Beyond traditional boundaries: Park Jiha's quest for universality

Written by Jamie Finn (@jamiefinn2209)

Korean composer Park Jiha discusses her evolution towards experimental minimalism and why she's distancing herself from the traditional music scene.

In a compact recording studio in Seoul, Park Jiha sits surrounded by an array of traditional Korean instruments that most people wouldn't recognise. There's the piri, a double-reed bamboo oboe with just eight holes but a remarkably powerful voice; the saenghwang, a mouth organ that produces haunting multiphonics; and the yanggeum, a hammered dulcimer whose metallic tones shimmer through her compositions. Yet the music emanating from these ancient instruments sounds nothing like what you might expect from Korea's traditional music scene – and that's precisely the point.

“I want everyone to be able to find themselves in my music,” says Park Jiha. "I want to create something people can feel is universal" It's this pursuit of universality that has seen the composer carve out a unique space in contemporary experimental music, drawing praise from Pitchfork and The Guardian while building a devoted following across Europe and beyond.

Park's journey hasn't followed conventional paths. That world is one of Park's own making – a space where minimalist composition meets Korean traditional instrumentation, where ancient techniques serve contemporary emotional reflection. Her music emerges from what she describes as "big themes that everyone can feel", exploring cycles of nature and life through patient, immersive soundscapes that resist easy classification.

Photo courtesy of Park Jiha

"Rather than having some clear, specific thought about nature, it was more about all living things," she explains when discussing the conceptual framework behind her work. "Life itself is cyclical, right? I thought it would be good to express that cycle and flow through music." This philosophy underpins her album All Living Things, described by Pitchfork as "creative and singular" – a testament to Park's ability to transform traditional Korean instruments into vehicles for universal expression.

While using traditional instruments forms the backbone of her sound, Park is keen to distance herself from the label of “traditional (or gugak) musician”, which she finds is often given to her merely for the type of instruments she plays. “It’s true that I studied traditional music extensively in school. However, since beginning my solo career, I haven’t been creating music by borrowing from or evolving specific traditional pieces. Rather, I’ve been exploring new sounds that I can create using the instruments I play music that is not confined by the genre boundaries of traditional music.”

This misconception has led to frustration on the part of Park Jiha, who feels limited when described as a “traditional musician,” just because of the instrument that she plays. “It’s similar to how a pianist isn’t necessarily confined to classical music,” she explains, “they can compose and perform across various genres. In the same way, performing with traditional Korean instruments does not automatically mean that I am doing gugak.” This is especially prescient for events she is invited to in Korea, which is one of the reasons she has become more selective when performing here.

Park has found her audience elsewhere – particularly in the UK, where she's discovered a receptive scene for experimental music. She’s also become a regular fixture at the K-Music Festival, which, despite being K-something-named, is an incredibly diverse and artistically valuable event that has embraced the avant-garde nature of Park’s work. "There seems to be so much music media in the UK," she observes. "I think I'm very lucky that the British have so many interesting media outlets and music magazines. 

Her live performances have evolved alongside her artistic vision. Where she once performed seated in what she describes as a "more meditative" setup, her current shows see her standing, incorporating electronic elements alongside acoustic instruments. "This is the live set I'm having the most fun with that I've ever had," she says, describing recent successful performances in Leeds and Bristol. "It's a lot more cinematic and provides a more immersive experience of my music."

The shift reflects an evolution in Park's approach. She established herself as part of '숨[su:m]', a duo that pioneered modern interpretations of traditional Korean instruments. As a solo artist, she's pushed even further into uncharted territory, creating what she calls "era-ambiguous elegies" that fluctuate between meditative calm and dramatic intensity.

Park's music communicates something profound about cultural identity in a localised world. By resisting the constraints of traditional categories or nationalist cultural projects, she's created space for Korean instruments to explore new contexts. Her sound is simultaneously rooted and rootless, ancient and contemporary, Korean and universal.

“When creating music,” she explains, “I hope it can be received simply as something universal and beautiful, something that resonates with people beyond cultural or stylistic boundaries. That's the biggest thing I think about and go for."

This universalist approach has earned her international recognition without sacrificing artistic and creative integrity. Her discography – from 2016's breakthrough Communion through 2018's Philos and beyond – charts a steady progression away from conventional frameworks towards something entirely her own.

As mentioned, Park Jiha will be making her third appearance at the K-Music Festival, organised by the Korean Cultural Centre UK alongside the UK organiser SERIOUS. “They have always been a big supporter of mine.” Running at major London venues, including the Royal Albert Hall and Kings Place, the annual festival spans nearly two months each autumn, featuring an eclectic mix of traditional and contemporary Korean artists alongside British collaborators. From radical experimentation to reimagined traditions, the festival showcases the voices shaping the future of Korean music. For many Korean artists like Park, the festival provides a vital platform in the UK market, offering both cultural legitimacy and artistic freedom. The festival's commitment to presenting Korean music in all its complexity has made it an essential fixture in London's cultural calendar, attracting curious audiences seeking alternatives to commercial Korean entertainment. “They’ve provided a stage in London every time I’ve released a new album,” explains Park, highlighting the importance of her relationship to the event.

For her upcoming K-Music Festival performance, Park promises something "completely different" from her previous album live appearances. "The songs are all different, the live set is all different. It's radically different from what I did before," she says. "I hope people will have a real listening experience where they can escape and spiritually get into the music.”

As Park continues to develop her unique musical language, she represents something vital in an artist unafraid to blur boundaries in pursuit of deeper truths. In her hands, the piri, saenghwang, and yanggeum become not just Korean instruments, but a catalyst for exploring what it means to be human in a connected world.

Through her music, Park Jiha is an artist who continues to find her own balance. Her music acting both as a representation of, and as a means to secure her own sense of peace. Her music is about connection - to oneself and to nature. And through her unique compositions, we can reflect on our connections to those things, too.

For more information on Park Jiha, follow her here.
For more information on K-Music Festival, London, follow them here.