then I saw myself sitting as Tangun. This clear vision of Tangun
convinced me to visit my homeland after an absence of 15 years. I didn't have
any specific plan for my visit. However, from its start, everyone I met and
everywhere I visited turned out to be connected somehow with shamanistic
practices. I was introduced to Kim Keum-Hwa, a well known Hwang-haedo
manshin (a western province of
Korea) viewing a video of one of her shamanic rituals. I couldnʼ t believe my eyes: I saw Kim Keum-Hwa wearing the
same red robe and hat I had seen in my Tangun vision of week prior.
A week later I was introduced
to her. When Kim came into the room in her house where I was waiting, we both
shuddered. She told me she had the sensation that her spirits wanted to talk to
me. She brought divination table and started to pronounce oracles:
"Rainbows are surrounding in all directions. The fruit is fully ripe and
can't wait anymore!" She told me I was lucky to have surrendered to the
spirits’orders and to have come to her. Otherwise, she said, I would have died,
like an overripe fruit that falls onto the ground and rots. Kim continued to
explain that I had disobeyed two times previously and, consequently, had to go
through unbearable pain and loneliness and near-death experiences. She warned
that I should not resist anymore--the third time, there is no forgiveness. It
was absolutely essential that I undergo the naerim kut without delay. On a more
positive note, Kim told me she saw double rainbows stretched around my head,
celestial gods surrounding on me. She said that warrior in me was so strong
that I would want to stand on the chaktu, sharp blades. She predicted that, in
the near future, I would be a famous shaman, and I'd travel all around the
world. Then she set a date for the initiation--June 23, 1981. In less than two
weeks, I was transformed into a new shaman.
Did you have personal desire
to be a shaman? When I began studying shamanism in 1975, I had neither wish nor
the intention to become a shaman. I initially considered the whole process
solely as an artistic endeavor, yet everything I encountered along the shamanic
path seemed to create a thirst in me for spiritual fulfillment. I became a
manshin after I was called to the profession through sinbyong, or initiatory
illness.
What is the symptom of
shamanic illness? I began to suffer from tedium and loneliness, without knowing
any meaning to my life. My interest in mundane affairs and domestic chores
waned completely. I suffered unbearable loneliness and longed for the
mountains.
I spent many nights weeping
endlessly or dreaming of impending death. In my dreams, I was imprisoned in the
under world and chased by wild animals. For about nine months, I endured
sleepless and restless nights, until I had an incredible, lengthy dream of an
ancient royal funeral procession. My insomnia stopped right after this
mysterious dream. I was happy without any specific reason. I felt elevated into
the air, as if somebody was lifting me. After this funeral dream, my dream
scenes started to change into lighter, celestial ones.
In one of unforgettable dream journey, a white unicorn with
wings took me through the Milky Way to an incredible, infinite space of deep,
jet-dark indigo. In that place, I heard a deep and resonant voice ask me,
"How are the people down there?" I still remember clearly the
conversation with that invisible voice and the ecstatic feeling I had. Then the
voice told me I had to go back to teach the people love. I felt boundless joy
and, at the same time, sadness that I had to go back. Without any sense of
waking up from a dream, I found myself in my room. For a while, I was obsessed
by this visionary dream and felt very connected with that other reality.
Although I couldn't understand it, the other space was so clear that I now felt
as if my waking state was the dream.
Why do shamans have to go
through shamanic illness? I
believe that it happens because a persons spiritual body is starving from a
lack of inspirational creativity. The initiatory sickness allows her to escape
from the world and withdraw into the darkness, in order to experience her own
rites of passage. In order to become a shaman, the person must go through years
of introspection, personal torment, and progressive spiritual development.
Without understanding the stillness, one will never understand the spirit
world.
How do you come out from
sinbyong? By reaching the point of
mu a , ecstasy, the death of ego. Ecstasy is a sensation which is encountered
in our hearts. It is seeing and hearing with the heart, rather than just with
eyes and ears. It is also a flame which springs up in the heart out of longing,
to see and to become one with its truth (God). Atop this mountain there is such
clarity that there is no duality.
What place did Sanshin have
in your initiation ritual? In the
preparation for initiation ceremony, I had to climb up to the mountain to
receive the Mountain Spirit early in the morning by a purifying bath in a cold
mountain stream. My Godmother and I had ascended the mountain north of Seoul.
She asked me to climb up a steep, rocky cliff to get a branch from a pine tree.
This task was the first test of the day. I did as she requested, performing the
task necessary to receive Sanshin. We spoke as little as possible.
At the mountain altar I
offered rice, rice cake, three different kinds of cooked vegetables, fruits,
lighted candles and incense and makghuli, home made rice wine.
As my Godmother chanted and
beat a small gong, I held up the Sanshin dari , a long piece of cloth called
minyong , white cotton bridge, through which the shaman receives the Mountain
Spirit. My body started quiver uncontrollably, a sign that the Spirit was
entering me. I completely surrendered to the Spirit, turning off my internal
dialogue, and entered into inner silence. I sensed light coming from every
direction, and I started to feel drunk with the Spirit in me. It was dramatic
close encounter with the separated "Lover" at long last. I felt the
ultimate completion of my primordial self before separation. I knew that the
spirit loved me and forgave my long resistance to accepting it. Bathed by the
light of Spirit, I felt clean and reborn. I practically flew down the mountain
to the town in the valley below. I returned with my Godmother to her house
which would become the site of all-day ritual that was to come.
Could you describe some more
details about the initiation? Korean term for initiation is "naerim kut .”
This aspect of the ritual is concerned with the descending spirits and
identification and presentation of the deities which have already made their
presence known through possession of my body.
At the initiation ceremony,
the minyong was placed leading onto the upstage portion of the house as a
bridge between the heaven and the earth. To test my psychic ability and to
determine if I could identify the deities who had descended on me, my Godmother
and her assistant shaman, who serves as a messenger, sat at the end of the
minyong, in a sense ending in heaven. A straw mat was placed downstage. Each
question asked by the head shaman was repeated by her assistant. Instead of
answering the questions directly, I began dancing. Then, kneeling down on the
straw mat, I answered the questions orally. The dance seemed to heighten the
trance state so that my answer came without thinking as if I know everything
already.
The first question was,
"If you become a shaman, through which gate will you enter?
I started singing in an
occult nature, previously unknown to me. Again I danced until possessed and
knelt down to wait for the next question.
"Which spirit is
entering you?" she asked.
I answered, "Elwol Sung
Shin and Okhwang Sangchae, spirits of the Sun, Moon and Stars and the Jade
Emperor, are entering."
"Then reveal your true
nature and find the symbolic paraphernalia of these deities," she ordered.
I stood, and walking upstage,
grasped the Il wrol dae , sun and moon stick, a pine branch which I took from
cliff at the mountain, bundled together with a bronze mirror and covered with a
white long sleeved gown, the costume of the deities.
After I danced, she asked me
another question, "Which spirit did you received this time?"
My reply was, "I
received Sanshin , the spirits from the High Mountain and Sa Hae Yong Wang Nim,
from the Four Direction Deep Ocean."
Why did you receive it?, she
asked.
"I obeyed the order from
Tangun, the founder of Korea. He has told me to help infertile couples, to
counsel parents and their children to love each other. Through him I am guided
to heal sickness and help those in poverty to find prosperity. Lastly, he
advises me to engender love and respect among all people." Acknowledging
my remarks, the head shaman invited any other spirits that might be present to
enter me, and the Deity of the Seven Stars, Chil Sung, Big Dipper; Taegam Nim ,
the Spirit of High Nobility; Chosang Nim , Spirit of Ancestors; and Obang
Shinchang Nim , Warrior of the Five Directions, came through.
What other occasions have you
encountered Sanshin? After I
teaching summer school of 1977 at UCLA, I retired to an avocado ranch located
deep in the mountains. I left all worldly affairs behind, obsessed like a lover
longing for the mountains. In the mountains I could feel the presence of
something indescribably different, an exotic apparition, the spirit of which
one can not find in a human, a beautiful, bewitching spirit which embraced with
boundless joy. I journeyed to Yosemite, Mt. Rainier, Death Valley, and other
places like the Grand Canyon. In Canyon de Chelly I was led by endless double
rainbows to the White House cliff dwelling with its ancient kiva, subterranean
ritual chambers. As I emerged from a ruined kiva a sudden thunder and
lightening storm attacked me mercilessly. I fainted onto the sand, and in total
surrender I offered myself to the spirits present. I awoke with the most
incredible orgasm I have ever known, basking in the most luxurious ecstasy. The
sky was replete with rainbows and the reflections of rainbows reaching every
horizon. The mountain breeze passing through the canyon seemed to be coming and
going in the rhythm on an inaudible chant. As I flowed into that chant my soul
ascended as flying unicorn, higher and higher into the sky. At last I was free
and flying with such a feeling of exhilaration and joy that I wanted to cry,
for I was experiencing the ecstasy, for which I had been yearning so long.
How has the initiation
influenced your dance? Since my
initiation, my understanding of dance changed completely. The inseparability of
art and spirit became essential for healing myself and eventually it has helped
others. My teaching and performing is at the level of the primordial state,
mainly achieved through ecstatic trance. By integrating breath, sound, movement
and theatre, I set the stage for the transformation of the audience and
society.
How has Sanshin influenced
your decision to work globally?
Transformation is a fundamental concern of the shaman’s ritual. One important function of ritual is that it
makes you a member of the tribe, of society, and hopefully a member of the
global community. Today it is especially important to return to tribal
integration in a global sense. I’ve been
traveling a great deal since 1988 sharing Tangunʼ s
doctrine of “Hong Ik In Kan”, to be of benefit to all sentient beings, to
engender love and respect among all people. Sanshin cannot afford any longer to
wait on a lonely mountain top.
What is Sanshinʼs message?
The nature and message of spirit is beyond mental condition; it is bliss
of pure energy, pervading everything, mua / ecstasy. The Spirit, which is
formless, speaks through me in ecstatic dance. Spirit is shy, but sword is
sharp. It teaches us a powerful but direct process of purification. Through
ecstatic dance, sound and breath meditation, it cuts through fear, conflict and
confusion. Fear is transformed into plentiful, universal love, and suddenly, we
understand that our lives are about much more than suffering; it is also about
experiencing rapture. This only works for those who are willing to confront
their dark side and surrender to the primal spirit.
(sidebar)
SITE-SPECIFIC SANSHIN Over 70%
of Korea is mountainous and many of the “most famous” sacred peaks are in the
northern part of the peninsula. Perhaps most notable is Mt. Taepaek
(Myohyang-san in Yongbyon, north Pyongan Province), the spot chosen by heavenly
god Hawan-in for his sonʼ s, Hwan-woong, earthly abode.
Tangun, founder of the
Ancient Chosun Empire and considered the first Korean, was born near a
sandalwood tree to a patient, obedient bear-woman and Hwan-woong in 2333 BCE.
He established his capital in Asadal (old name of Pyongyang) in Paegak-san
where he eventually died, aged 1908 years, and became Sanshin of Mt. Kuwol.
Other peaks sacred to Tangun are Mani-san (on an Island in the mouth of the Han
River) where it is said he established a rock altar, and Paektu-san (Mt. Whitehead).
Centuries ago you could find
a cozy wooden hut, with thatched straw or tiled roof situated deep in the
mountain. Today, anthropomorphic images of Sanshin appear everywhere fine arts
and tourist memento are found. Scrolls and screens depict Sanshin as a stately
old man with a long beard leaning on a tiger, his messenger. The tiger, even
the one playfully rendered as the mascot of the Seoul Olympiad, is also said to
be Sanshin and Tangun. Sanshin icons were once prepared only for religious
worship exclusively. To this end they were found only in the mountain spirit
shrines in the samsinggak, three spirit hall, behind the golden hall in the
Buddhist temple compounds, shamansʼ houses or
at the ceremonial grounds of shamanic ritual.
CAVEAT If youʼ re really looking for Sanshin in Korea, particularly
Tangun, choose carefully whom you tell. The three “Cs” which have been
dominating the political and social order north and south -- Confucianism,
Christianity and Communism -- donʼ t want
anyone to find him, his being the national ancestor with all implications that
this powerful identity implies. And given the state of the world, you shouldn’t be to surprised to know that Tangun has been spotted
outside Korea.
