TONGYEONG, South Gyeongsang Province -- When the Tongyeong International Music Festival (TIMF) was first imagined, it was little more than a hopeful vision on the southern coast of Korea -- a dream of celebrating contemporary music in a city once home to late composer Isang Yun.

Now, over two decades later, the festival has become a cultural landmark. This year’s edition, held under the theme “Journey Inwards,” wrapped up its 10-day run on Sunday, led by its artistic director, Chin Unsuk, and pianist Lim Yunchan and Spanish cellist Pablo Ferrandez, serving as artists-in-residence.

According to the foundation that runs the festival and the Isangyun Compeition, the 2025 festival recorded an average seat occupancy rate of nearly 82 percent, with six out of 29 performances sold out.

But the path hasn't always been smooth.

“In the beginning, there was nothing,” said Kim Il-tae, CEO of the Tongyeong International Music Foundation, in a recent interview with The Korea Herald. “No infrastructure, no audience, no real budget — but we had a vision.”

Kim was among the original members who helped launch the festival in 2002.

At the core lies the legacy of composer Isang Yun -- a legacy that remains central, though not without controversy. His works continue to anchor the programming, albeit with careful balance. “We’re not trying to overwhelm the lineup—but we can’t neglect him either,” Kim said.

The early years of TIMF were marked by trial and error -- driven by ambition but limited by scarce resources.

One of TIMF’s most unique assets is Golden Wave, a civic support group made up of Tongyeong residents who contribute financially and help promote the festival through grassroots campaigns. “They’ve been incredibly important. In the beginning, we needed to create a culture of civic support. People would approach us and say, ‘We want to help. What can we do?’ That became a movement,” he said.

Over time, the festival has realized long-standing goals: the opening of the Isang Yun Memorial Hall, the construction of a dedicated concert hall and the launch of an international competition.

He also acknowledged the role of composer Chin Unsuk, who has led the festival as artistic director since 2022. “With the artistic director already doing such an outstanding job musically, I see it as my responsibility, as CEO, to fully support her behind the scenes.”

“Now we have the ideal infrastructure and we’re finally doing what we dreamed of,” Kim said.

Reflecting on the journey, Kim noted that early hardships put today’s challenges into perspective.

“Now we have systems in place and experience on our side, we can finally begin playing the role that matches our international reputation,” Kim said, adding that international ambitions were secondary to simply sustaining the core festival.

With new cultural city funding and the recent success of several grant proposals, the foundation foresees greater freedom to expand globally, Kim said. In addition, private sponsorship and a more sustainable partnership model have also seen encouraging growth, he said.

The foundation established a partnership with Apple Music Classical last year and recently signed a three-year agreement with Shinsegae Co. to develop premium local content.

Kim admitted that Tongyeong’s geographical limitations are difficult to overcome.

“Tongyeong is geographically isolated. There’s no KTX, so travel can be difficult,” he said, referring to the lack of high-speed train service.

Still, with two decades of experience behind them -- and the confidence that comes with it -- Kim believes the city’s remoteness can serve as a setting for deeper engagement.

"That also makes it a city where people stay longer," he said. “We’re finally ready to take the next step."