Last summer I received a letter. The person that sent the letter began with something like, "I have hesitated much before sending this letter." And because I know it was difficult for the sender to write the letter, I myself hesitate to make it public. But expressing my apologies, I show a small part of it to better describe the person behind the letter.

"After much hesitation, I decided to write to you to make a sincere request that you help the activities of the Seoul Section of CID-UNESCO. Though I have been involved in numerous projects both domestically and internationally, until now I have never asked for the financial sponsorship or support from my close friends and associates because I did not want to be imposing and discourteous. But as you all know too well, pure art and commercialism are too far apart. And I have come to the realization after many years of work in this area that my thought may have been unrealistic…[omitted]…To create a beautiful festival and to expand the influence and awareness of dance among the public as well as to promote the beauty and tradition of Korean culture globally, we have faced time and again obstacles and walls that we were not able to overcome as a small private art organization. That is our reality."

The sender of this letter, which cautiously pleas for support from sponsors, is Jongho LEE, President of the Seoul Section of the International Dance Council (CID, Conseil International de la Danse) CID-UNESCO and Artistic Director of the Seoul International Dance Festival (SIDance). One would think that with so much that the artistic director and the organizations that he represents have achieved throughout the years, there would be no need for such a letter. CID-UNESCO has membership of 180 countries, and the Seoul Section, which was created in 1996, has worked ardently to promote the works of Korean dancers internationally as well as to introduce artistic level works from different countries in Korea. SIDance, which celebrated its 15th year, is an annual festival being held by Seoul CID-UNESCO. In addition, the organization also holds other projects, including regular events like "Korean Dances Meet World Music" and "Korean Identity through Dance." In addition, the Seoul CID-UNESCO holds seminars and other academic as well as artistic events related to the art of dance, produces joint and collaborative productions at the international level, and also dispatches and connects Korean dancers to troupes overseas. The organization also works toward bringing the art form closer to the public by holding a variety of programs for people to enjoy and participate in.

Jongho LEE, who is the leader of the organization, first entered the Korea Herald in 1977 and moved to Yonhap News in 1981. He wrote articles on dance for a long time. In 1984, he began his career as a dance critic by first writing about the genre in depth for a specialized dance magazine. After many years of writing and covering the dance world, LEE became more aware of the artistic gap between Korean dance and world-level dance. In 1996, he decided to take the leadership of the Seoul Section of CID-UNESCO. In 1998, the inaugural SIDance was held, becoming the first harvest of the organization.

"It was around the time I had been a dance critic for 15 years. Since I had been observing and writing about dance for a long time, I knew well that there were many things that were lacking. First, the artistic level of creative works was overall very low. In 1998, there was practically not one creative work that was produced in Korea that was at the global level. There was a couple that was mid-range at the Asian level. Second, the dancers lacked social consciousness and had no sense of historical perspective. Of course, not all of them were like that. But because they did not have that consciousness, dance as an art form did not receive the respect that it deserved. Lastly, no one had a global perspective or a perspective matching international standards. There was almost no one who understood the flow of dance in the rest of the world.

These three factors were what pushed LEE to create SIDance. However, for LEE the festival was an alternative attempt; if he would have had the financial resources, he would have wanted to create an exclusive theater or a special foundation just for the art of dance. A festival was the only means by which LEE could call attention to the needs of the dance world with limited amount of money. After he decided to create SIDance, priority was given to host global level works that could be staged at the inaugural festival. His efforts were not in vain; global names like Susanne Linke, whose prominence matched that of the legendary Pina Bausch and other world renowned dancers, as well as prominent new faces, were part of SIDance.

"What I concentrated on the most in putting together the program of the festival was bringing in global level works. That was of utmost importance. By introducing and staging outstanding works, I wanted to really inspire as well as provoke Korean producers and creators. I wanted them to create better quality works. At the same time, I wanted the Korean public to know that though Korean production was not up to the global level, our dance was good. I wanted to show that there are works that are entertaining and there are also those that are emotional. And lastly, I wanted people in the Korean dance world to learn and know what global standards meant. I knew that in order to carry out exchanges, they had to be ready, had to have that insight. I wanted to set up a program that would fit these objectives."

LEE nailed it. There had been many prominent world-famous dancers who were staged in Korea before SIDance. However, the festival brought together in one event different stages that would have been spread apart. In addition, people learned about dance through workshops. Moreover, through symposiums, theories about dance began to form and accumulate. World names, choreographers, dancers, and troupes visited Korea through SIDance. They included such world giants like Jin Xing, Jean Claude Galotta, Inbal Pinto, Angelin Prelijocaj, Maguy Marin, Akran Khan, Giles Jobin, Tero Saarinen, and much more. This is not all that SIDance has contributed to Korean dance. SIDance also hosted a "Night of Young Dancers," where young dancers could express their artistic talents free of their mentors and teachers. This was an initiative that started a variety of youth programs in the genre of dance.

"We''ve closed the ''Night of Young Dancers,'' as different organizations followed suit and began to develop a variety of programs for young prominent dancers and young people who are interested in dancing. Instead we developed something called the ''Community Dance'', which is a program to promote dancing in the different public or open areas. The idea is quite simple. Instead of having the public come and see the dance, the dance goes to them. That''s the first idea. This program also lets the choreographers and dancers see the performance from a different prospective. One of the things that our dancers lack is the sense of space performance. If we were to provide a setting that is not a stage, to manage and direct it, this would offer them different ways to use that space and apply this on stage."

SIDance grew and advanced with time. When it first started it was the one and only dance festival in Korea that was at the international level. For this reason, it had to juggle many hats at once. While it was a stage to introduce foreign works, it was also a setting to debut domestic pieces. It was also a festival to balance the traditional and the new. And, quite rightly, the festival was called a gift set. However, as time passed, other dance festivals were created and grew to the SIDance level. Among them are the Modafe (Modern Dance Festival) and the SPAF (Seoul Performing Arts Festival). All three festivals focus mainly on modern dance and are also settings to bring in and introduce many foreign works. For this reason, the line that distinguishes the three festivals is becoming vague and ambiguous.

"We''ve planned and introduced a program called ''The Evolution of Hip Hop,'' which adds something very different from the other dance festivals. It is our attempt to get one step closer to the public as well as to open the horizon of what dance is all about. Modafe and SPAF are actually great festivals with programs that are able to satisfy the needs of specialized audiences. However, I myself am not a specialist that started in dance. I became a specialist from the audience seat. I am able to think from that perspective, from the point of view of the audience. That is why when I am selecting works for the program, I am looking at it from the public''s point of view, from the ordinary audience. I maintain a high level of expertise, but at the same time, I choose works that the ordinary audience will also be able to enjoy. I have tried to create programs that will be able to satisfy both the experts as well as the public. I will continue to do so."

As SIDance became more recognized, Director LEE''s workload and responsibilities continued to expand. One of the biggest accomplishments realized by the head of CID-UNESCO is, above all, getting many Korean talents sent overseas. At a time when there was a lack of experts in planning in the field of dance and when the concept of art marketing was new in the dance world, SIDance was able to play that role. Before the festival, dance marketing took place based on personal efforts. In other words, promising dancers were introduced to overseas troupes through personal introductions. This was also limited to traditional dancers. However, SIDance created a setting for dancers and dance troupes to connect and network. And thus, many more promising artists were able to go overseas.

"I still travel often. When I pack my bag, a big portion is still DVDs of promising young Korean artists. When I meet people, I distribute them. I hand out about 100 DVDs, and from them, I would say only a couple will get back to me. And this is only because I have good close relations with them. Even these days, when I go to festivals or competitions overseas, I often find that I am the only Asian that has been invited. I never miss an invitation. That is how I keep my close relationships in the field. Of course, I do not take all the credit. The level of creativity has really been elevated and the government support in promoting dance is also very important."

However, many sacrifices had to be made---mostly financial sacrifices. It is like a swan. Superficially, it appears graceful and sophisticated, planning and organizing cultural and arts festivals. But underneath, the two feet are paddling, moving endlessly in order to secure the funds to make it possible. Money is not the only factor for the success of an excellent festival. However, finances are important in keeping it going. The artistic director knows this and this is his concern.

"In the midst of preparing the festival, I had the chance to meet Mr. Bernard Faivre D''Archier, who was Executive Chairman of the Festival d''Avignon in the summer of 1998. I asked him what three things he thought were the most important factors as someone who has organized and directed a world-famous festival. He said to me, first is money; next is argent, which in French is money; and third, he said, was Don, which in Korean is money. I''ve remembered this time and again."

At the beginning of this interview, Director LEE began by saying, "SIDance is at the brink of closing. It is all because of money." In order to salvage the festival, he, as head of the CID-UNESCO, has taken part in various events sponsored by the government. But these projects are barely enough to cover the minimum costs. That is why Director LEE had resorted to writing that letter that he sent out with "much hesitation" to his friends and associates. Thanks to them, he has been able to raise enough funds to keep the festival going. However, the festival must continue to survive and much rests on his shoulders. It is time to reply to the letter that I received last summer. It is rather belated. Anyone can be in that sender''s position. We all know what the reply should be. It is time for all of us to send our replies.