Gisaeng: A Group of Artists Who Preserved the Art of the Joseon Dynasty

A gisaeng (妓生) or ginyeo (妓) is a woman whose profession was to entertain at banquets or drinking parties with music, dance, or other forms of performance in Joseon Dynasty. Gisaengs were distinct from women involved in prostitution, as the latter were often referred to as "yunyeo." High-ranking gisaengs owned their own homes and wealth, and some even married. The most prestigious gisaengs had access to the royal palace. They were sought after by the elite, who would invite them to perform at their homes or in the countryside, where they enjoyed music, dance, poetry, and intellectual discussions.

It is said that the origin of ginsaeng began in the ancient Three Kingdoms period, when women from conquered territories were reduced to yunyeo. The Joseon Dynasty, after its founding, established a centralized system and appointed gisaengs to the government offices in both central and local areas. Gisaengs were necessary to entertain at official events and to comfort government officials for their hard work, so most gisaengs during the Joseon Dynasty were "gangi" or official gisaengs.

Gisaengs: Systematic Education in Poetry, Calligraphy, Painting, Dance, and Song

Gisaengs typically began their formal education at around 15 years of age, after they were initiated into the "Jangakwon" (a training institution) where they received systematic training. They were taught to specialize in at least one musical instrument. Given that their future clients were often royalty, high-ranking officials, and scholars, their education included calligraphy, painting, dance, song, playing musical instruments, poetry, reading books, conversation skills, and proper dining etiquette. They had to be well-versed not only in etiquette but also in writing and communication.

It is well known that some women of high-ranking noble families during the Joseon era, like Heo Nanseolheon and Yi Okbong, were skilled in poetry and literature. In addition to these noble women, many gisaengs, such as Hwang Jini, were also proficient in poetry, calligraphy, and painting. Gisaengs like Hwang Jini from Songdo (Kaeseong), Hongdo from Gyeongju, Maechang from Buan, and Iljihong from Seongcheon became famous not only for their beauity but also for their skills in literature and the arts. Gisaengs were skilled in poetry, calligraphy, and painting, as well as other forms of entertainment, and from today's perspective, the gisaeng group could be regarded as a group of intellectuals and artists who led and passed down the art of the Joseon Dynasty.

The gisaeng Hwang Jini, whom we have encountered in textbooks, novels, dramas, and films, may have been a low-class citizen by social status, but she was highly skilled in entertainment, poetry, and painting. She was also an intellectual and romantic woman who even overwhelmed the educated Joseon aristocrats. For this reason, Hwang Jini is not viewed as a crude woman who engaged in prostitution.

Classification of Gisaengs: 1st, 2nd, and 3rd Class Gisaengs

After completing their education, gisaengs were classified into three ranks based on their appearance and abilities: 1st class (1pa), 2nd class (2pa), and 3rd class (3pm). A 1st class gisaeng was the highest-ranked, performing at royal courts and high-ranking government officials' gatherings, showcasing dance, song, and various other talents such as poetry, calligraphy, painting, and scholarship. The 2nd class gisaengs were divided into "gangi" (official gisaengs) and "mingi" (civilian gisaengs). Gangi entertained government officials, while mingi performed for orginary noblemen, singing and dancing for them. Gisaengs like Hwang Jini were classified as 2nd class. The 3rd class gisaengs were the lowest-ranked, entertaining commoners at drinking parties and performing low-class songs and dances while often engaging in prostitution.

Gisaengs were skilled not only in literature, poetry, calligraphy, and painting but also in performing arts. From today's perspective, they can be regarded as the group of artists who led and preserved the art of the Joseon Dynasty. Many gisaengs also took courageous actions to save the country in times of peril. For example, during the Japanese invasions of Koewa, the gisaeng "Nongae" from Jinju famously lured a Japanese general to embrace her and then jumped into the Namgang River, sacrificing herself for her country. Other gisaengs such as "Eoran," who contributed to the victory at the Battle of Myeongnyang, "Gyeweolhyang," who played a decisive role in beheading a Japanese commander at the Battle of Pyongyang, and "Sanhong," who refused to become a mistress to the traitors of the Joseon Dynasty and chose death instead, are also well-known for their heroic deeds.

The Decline of the Image of Gisaeng During the Japanese Occupation

As the Korean Empire feel to Japan, the gisaeng system inevitably came to an end. During the Japanese occupation, the gisaengs' educational institutions and gisaeng unions that supervised their work and received payment for their services kept the tradition alive. However, some gisaengs were involved in prostitution, which led to the perception that all gisaengs were part of a crude and unethical group. This view tainted the very folk performances and cultural traditions they carried out.

The Japanese colonial period was a time when many aspects of Korean culture were disrupted, distorted, and degraded. The aftereffects of Japanese gisaeng tourism in the 1970s and 1980s continue to linger in the dark corners of modern Korean society, leaving a persistent stain on every area of life.

In conclusion, the image of the gisaeng has evolved significantly throughout Korea's history. While originally a respected class of intellectuals and artists who contributed to the preservation of culture and even the defense of the nation, the modern perception of gisaeng has often been clouded by negative associations. It is crucial to recognize the complexity of their legacy- these women were not merely entertainers or prostitutes, but skilled artists and intellectuals whose contributions shaped the cultural and artistic landscape of the Joseon Dynasty. The tragic distortion of their image highlights the importance of understanding history with nuance, and honoring the true dignity and talents of these women who were once central to the cultural fabric of Korea.