Mar 1, 2017 10:30 am

BEREISHIT DANCE COMPANY

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Christine TschidaLETTER FROM THE DIRECTOR

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Dear students, teachers, and chaperones,

I've asked Abby Taylor, who spent the summer working at Jacob's Pillow where she got to know Bereishit Dance Company, to write our introduction to this company. Abby is currently working as our interim student engagement coordinator. Enjoy the show!

Sincerely,

Christine Tschida Director of Northrop

This summer, I had the privilege of working at Jacob’s Pillow Dance Festival in western Massachusetts. In a mere ten weeks, I experienced over fifty dance companies from around the world. Of those companies, one in particular stood out for their athleticism, their inventive and precise movement, and their incredible vitality and strength. Lucky for all of us, that company is here, now, and about to take the stage.

Bereishit Dance Company traveled more than six thousand miles, from Seoul, South Korea, to share their unique style of contemporary dance with us. We’re confident that the energy and artistry of choreographer Soon-ho Park and the dancers will collapse that great distance into an edge-of-your-seat performance. Here are just some of the elements to look for:

Balance and Imbalance features live music with traditional South Korean instruments and sound. This piece blends expressive storytelling with dynamic dance and choreography. There are moments that may seem unreal, due to the physical feats and partnering this company is able to accomplish. Bow-control takes a simple object, a bow, and transforms it into a powerful artistic tool for movement. The work is expressive, specific, and the strength and connection between the two dancers is palpable. Watch for the ways in which traits of the bow are translated into the dancers’ bodies—the delicate moments of pull and tension with explosive yet exacting release.

Living and lively opportunities for international cultural exchange are so important to us here at Northrop. We are beyond excited to bring Bereishit Dance Company and all of you into the conversation. Please help us in giving a warm, Midwestern welcome to these wonderful artists and world travelers.

Sincerely,

Abby TaylorStudent Engagement Coordinator

Your Role as an Audience MemberGOING TO THE THEATER

Here is a checklist of general guidelines to follow when you visit Northrop:

— Leave all food, drinks, and chewing gum at school or on the bus.

— Turn off and put away cell phones and other electronic devices before the performance begins.

— Refrain from texting during the performance.

— Respect the theater. Remember to keep your feet on the floor and stay seated during the performance.

— When the house lights dim, the performance is about to begin. Talk before and after the performance only.

— Use the restroom before the performance or wait until the end.

— Appropriate responses such as laughing and applauding are appreciated. Pay attention to the artists on

stage - they will let you know what is appropriate.

— Open your eyes, ears, mind, and heart to the experience.

— Enjoy yourself!

THEATER ETIQUETTE

Seeing a live performance is a special and unique experience. Although it is not required, many people enjoy dressing up when they attend the theater.

Unlike the passive experience of watching a movie, audience members play an important role in every live performance. As they act, sing, dance, or play instruments, the performers on stage are very aware of the audience’s mood and level of engagement.

Each performance calls for a different response from audience members. Lively bands may wish for the audience to clap along while dancers may desire the audience to focus silently on the stage and applaud only during natural breaks in the performance or at the end.

Audience members can often take cues from performers on how to respond to the performance appropriately. For example, performers will often pause or bow for applause at a specific time. As you experience the performance consider the following questions:

— What kind of live performance is this (a play, a dance, a concert, etc.)? — What is the mood of the performance? Is the subject matter serious or lighthearted? — What is the mood of the performers? Are they happy and smiling or somber and reserved? — Are the performers encouraging the audience to clap to the music or move to the beat? — Are there natural breaks in the performance where applause seems appropriate?

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Source: Des Moines Performing Arts Study Guide (p. 3–7)

Your Role as an Audience MemberGOING TO THE THEATER

PERFORMANCE OF GISELLE AT NORTHROP

WHAT IS DANCE?Dance is a fundamental part of the human experience.

ELEMENTS OF DANCE - B.A.S.T.E.

Why we dance:People have always danced. In some societies, people dance mostly for religious reasons. They want to appease the gods, to ward off evil, to pray for rain, or to have a good harvest. In other societies, people dance mostly for their own amusement - by themselves or with others. In some places, dance is a performing art in which people dance to entertain others.

When people dance they move their bodies rhythmically to express ideas or emotions. Most of the time, dance has a structure. Sometimes it is improvised or made up on the spot. Traditional folk or tribal dances are passed down from generation to generation.

BodyBody refers to the awareness of specific body parts and how they can be moved in isolation and combination.

— shape: curving, angling, twisting the body — parts: arms, legs, head, feet, hands, torso

ActionRefers to locomotor and non-locomotor movement.

— locomotor: walk, run, leap, hop, skip, gallop, glide, slide (anything that moves from one point to another) — non-locomotor: bend, twist (anything that does not move from one point to another)

SpaceRefers to the space the body moves through, the direction of movements, and the shapes, levels, and patterns of a group of dancers.

— levels: low, medium, high — direction: forward, backward, diagonal, sideways — focus: straight, curved, open, closed, peripheral

TimeIs a musical and dance element. It includes beat, tempo, accent, and duration.

— tempo: low, medium, high — long / short — patterned / counted

EnergyRefers to the force applied to dance to accentuate the weight, attack, strength, and flow of a dancers movement.

— quality: strong, light, sharp, smooth, soft, sudden.

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KOREA NATIONAL CONTEMPORARY DANCE COMPANY (KNCDC)

Balance: a state of stability with equal weight and energy on either side of a dancer’s “center.”

Body: an element of dance that refers to the awareness of specific body parts and how they can be moved in isolation and combination.

Choreography: the arrangement of movement in space and time. A series of moves usually set to music.

Costumes: used to help bring the choreographed dance to life and to help communicate the story or idea.

Creativity: the ability to go beyond traditional ideas, rules, and patterns in order to create meaningful new ideas, forms, methods, and interpretations.

Duet: two dancers performing together.

Ensemble: a group of dancers performing together.

Energy: refers to the force applied to dance to accentuate the weight, attack, strength, and flow of a dancer’s movement. Adjectives such as explosive, smooth, free, restrained, wild, etc. describe some of the different types of energy that dancers can exhibit.

Phrases: sequences of steps and gestures. Phrases make up a dance the same way that words are put together to form a sentence.

Rehearsal: practice in preparation of a public performance.

Repertory: the group of dances that are actively performed by a dance company.

Solo: a dance performed alone (one dancer) or set apart from other dancers on stage.

Space: the area in which a dancer moves, encompassing level, direction, floor, pattern, shape, and design.

Technique: a set of skills which dancers develop to perform a certain dance form. Sometimes, particularly in modern dance, choreographers become famous for their own dance technique.

Tempo: the time, speed, or rhythm of the beats of a piece of music or the pace of any movement activity.

Unison: the same movement or series of movements performed at the same time by more than one dancer.

DANCE VOCABULARY

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BEREISHIT DANCE COMPANY IN BOW-CONTROL. PHOTO © P LIG.

LESSON PLAN #1THE DANCING MIRROR

Explanation:

Introduction to ACTION, one of the basic elements of dance, through exploration of locomotor and non-locomotor movements.

Goals:

— To identify locomotor and non-locomotor action

— To develop basic dance vocabulary

— To practice types of action

Materials: — Open area

— Chalkboard / chalk or whiteboard and markers

Activity:

1. Write locomotor movement and non-locomotor movement on the board and read the descriptions of each.

a. locomotor: walk, run, leap, hop, skip, gallop, glide, slide (anything that moves from one point

to another)

b. non-locomotor: bend, twist (anything that does not move from one point to another)

2. Read through the examples of each type of action as a group and ask students to generate additional examples of each that can be listed on the board underneath the title of each type of action.

3. Ask the students to stand up and form a circle with you. Explain to students that they are to be your mirror image. If your hand moves, their hand moves. If your body sways their body sways, etc.

4. Demonstrate a number of examples of actions from the board and ask students to name whether the action is locomotor or non-locomotor movement as they mirror each action.

5. Ask students to form pairs and each take turns being the leader and the follower using both locomotor and non-locomotor actions.

Follow up Questions:

1. Describe how it felt to perform locomotor action.

2. Describe how it felt to perform non-locomotor action.

3. What was it like to lead your partner?

4. What was it like to follow your partner?

5. What did your movements remind you of, if anything?

EXPLORING THE ELEMENTS OF DANCE

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LESSON PLAN #2GROOVING TO THE BEAT

Explanation:

Introduction to TIME & SPACE, two of the basic elements of dance, through beat creation and movement through space.

Goals: — To identify and create a beat

— To change tempo of beat and movement

— To move through space to a beat

Materials: — Open area

Activity:

1. Ask the students to create a circle and clap 8 count beats while counting out loud: 1, 2, 3, 4, 5, 6, 7, 8

2. Explore variations in tempo by asking students to insert a word after each number such as, ‘Mississippi’ for a slow tempo, ‘art ‘ for a fast tempo, or ‘dancer’ for a medium tempo. For example, “one, Mississippi, two Mississippi, three,” etc.

3. Ask students to divide into two groups: A and B.

4. Ask group “A” to clap a beat using one of the tempo prompts from the previous step, while group “ B” moves through the space stepping on each beat. To give the walking purpose and character, you may want to ask students to move like a certain kind of animal as they walk, or as if they are walking on the moon or through water, etc.

5. Students in group “A” can experiment with different tempos, prompted by you, as students in group “B” change their movement to the beat.

6. Next ask the students to switch roles.

Follow up Questions:

1. Describe the difference between moving to the beat and creating the beat by clapping. Was one more challenging for you? Why?

2. How did changing the tempo of the beat effect your group’s movement?

3. Describe some of the ways that everyone moved through the space (stepping high or low levels, etc.)

4. What are some other ways that you might move through space to a beat?

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EXPLORING THE ELEMENTS OF DANCE

To dance and to play a sport requires a purpose of movement: jumping from one end of the stage to the other as a form of expression, stretching an arm to catch a ball. As you watch the dance performance, think about the following:

— What, if any, differences are there between a dancer leaping high into the air across the stage and a basketball player jumping to dunk the ball, or a baseball outfielder leaping over the wall to make a great catch?

— What are some similarities and differences between someone participating in sports and someone dancing in terms of movement (leap, bend, stretch, etc.)?

— As with spots, dance also requires the use of energy. What are the differences and similarities in the amount of energy used by a dancer during a full performance and a ball athlete playing a full game?

South Korea’s history in Olympic archery is amazing. South Korea captured the gold medal in all four categories – men’s and women’s team and individual – at the Rio 2016 Olympic Games.

Baseball is called yagu and is extremely popular in South Korea. The Korean Baseball Organization was established in 1981. LG Twins Baseball Club is a Korean Professional Baseball team based in Seoul, South Korea. They are a member of the KBO League and are one of the most popular baseball teams in Korea.

SPOTLIGHT ON ATHLETICISM

RIO 2016 OLYMPIC GAMES

LG TWINS BASEBALL CLUB

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ABOUT BEREISHIT DANCE COMPANY

From Seoul, South Korea, Bereishit Dance Company is a modern dance group that is interested in humanity, creation, and relationships. Bereishit, an ancient Hebrew word, is the first word in the Old Testament of the Bible. In Genesis 1:1, it means “at the beginning” (or “in the beginning”) and “at the time of creation.”

The company, founded in 2000, is led by artistic director and choreographer Soon-ho Park. His distinctive style approaches traditional culture from a modern point of view.

Park’s work, which combines martial arts (Hapkido), hip-hop, traditional Korean dance, movement technique of contact improvisation, and traditional Korean sound and musical instruments, breaks the boundaries between tradition and modernity, western and oriental, sports and dance.

Bereishit Dance Company approaches Korean traditional culture from a contemporary view—keeping the fundamental value of things, as opposed to simply borrowing or transforming them. The company’s work also explores the issues of identity and transformation, delving into multimedia, street dance, community dance work, and real-time interactive demonstration. The group’s performances are known to display an amazing sensitivity towards space and rhythms, and are always delivered with kinesthetic clarity and power. Bereishit Dance Company has extensively toured internationally including Jacob’s Pillow Dance Festival & Dance Salad Festival in Houston.

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Source: Bereishit Dance Company

Seoul Sea of Japan

Yellow Sea

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Soon-ho Park studied contemporary dance at Hansung University in Seoul, South Korea, and actively worked as a professional dancer from 1992 to 2001. He then completed a choreography course at the Arnhem European Dance Development

Center in The Netherlands where he developed his work, trying diverse experiments through his solo and trio pieces. He participated in many projects as a dancer in The Netherlands, Germany, and other European countries and was selected as the New Choreographer by the German institution PACT Zollverein in 2003.

Soon-ho has done various works and projects with installation and media artists, and musicians, including a collaboration with Giga Hizume, who is the director of Sal Vanilla, a multimedia and live performance group in Japan. He has received major funding from Arts Council Korea, and awards including The Choreography Award of the Year by the Performing Arts and Film Review, The New Choreographer’s Award by the International Modern Dance Festival, and the Best Choreography Award both from the Korean Dance Researchers and Critics Association and the ChangMu Arts Center. His work opened the Festival Asia in Barcelona, Spain, in 2007. Since then, it has been presented at venues and festivals in many countries such as Poland, the United Kingdom, Brazil, Uruguay, India, Switzerland, and Mexico, among others.

In 2008 he was invited to the Asia-Africa Dance Exchange program of SIDance (Seoul International Dance Festival) and participated in its international residency program as a Program Director in 2009 and 2010.

In 2011, in collaboration with Australian choreographer Rebecca Hilton and the Art Center Nabi, Seoul, Soon-ho conceived the ‘Hello Project,’ which is the Australia-Korea live public dance and screen project. Using only gestures and dance moves, the project utilized Skype technology on a grand scale and tracked the sharing, teaching, learning, and interpreting of different movement gestures as they were exchanged live via large public screens located in Seoul and Melbourne.

Since 2004, Soon-ho has been working very actively not only as a choreographer but also as a teacher. He currently teaches contemporary dance techniques and choreography at five universities in Korea.

Soon-ho’s works convey the various images surrounding the relationship between nature and people. Focusing on the origin of movements, he is interested in the fact that every subject has two different ends in itself. Dutch critic Mark Ben referred to him as transmitting ‘astonishing stimulation.’ Not using music as a tool in his dance works, he considers himself as the visual movement or bodily rhythm. He believes that the sound can touch the heart and be expressed as movement. Seizing the subtle bodily rhythm in the works, he opens the eyes and ears of the audience members.

Artistic Director & ChoreographerABOUT SOON-HO PARK

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Dancers

Cheolin JeongJoined the company in 2013

Dongsik Lim, Drums

Jisoo RyuJoined the company in 2014

Seohee Lee, Singer

Hyeayoon KimJoined the company in 2016

Sunggun Park, Drums

Musicians

THE COMPANY

Jaewoo JungJoined the company in 2013

Chorong OhJoined the company in 2016

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The first piece you will see in the performance is titled Balance and Imbalance. The word “ ” which means “person” in Chinese characters, depicts two people leaning against each other. In other words, it means that humans cannot live by themselves and can live only by mutual support. We constantly experience harmony and imbalance in our relationships with people. This work is based on the harmony and imbalance that we all experience in human relationships.

Five dancers, one vocalist, and two janggu (traditional Korean drum) performers interact with the sounds and gestures of the piece to maximize the emotion in Balance and Imbalance.

To make Balance and Imbalance, the choreographer combined Korean percussion (Samulnori), Korean singing (Pansori-a kind of musical storytelling), Korean folk music, dance and ritual (Pungmul Nori), and Korean philosophy (Chun-Ji-In), sometimes in a modern way.

What is Samulnori?Samulnori is a genre of percussion music originating in Korea. The word “samul” means “four objects” and “nori” means “play.” Samulnori is performed with four traditional Korean musical instruments.

MUSIC, INSTRUMENTS, SINGING, AND DANCING

Buk (a barrel drum similar to the brass drum)

Jing (a larger gong)

Kkwaenggwari(a small gong)

Janggu (an hourglass-shaped drum)

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Performance Information

BALANCE AND IMBALANCE

Samulnori (literally “Korean traditional percussion instruments playing”) has its roots in Pungmul nori, a Korean folk genre comprising music, acrobatics, folk dance, and rituals, which was traditionally performed in rice farming villages in order to ensure and to celebrate good harvests. Since Korea’s people were 90% in farm-related work until modern times, this music defined Korean folk and popular music.

A poet once described each of the four instruments of Samulnori as representing a different weather condition: — Kkwaenggwari: represents thunder — Jing: the sounds of wind — Janggi: represents rain — Buk: clouds

What is Pungmul Nori? Pungmul is a Korean folk music tradition that includes drumming, dancing, and singing. Most performances are outside, with dozens of players, all in constant motion. Pungmul is rooted in the dure (collective labor) farming culture.

What is Chun-Ji-In ? The idea or philosophy of what Korea was founded on is called, Chun-Ji-In: — Chun: heaven — Ji: earth — In: people

How the Chun-Ji-In is reflected in the musical instruments used in this performance — The metal of the Jing and Kkwaenggwari: heaven (Chun) — The leather on the Buk and Janggu: sounds of the earth (Ji) — Sounds of singing, dancing, playing and enjoying: people (In)

PUNGMUL NORI

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What is Pansori? (Often referred to as Korean Opera)

Pansori is a Korean genre of musical storytelling performed by a vocalist and a drummer. One singer and one drummer playing a barrel drum called a Buk usually perform the music.

Originally a collection of 12 operas, there are now regrettably only five that have been passed down to us today- Chunhyangga, Simcheongga, Heungbuga, Jeokbyeokga, and Sugungga. A Pansori performance is lengthy—some even taking up to four to five hours to complete. In 2003, UNESCO officially recognized Pansori as an important piece of world culture.

Pansori Sugungga, which is the music in Balance and Imbalance, is the old story of ‘Tokkijeon,’ in opera form. The tale they relay is Sugungga, about a dragon king, a turtle, and a rabbit. The opera contains much humorous banter between the characters.

Synopsis of SugunggaThe Dragon King of the Southern Sea is suffering from an ailment that can be cured only with the liver of a rabbit. The king thereupon summons all the ministers to look for the liver of a rabbit on the ground. The terrapin turtle volunteers his service to journey to a forest and return with a rabbit.

The turtle succeeds in doing this by luring the rabbit with the wonderful prospects of living in the palace. The rabbit, after discov-ering his danger at the palace, coaxes the King into allowing him to return to the forest by explaining that his liver was so much in demand that it finally became necessary to conceal it in a secret place and that he had, therefore, come without it.Upon hearing this, the Dragon King of the Southern Sea grants the rabbit permission to go back to the forest with the turtle after the rabbit promises that he will return with his liver. Once in the forest, the rabbit ridicules the King and turtle’s stupidity and is never seen again. But the rabbit is also actually quite moved by the turtle’s faithfulness to the King.

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PANSORI

STATUES DEPICTING THE TALE OF SUGUNGGA

The second piece was born out of Park’s vested interest in the movements associated with archery and the use of a bow in the sport. In this work, the inherent characteristic of the bow as an object, which is its inevitability in ‘certainly flying toward one aimed point’ once it moves, is used as the main subject to symbolize the relationship between ‘human and situation/object’ or ‘human and human.’ This work is a choreographic essay about ‘control’ and what constitutes the core axis of the story are the plural bodies that symbolically express oneself in forms of trios and duets. The essence of movement in the work is the ‘shooting with the heart’ that only occurs when the body of each dancer forms relationships with the bow in various ways.

The rigorous male duet Bow-control celebrates the clean lines and power of traditional archery, blurring the boundaries between sport, art, and meditation.

Bow–control is: — An exercise tool — A self-reflection tool — A sport — A game — A meditation

Soon-ho uses the deep history of South Korean archery and reflects on the bow as an exercise tool and as a self reflection tool, creating a dance that pulls from the old traditions of South Korea to make something new.

Performance Information

BOW–CONTROL

Can you see the shape of the bow in the water buffalo horns?

‘ARCHERY,’ AN ORIGINAL WORK PAINTED BY KIM HONG DO DURING THE CHOSUN DYNASTY

TRADITIONAL KOREAN BOW

SOUTH KOREAN MAN ON A WATER BUFFALO LOOKING OUT OVER RICE FIELDS

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The traditional Korean bow’s shape is inspired by the shape of a water buffalo’s horn. The shape is still used today but the bow is made from different materials.

Hapkido is a highly-eclectic Korean martial art. It is a form of self-defense that employs similar joint locks and grappling and throwing techniques to other martial arts, as well as kicks, punches, and other striking attacks.

Korean hip-hop dance refers to street dance styles primarily performed to hip-hop music or that have evolved as part of hip-hop culture like K-pop, B-boying, and Korean Wave. Korean hip hop, also known as K-hip hop, is a subgenre of hip hop music from South Korea. It is widely considered to have originated in the late 1980s and early 1990s, and has since become increasingly popular, both in Korea and abroad.

STYLES OF DANCE IN SOON-HO PARK’S CHOREOGRAPHY

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K-HIP HOP

HAPKIDO

Balance and ImbalanceThis performance brings together traditional Korean arts and dance with contemporary Korean dance forms. Do you think this meeting of styles was successful? Why or Why not?

How did the live music drive this performance?

— What did it make you feel?

— What do the musicians add to the experience by being in the same space?

During the performance, look for the different dance styles listed earlier.

— Were you able to identify any of the styles during the performance?

— How are Korean and American hip hop alike?

Bow–controlHow is the bow used as a meditation?

What elements of meditation were used?

Look for the different dance styles listed earlier.

— Were you able to identify any of these styles during the performance?

How did the performance make you feel?

The dancers demonstrate how archery is both a sport and an art form.

— How did you see this portrayed?

— How do other cultures connect sport and art?

for Balance and Imbalance and Bow–controlDISCUSSION QUESTIONS

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KOREAN HIP HOPAMERICAN HIP HOP

— South Korean Culture

— Influence of art in communities

— Korean Drumming

— Pansori

— Korean Folk Music

— Traditional Korean Archery

— Korean drum making

— Explore the effects of immigration laws on international dancers/ artists coming to America to perform.

— Compare and contrast Korean and American pop culture and the role social media and internet plays in their similarities.

— Explore the South Korean pop culture phenomenon “the Korean Wave” and the influences it has had on their society and how it has energized its economy.

— Generational divides

— Integration of / globalization of culture in the 21st century

— Nonverbal communication

— Interdisciplinary artists collaboration

— Athletics

— Technology and cultural barriers

PERFORMANCE TOPICS AND THEMES

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BEREISHIT DANCE COMPANY IN BALANCE AND IMBALANCE. PHOTO © SANG-YUN PARK.

Cat — 고양이 Dog — 개 Monkey — 원숭이

Computer — 컴퓨터 Mother — 어머니, also 엄마 Father — 아버지, also 아빠 Car — 자동차 School — 학교 [to] Dance — 무용하다, also 춤추다 Human Being — 사람 Welcome — 환영합니다 (hwangyong-hamnida) Hello — 안녕하세요 (annyeonghaseyo) Thank you — 감사합니다 (kamsahamnida)

ENGLISH/KOREAN WORDS

KOREAN ALPHABET

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POST SHOW ASSESSMENT IDEAS1) Write a Review

Ask students to imagine that they are a critic for the school newspaper. They are going to write a review of the BEREISHIT DANCE COMPANY performance to inform others about what they experienced. They should describe with detail:

— What they saw

— What they heard

— How the performance made them feel

— What the performance reminded them of

— What their favorite part was and why

— Would they recommend it? Why?

Remind the students that they must paint a picture of the experience with their words so that others who did not see the performance can imagine it as vividly as possible.

2) Your Artistic Impression

Create your own artistic impression of the performance. Using shapes, lines, colors, patterns, and other artistic elements from your imagination, draw or paint a picture that expresses how the dancers made you feel. Use art to interpret your impression of the performance and qualities of dance.

3) Explore Emotion

Ask students to pick an emotion they felt while watching the performance. Allow students to draw or write about the emotion using the following questions to guide their exploration:

— What does ___________look like?

— What does ___________sound like?

— What does ___________feel like?

— What does___________smell like?

— What does___________taste like?

4) Write a letter / email to the dancers

Once you have seen the performance and you and your students have had a chance to discuss what you saw write to the Bereishit dancers. Artists love to read about what teachers and students thought of their performance. Try using Google translate to send a letter or email in Korean. — Send to Soon-ho Park’s mailing address or email address below.

25-1, JinHeung-Ro 19-gil Eunpyeong-gu, Seoul 122-847, The Republic of Korea Email: 2673898@hanmail.net

5) Watch and Discuss

After the performance, view and discuss Jacob’s Pillow’s post-show interview of Bereishit Dance Company.(7 minute clip) — z.umn.edu/1c2c

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northrop.umn.edu

SOURCES: Bereishit Company Study Guide (translated)

Des Moines Performing Arts Study Guide https://www.desmoinesperformingarts.org/education/k-12/resources.phpGood Korean Language Resource http://www.omniglot.com/writing/korean.htm

Online English to Korean Dictionary https://zkorean.com/english-korean-dictionary