What do Korean traditional music and Trot have in common? It is the music that expresses the emotions of Korean resentment and excitement. Lee Mi-ri is an Important Intangible Cultural Property No.57 Gyeonggi Folk Music finisher. She is also trying to spread the emotion of ‘heung,’ a Korean spiritual culture. Recently, Lee Mi-ri showed outstanding skills and excitement in Trot programs such as Voice Queen, Trot Queen, and Last Singer. Let's listen to the story of Lee Mi-ri, who promotes the beautiful sound of Korea and who has a master's and a bachelor's degree in Gyeonggi Folk Music from Chung-Ang University.

Q1. Please introduce yourself to readers of the Chung-Ang Herald.

Hello, I am Lee Mi-ri. I entered the School of Korean Music of Chung-Ang University in 2005. I also graduated from the Chung-Ang University Graduate School. Now, I am the Gyeonggi Folk Music finisher and a Trot folk singer who is working hard as a national treasure nasal voice expert 'Miri, Miri, Mirippong.'

Q2. When did you become interested in Gyeonggi folk music?

My dream was to become an idol singer. To become an idol, I used Gyeonggi folk songs as a way to sing better in my 1st year of middle school. I heard that learning folk songs can improve one’s voice. One day, I saw an advertisement for the Incheon Odong Traditional Art Academy at the bus stop. I started Korean traditional music to become a singer. However, it was not boring, instead it was fascinating. As I learned Gyeonggi folk songs, sijo, gayageum, and samulnori, I fell more and more deeply in love with Korean traditional music.

Q3. Is there any class or professor that you remember the most in Chung-Ang University? And why?

I think many professors are very memorable. One of the most memorable professors is Professor Kim Seong-nyeo, who was the dean of the School of Korean Music at the time. She was good at singing, and it was honorable that she made a mark in the madangnori. 'Let's be like her,' I thought and trained hard. Then I entered the MBC college song festival in 2005. I sang a song called 'Chunhyang Sagok' and I made it to the finals. Professor Kim Sung-nyo, Professor Jung Ho-Bung, and many other professors were so proud of me. I also remember the late Professor Sa Jin-sil a lot. She is the one who left me a lot of memories from university to graduate school.

Q4. You recently gave a lecture at the School of Korean Music. Could you tell us what you wanted to tell your juniors?

Since my major is Gyeonggi Folk Music, I wanted to tell them about my story with it. There are many different ways to make sounds and roads in Gyeonggi folk music. Therefore, I tried to give them easy guidance. Gyeonggi folk music requires expertise. Students who study it have to walk steadily on one road, but it can be difficult. Through the lecture, I wanted to tell them that even if it is hard to keep walking continuously, the road will open up.

Q5. You are an Important Intangible Cultural Property No.57 Gyeonggi Folk Music finisher. What is the process for completing the course?

My teacher is Lee Chun-hee. She is an Important Intangible Cultural Property No.57 Gyeonggi Folk Music holder and a human cultural asset. The first level for intangible cultural assets is an Apprentice, the next is a Finisher, and finally the Holder. For example, an apprentice is a student at a school, so there are many apprentices. The finisher should be more professional and know more theory. Besides, there is a difference in sound. When you almost complete the 12 songs that are 10 minutes long each, you can try the test. If you pass the test, you receive a certificate. Many people are trying to get the certificate. The test itself and the criteria are different between apprentices and finishers. 'Important Intangible Cultural Property No.57 Gyeonggi Folk Music finisher' feels like a medal of honor to me. I feel more responsibility, such as informing people about Gyeonggi folk music more. I think I have been running towards a finisher only. It felt that I always had an assignment in my mind that never ended. I kept practicing, doing personal activities, performing, and working hard to get a certificate.

Q6. We wonder when you had the hardest and happiest moments in performing.

I think I felt the hardest and happiest when I was in a group called 'Aengbi.' Aengbi was a Korean traditional idol group created by four Finishers. I was the oldest and the leader. There was a time when we had to perform many times, belonging to the Seoul Namsan Gukakdang. While preparing for various performances, there were conflicts of opinion. I felt a lot of responsibility as the oldest when the members were having a hard time and were exhausted. I took care of the members and cheered them on and led them. I also performed until term pregnancy, so I felt sorry for my child to dance and run around with me. Nevertheless, I think that time as Aengbi was the happiest moment. When we successfully finished the performance, my teacher gave praise, and members told me, "Thank you for your hard work, we couldn't have achieved it if it was not you." I was very happy. Thus, although it was hard for me, I was able to perform again.

Q7. There will be students who dream of being a Korean traditional music musician like you. Do you have any words for future Korean traditional music musicians?

"The wind could not shake a deep-roots tree. If you build up foundation and tradition and run toward your dream, you can achieve your dream someday." I want to tell them this. The most significant reason for basic is that sound is easy to change. When I sing Trot, I sometimes use a voice that can be used in Gyeonggi folk music. It is allowed because there are strong fundamentals of Gyeonggi folk music. If they have a weak foundation, their voice can shake in both Korean traditional music and Trot. Therefore, I emphasize developing deep-roots fundamentals.

Q8. You were in a music survival program called Voice Queen. We think it could be hard to attempt a Trot song, not traditional Korean music. What made you challenge to Voice Queen?

I had a question about why people don't like Korean traditional music though it is Korean music. One day, I realized that I only live in the Korean traditional music world like a frog in a well. Thus, I thought that I should appear to the public and inform them about Korean traditional music. I also thought if I let the public know about Lee Mi-ri, people would be interested in Gyeonggi folk music through me. Therefore, I tried the Trot song because it was similar to the Gyeonggi folk song. But now, I became more interested in Trot and fell in love with Trot.

Q9. Before and after appearing on the program, were there any changes in yourself?

I’ve been living with questions because many people didn’t recognize me even though I sang Gyeonggi folk songs. I always felt something like a thirst not be quenched even though I keep drinking water when performing Gyeonggi folk songs on stage. Gyeonggi folk music is our traditional music so there are always things boxed in. However, by doing Trot, I felt great because I could show off my talent and the excitement inside of me. To talk about a thing that changed, I feel that I’ve found an answer. I’ve told you that my dream was to be an idol singer. I can’t be that at this age but I currently have the title of a singer. Even though I was a Gyeonggi folk music sorikkun[1], I’ve always held onto my dream of becoming a singer. So the saying ‘dreams come true’ came to my mind. However, you can’t just dream vaguely. I think you have to dream deliberately.

Q10. What is the most meaningful song to you among the songs you sang on Voice Queen?

‘Changbutaryeong’ and ‘Saseollanbongga’ were the most meaningful songs. I sang those on the 4th round and it was the most nervous round. I was also nervous in the other rounds, but I could enjoy them because other rounds’ songs were not my major. However, the 4th round was around that could show my strength. I wore Korean traditional clothes and came out as a professional Gyeonggi folk music sorikkun. At that time, I thought about what a shame it would be if I didn’t pass this round. I also thought that if I don’t pass, I will feel like all the hard work I’ve done until now will fall apart. So that round was the most memorable. Also, it was the round that I cried the most when I passed. I had mental distress and vocal cord nodules at that time. There isn’t a thing such as a ‘happy stress’ but I see it as a happy stress and concern.

Q11. You released an exciting Trot song ‘Mirippong’ this year. Have you learned Trot before? We are also curious about the difference between Trot and Gyeonggi folk music singing styles.

I didn’t learn Trot professionally. I listened to a lot of Trot singers’ songs. I studied the difference between Trot and Gyeonggi folk music alone and sang the songs a lot. Singing styles between those are similar but also different. In the case of Trot, there is a sound of pulling out and also sound of letting in. In the case of Gyeonggi folk music, there are spitting forward sound and sound like jade beads rolling on a silver tray. Moreover, there’s a sound that you have to sing by heart and the pronunciations must be the same. In the case of Trot, you may not make a sound depending on your emotion. Also, sounds may not be heard to the audience. However, Gyeonggi folk music sounds must be heard by the audience. The sounds of Gyeonggi folk music have to be made to the end. It’s because there are a lot of Chinese character words and difficult words. So delivering those accurately to the audience is important. In the case of Trot, even though a Trot singer says some words quietly, people can understand since they use modern vocabulary. So these are the differences between the two.

Q12. You also appeared in programs like Trot Queen and Last Singer. What were the big or small goals you wanted to achieve by appearing in these survival programs?

I didn’t think at all about winning 1st place. I just wanted to let people know that singer Lee Mi-ri is a Gyeonggi folk music sorikkun who is also good at Trot. My teacher who was a cultural asset, liked me appearing on those programs so I felt more deep sense of duty. I also always thought that being known by the public is also letting Gyeonggi folk music be known to them. Actually, there are a lot of people who say let’s listen to what Gyeonggi folk music is after knowing about me. Programs like Trot Queen and Last Singer are all based on Trot. It’s the heyday of Trot nowadays. Thus, I determined to make myself known to the public by appearing on those programs.

Q13. Do the Trot songs that you sing have Gyeonggi folk music sounds in them?

There are absolutely a lot of Gyeonggi folk music sounds in my Trot songs. Some people will like them and some will think those are not true Trot. Thus, I am searching for the intermediate point and keep on researching. I’m just calling myself a Trot folk music singer. There are some people who think it as amazing. When I sing, there are a lot of Trot singers who ask what kind of sounds those are. It’s my job to bring Gyeonggi folk music sounds to Trot and make people want to learn those. Also, when singing Trot, I think about when I should put in Gyeonggi folk music sounds. In Voice Queen, I tried not to put those in Trot, but later I thought, “The thing I can do is Gyeonggi folk music but why am I singing Trot without that?” Thus, I’m building up my repertoire. When doing Voice Queen and Trot Queen, I didn’t really know well about Trot. Right now, I am an MC and singer on the program Trot Queen Master. While doing that, I also think that I didn’t know much about Trot. I think I could make progress because I didn’t know anything. I’m still trying to improve.

Q14. In the program ‘Sharing is Happiness,’ you went to Manila and had a chance to let people know about our country’s culture and tradition. Do you have any plans to go abroad and make people know about Trot and Korean traditional music?

Even though foreigners don’t know the language and meaning, I think that they can feel the emotions that I express while singing. Although there is a limit since our language is different, there is no difference in emotions. Thus, I want to make them know about Korean traditional music. I especially want to sing ‘Arirang’ for them. My teacher sang that song and it got listed with UNESCO. Foreigners were amazed by the sound. They said it was a great music. I think Koreans should be able to sing Arirang. I also once taught multicultural children. Mongolian children said, “Do you know ‘morin khuur’?“ It is an instrument similar to ‘haegeum’ in Korea. If Koreans are asked about haegeum, many young people don’t know about that instrument. However, one Mongolian child said, “Why don’t you know morin khuur? Every house has one. Why don’t we know our country’s music? Isn’t it obvious that we should know about it?” Before letting foreigners know about Korean traditional music, I want to let Koreans know more about it.

Q15. What do you think the charm of Korean traditional music is?

Among Gyeonggi folk songs, there were ‘Nodeul Riverside’ or ‘Baetnorae.’ Those songs were popular music back then. Before the development of media in life, people sang songs while doing work. They had no choice but to sing because there was no media. Gyeonggi folk music and Trot are inseparable with us because those are Korean folk songs. It’s sad that those are being forgotten but those contain the lives of people at that time. I think that is the charm. I think the Gyeonggi folk music is popular music and song.

Q16. You’re recently showing off your variety of charms, by being an MC of the program Trot Queen Master. Do you have any more traits or skills that you want to show people?

While doing Trot Queen Master, I felt that there are so many people who are good at Trot. However, if I tell you one thing, I think you need to stand out and don’t feel small anywhere you go. Except singing, also as a broadcaster, I want to grow. For example, to be an MC like Yoo Jae-suk.

Q17. What goal do you want to achieve while working in the music field in the future?

I want to make a hit song. I want to make a great song that everyone can sing along with. Without a hit song, a singer can’t help but lose one’s vitality. I don’t really want to have Mirippong as my hit song. I will receive other songs, too, first. I want to spread a happy virus to people and it would be great if they feel happiness after listening to Mirippong. However, I am also trying hard to create other hit songs. If there’s an exciting song, there also should be a song that can console people. I am striving to find those kinds of songs. Whether it’s Mirippong or any other song, I want to have my hit song as soon as possible.

18. Finally, would you like to say something to Chung-Ang University students?

If you sleep, you dream, but if you try, your dream comes true.

After the interview with Lee Mi-ri, CAH could know much affection and passion she has for both Gyeonggi folk music and Trot. She also had aspirations to spread the sound of our country, such as Trot and Gyeonggi folk music, not only to foreigners but also to Koreans. She has made a lot of effort to achieve that and is still striving towards her goal. Moreover, with a variety of talents, she not only shows herself as a Korean traditional music musician but also as a broadcaster. CAH hopes that many students will be more interested in Korean traditional music through the interview and that she can let people from all over the world know about it.

[1] A professional singer of pansori