Home > Entertainment > Music & Performance

Oscars performance blended tradition, interpretation and heritage to create 'Golden' moment

Published: 27 Mar. 2026, 16:15

Performers dance during the performance of ″Golden″ (2025) from ″KPop Demon Hunters″ (2025) during the 98th annual Academy Awards ceremony at the Dolby Theatre in Los Angeles, California, on March 15. [EPA/YONHAP]

Under the bright lights of Hollywood’s Dolby Theatre, the rhythm of Korean drums and the flow of traditional dance unfolded before a global audience — a brief but striking moment that brought the beauty of Korean heritage to the 98th Academy Awards on March 15.

The 3-minute, 22-second performance of “Golden” (2025) from the award-winning animation film “KPop Demon Hunters” (2025) was directed by U.S. choreographer Mandy Moore. Working alongside her was Korean-born, Los Angeles-based choreographer Jung Da-eun, an assistant professor of dance at the University of California, Riverside. Jung advised on key elements of the performance — including costumes, makeup, music and vocals — and also appeared onstage as one of three “ancient hunters.”

Korean-born, Los Angeles-based choreographer Jung Da-eun, an assistant professor of dance at the University of California, Riverside [JUNG DA-EUN]

Jung was introduced to the project by Oolim, a Los Angeles-based samulnori (traditional percussion music) group that also performed onstage. Moore and the Academy team were reportedly delighted to find what they described as “the perfect fit” after reviewing Jung’s background. Trained in both Korea and the United States, Jung has extensive experience in Korean dance education and performance, while also working in contemporary dance.

“I felt that all my training, performances, teaching and research in Korea and the United States had been preparing me for this stage,” Jung said.

Jung graduated from the National Gugak Middle and High School in Korea, earned a bachelor’s degree in dance from Ewha Womans University and completed a master’s degree in dance at the University of California, Los Angeles.

Her works — such as “Byoul,” inspired by the structure of the Korean alphabet, and “Norri,” a group piece based on the principles and styles of Korean folk dance — reflect her efforts to bridge past and present, as well as Eastern and Western movement traditions.

Rei Ami, EJAE and Audrey Nuna, in white from left, perform "Golden" (2025) from ″KPop Demon Hunters″ (2025) during the 98th annual Academy Awards ceremony at the Dolby Theatre in Los Angeles, California, on March 15. [EPA/YONHAP]

After beginning her career in the United States, Jung said she often found her work categorized not as that of an individual artist but as representing a minority culture simply because it drew on Korean dance. This experience led her to position herself not as a “traditional Korean dancer,” but as a contemporary choreographer.

She emphasized that actively interpreting tradition is key to avoiding cultural appropriation.

“I believe the difference lies in whether the reinterpretation is grounded in a deep understanding of cultural roots, or merely borrows surface elements,” she said. “That determines whether it becomes an evolving tradition or cultural appropriation.”

Members of the Academy performance team pose after the stage for ″Golden″ (2025) at the 98th Academy Awards in Los Angeles on March 15. They said the experience was unprecedented for the Korean and Asian community. [JUNG DA-EUN]

From K-dance, K-pop and K-food, the “K-” prefix has become widely recognized overseas, reflecting Korea’s growing presence in global culture. Jung noted that contemporary Korean culture, as portrayed in the performance, is no longer unfamiliar in Los Angeles.

“Even people without a direct connection to Korean identity are now reinterpreting Korean traditions,” she said.

Jung continues to explore Korean movement in her work. Following its Los Angeles premiere in 2023, her piece “Norri” has toured across the United States. She is also preparing for the Los Angeles premiere of a new work, “Jakdu,” which draws on embodied memories — from the gestures of gisaeng (female dancers of the Joseon Dynasty) depicted in late Joseon-era (1392-1910) genre paintings to K-pop dance from the 1980s and 1990s — expressed through improvisation.

The following interview has been edited for length and clarity.

A scene from “Norri,” a work by choreographer Jung Da-eun, blending movements from traditional Korean dance with pansori (traditional Korean lyrical storytelling) vocals and electronic sound. The piece is described as “the rhythmic encounters of past and present, formality and spontaneity and uniformity and singularity.” [JUNG DA-EUN]

Q. How did it feel to take part in the Academy Awards stage?

A. I wasn’t just performing or assisting with choreography — I also served as a “Korean cultural consulting choreographer,” advising Moore and the Academy team. I felt both the weight of the responsibility and a strong sense of mission. Since the broadcast, I’ve been receiving enthusiastic responses from family, friends, people in Korea and Korean communities abroad.

There seemed to be many Asian dancers on stage — is that right?

Most of the dancers were second- or third-generation Koreans or Asians who are more comfortable speaking English. Considering the realities faced by minority communities in the United States, I found both the achievement of this performance and the composition of the stage to be very encouraging.

A scene from the production process of “Jakdu,” the latest work by choreographer Jung Da-eun. [JUNG DA-EUN]

What Korean elements were incorporated into the performance?

We wanted to show both familiar aspects of traditional Korean culture and how those traditions have evolved and been reinterpreted in a contemporary performance context. The drummers wore samulnori costumes, and the pansori (traditional Korean lyrical storytelling) singer wore hanbok (traditional Korean dress) to present recognizable traditional imagery. Meanwhile, the dancers — who deliver the mission to girl group HUNTR/X — wore reinterpreted hanbok-style costumes designed for the stage.

Could you explain the dance performed before “Golden”?

The three “ancient hunters” perform a ritual dance meant to drive away evil spirits and unite the community. Their long dopo (robe) and layered kwaeja (garments worn in shamanistic rituals) highlight their role as spiritual figures. They also use salpuri scarves, which refer to long white cloths symbolizing the act of dispelling misfortune, to represent driving away the Saja Boys.

What stands out to you most from the preparation process?

I felt that the production team — including those in charge of direction, costumes and makeup — approached the work with great care and respect to avoid cultural appropriation. They frequently asked what constitutes “authentic tradition.” Each time, I told them that there is no single, perfect definition of tradition.

This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaking editor. All AI-assisted translations are reviewed and refined by our newsroom.
BY CHOI HYE-RI [[email protected]]