"Myeonggeumilha~~ Begin the Daechwita." (Strike the gong once to start the Daechwita)
At the music director's command, the gong resonated and wind and percussion instruments burst forth in magnificent sound. As the janggu, gong, drum, and cymbals struck powerful rhythms, the nabal and nagak (conch shell horn) added solemn "woong~woong~" reverberations. The taepyeongso led the melody with its piercing tones. The exhilarating sound instantly electrified the audience. The majesty of Daechwita—traditionally performed to ward off evil spirits and boost morale—filled the National Gugak Center's Umyeondang Hall.
The first "Dadam" performance of the year at the National Gugak Center in Seocho-gu, Seoul on January 25 opened with Daechwita. Now in its 17th year since launching in 2010 and marking its 135th cumulative performance, this flagship program takes place on the last Wednesday of each month at 11 a.m. The show introduces traditional music and Korean dance with accessible commentary. The format combines a host with guest lectures, and light refreshments including rice cakes, traditional confections, and tea are served in the lobby before performances. True to its name meaning "tea and conversation," Dadam is a gugak matinee modeled after classical music matinees to lower barriers for audiences unfamiliar with traditional Korean music.
The January 25 performance featured anchor Hwang Su-kyung as host and Professor Yoon Dae-hyun of Seoul National University's Department of Psychiatry, who lectured on overcoming lethargy and building resilience. "Hearing Daechwita live feels like all negative thoughts just vanish," Professor Yoon said. "I came to give a lecture but feel like I'm the one who was healed."
Following Daechwita by the National Gugak Center's Court Music Orchestra, the Folk Music Orchestra performed gayageum byeongchang (singing accompanied by gayageum). Selections from "Heungboga" and "Simcheongga"—including the Bak-taryeong and Don-taryeong passages chosen to wish for New Year blessings—delighted the audience. The highlight was the Dance Company's Hallyang-mu. Four male dancers wearing traditional horsehair hats, flowing dopo robes, and holding fans painted with orchids performed with restrained power and elegance. The traditional dance depicting the refined lifestyle of "hallyang"—Joseon-era gentlemen without official posts who pursued artistic pleasures—drew gasps and applause from the audience.
Dadam has steadily expanded its reach. Annual performances increased from seven initially to 10 recently, with 80-90% of the approximately 230 seats filled by paying attendees. Though ticket prices rose from 20,000 won for all seats through 2024 to 30,000 won for some seats starting last year, enthusiasm remains strong. "Umyeondang Hall has large reflectors installed on the ceiling and walls, allowing audiences to fully experience the resonance of traditional instruments and vocals without speakers," said Lee Seung-jae, head of the Audience Development Team at the National Gugak Center. "Response has been particularly positive for traditional dance performed with live accompaniment."
Cumulative attendance reached 26,598 by the end of last year. The age demographic has diversified: as of late last year, attendees in their 50s account for approximately 30%, those in their 60s about 40%, those in their 40s 20%, and those 30 and under 10%. While retirees and homemakers predominate given the weekday morning timing, students and nearby office workers also attend during vacation periods. Kim Soon-hoon, who runs an architecture firm nearby, said, "I joined the Seocho-gu Architects' Association to attend Dadam performances. I appreciate being able to experience traditional music and dance that's hard to find at other venues." Maya, a tourist in her 20s from Boston, said, "I've always been interested in Korean pop culture like K-pop and dramas, but recently became curious about traditional performances too. I couldn't understand Korean, but the music and atmosphere alone were enough to enjoy."
This year, Dadam plans to continue presenting music and dance featuring the National Gugak Center's four ensembles while inviting popular figures including chef Yeo Kyung-rae, author Song Gil-young, neuroscientist Jang Dong-sun, and travel writer Tae Won-jun for lectures. "We're focused on expanding our audience base by naturally bringing together contemporary life stories and gugak," said Lee Ji-young, performance producer.
The gugak community emphasizes the need for diverse curated performances to popularize traditional Korean music. Beyond Dadam, matinee-style gugak performances include "Noon Concert" featuring the National Orchestra of Korea. Music critic Song Hyun-min suggested, "Performances that lower barriers to gugak by offering high-quality shows, useful information, and comfortable atmospheres are contributing to its popularization. This approach is worth trying not only in Seoul but at regional venues as well."