Sunday, February 16, 2025 | Sha'ban 16, 1446 H
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EDITOR IN CHIEF- ABDULLAH BIN SALIM AL SHUEILI

South Korea and Oman Thrill with Enchanting Folk Displays

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The Folk Music Festival, held annually at the Royal Opera House of Musical Arts, is a vibrant celebration that features a diverse array of countries, each showcasing the best of their folk music traditions. This year, in addition to Oman, three countries had the beautiful privilege of allowing attendees to experience captivating performances that highlight their unique cultural heritage.


One of the countries represented was Korea. The Korean National Sports University and Contemporary Dance Company were breathtaking in their originality and fusion of styles; perhaps the highlight of an already stunning programme. Eight ladies in traditional white dresses adorned with pink and yellow ribbons, along with two male dancers, moved gracefully on stage in stately serenity. The Sogo—the Korean double-reed instrument, akin to an Indian shenai or Western oboe—was played live by Yuk Jeyong, accompanied by a large drum. Women delicately played hand drums with small sticks as the men spun sideways, resembling airborne figures. With festive excitement, everyone twirled in impeccably controlled precision to the plaintive whine of the Sogo drone.


Six female dancers in black trousers performed ‘Samulnori’ or ‘Owl’, with Yuk Jeyong’s solo flute melody soaring above a ritualistic primordial rhythm composed by Kim Hwan. This traditional tale was reinterpreted by choreographer Jhor Kim in an expressive contemporary adaptation that incorporated quasi-gymnastic movement, perfectly coordinated for a spellbinding performance.


Their finale featured the fast-tempo traditional Mugu, a fan dance, accompanied by drums and eight perfectly synchronised ladies dressed in eye-catching white and red attire in a stylised tribal formation. Two men in black twirled red scarves, suggesting spirits from another world, while performing a slow, ballet-like martial art that captivated the audience. The ladies held bells and coloured fans, moving in strong, precise formations, echoing the elephant call of the Sogo for an arresting conclusion.


Oman’s contribution this year was the Samahram Folk Arts Group from the Wilayat of Taqah in Dhofar Governorate, arguably the finest Omani troupe one could hope for. Against the backdrop of Wadi Darbat, ten musicians took their seats across the back of the stage as singer Taimur Bait Rugaibun commenced proceedings, his voice soaring above the chorus.


Accompanied by all musicians, male dancers executed a steady, controlled, and well-coordinated ‘al Madar’ procession. The conch shell sounded as five Dhofari ladies in red and green partnered with men, moving smoothly and majestically to the first of Hussain Bal Raud’s exceptional Oud solos. The song followed a ‘call and response’ style—a cultural inheritance from Africa.


‘Ar’Ubboubah’ featured a stunning Ney solo by Amr al Noubi against a tremolo Oud, as men in green dhotis and red turbans bore and wiggled Omani swords and scabbards aloft.


Each woman, now dressed in black and yellow, faced two men walking backwards—a metaphor to ponder—during a slow, stylised mime. It was gratifying to see the colourful traditional Omani dress. ‘Al Bar’ah’ showcased eight men in white dishdashas wielding Kanjas, jumping in slow, sustained movement, beautifully synchronised until the end.


A standout moment came when the Scottish bagpiper—reflecting another influence from Oman’s rich heritage—played a syncopated Scottish tune accompanying a Cane Dance. The finale involved everyone playing and singing praises to His Majesty Sultan Haitham. Two Omani flags paraded proudly as two women carried smoking frankincense burners on their heads. The hosts moved down onto the floor, allowing a full curtain call for the Rajasthanis, Bulgarians, and Koreans to wave the audience farewell under, coincidentally, a full moon!


Photos by Khalid al Busaidi


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