Heo Nanseolheon (1563–1589), whose real name was Heo Cho-hui, is a beloved figure in Korean poetry.

She left behind more than 200 timeless poems. Her works, however, emerged from the harsh realities of a tragic life lived in an era when women’s talents were often overlooked. She lived a life marked by neglect from her husband, the fall from grace of her family and the sorrow of losing two children in infancy.

A recent artistic adaptation of Heo’s legacy is the Korean National Ballet's contemporary piece "Heo Nan Seol Heon: Su Wol Kyung Hwa," choreographed by its soloist Kang Hyo-hyung.

The performance will be staged at the Gangneung Arts Center in Gangwon Province, Heo’s hometown, from Friday to Sunday this week.

The ballet brings two of Heo’s most treasured poems, "Gamu" and "Mongyu-Gwangsangsan." Exploring themes of nature, loss and beauty, the choreography transforms Heo's lyrical works into a poignant aesthetic performance that highlights the profound emotional landscapes of her poetry.

Ballet with Korean aesthetics

Bringing literature to the stage with a unique blend of ballet and Korean elements, Kang, who choreographed this piece in 2017, described it as a work that fuses abstract imagery with the powerful emotions embedded in Heo’s verses.

Heo's poetry is rich in imagery -- nature, birds, lotus flowers, orchids and the ocean, all of which were Heo’s favorite subjects.

"For example, in the case of orchids, there are movements that express scenes reminiscent of an ink painting of orchids on a folding screen. There are also movements that evoke the image of a bird in flight," said Kang in an interview with The Korea Herald on Monday.

Typically, classical ballet emphasizes an upright upper body and a seemingly breathless posture. But to evoke Korean aesthetics and nature, Kang incorporated the curves of the arms and back in flowing movements reminiscent of autumn leaves and ocean waves.

"Each scene has movements designed to express the imagery of nature, especially through upper body movements. I’ve focused on accentuating these details with body contractions, adding breath to create fluid, free-flowing arm and back movements."

While the piece is a contemporary formulation of abstract imagery, it follows an arc that reflects the different stages of Heo’s life -- her “fragrant” early years, “withered” middle and later years, where “the flower falls.”

The verse “Twenty-seven red confederate rose petals fall” in "Mongyu-Gwangsangsan," or "Roaming Around Gwangsangsan in a Dream," from 1585, is believed to be a work foreseeing her death. She died in 1589 at the age of 27.

"In her poetry, Heo often drew from her own life experiences. So her works reflect the emotions and events of her life," said Kang.

"When you read the poems through the lens of Heo’s life, you can still feel the story embedded within them. So I usually tell dancers to focus on the overarching emotional arcs within the poem -- such as the feelings of a blooming flower or the fleeting emotion as it withers."

Growing as choreographer

Kang’s trajectory as a choreographer has been steady; she participated four times out of nine installments of the KNB Movement series, an initiative designed to nurture new choreographic talent within the company.

Since debuting as a choreographer in 2015, Kang has made remarkable strides, carving a path she had long envisioned. Her debut work "Into the Pulse" received praise in Korea and abroad, earning her a nomination at the prestigious Benois de la Danse in 2017. She also created the full-length piece "Hoi Rang" in 2019.

“It’s been almost 10 years since I began choreographing,” Kang said. “At first, I created without hesitation or fear. Now, I focus on ensuring that the message I want to convey is clear. I would like my work to linger on, not to be forgotten the moment the curtain closes."