David Warburton
David Warburton: Creating SANGJA; A Korean Adoption Play
Creating SANGJA; A Korean Adoption Play
Since the end of the Korean War in 1953, some 2,500 Korean children have arrived in Canada. A relatively isolated group in contrast to the approximately 150,000 sent to the United States, and the 200,000 worldwide estimate.
In 2013, I was approached by my sister, the Artistic Director of Pangaea Arts, a multicultural theatre company based in Vancouver, about creating a play about Korean adoption. I accepted the project in the midst of moving to the Prairies and embarked on an incredible journey spanning three years, multiple international workshops, my first trip back to Korea, the search for my birth family, and the introduction to dozens of Korean adoptees from all over the world and the amazing stories they had to share.
For the KCS150 project, three short contributions: my program notes from SANGJA, a letter to my birth mother, and a small collection of personal photos.
SANGJA: Notes from the Writer
The story of Korean adoption is one of loss, survival, and regrowth.
Beyond that there is as much variety among adoptees as there are between any two people. Korean adoptees are in many ways ordinary people who have lived extraordinary lives. It became clear early on in the development of this play and project, the importance of telling an adoption story rather than an all-encapsulating story about adoption. Without the passionate and deeply personal stories that were shared with us by Korean adoptees, spread out all around the world, this project would certainly not exist.
SANGJA takes us through some of these stories as a Korean adoptee who struggles to find their identity and place in the world. As with many other adoptees, I lost my family, my language, my culture, and my country. I came to Canada and was embraced by a loving family; I learned a new language; jumped into a diverse melting pot culture; and became a Canadian citizen — but these have never been replacements. It has added a plurality and a divide to my life.
I struggled with many, particularly emotional, aspects of my life. I spent a time coming to terms with my deep rooted feelings. Attempted to confront my real and irrational fears. Sought answers to unknown like the missing pieces of a puzzle. Lived underneath my childhood uncertainty about whether I had a place in my family’s home and in their hearts.
Being adopted is something I continue to confront and embrace. I will always be an adoptee and it will always “be there”. I am reminded of my internal conflict between my cultural upbringing and my reflection in the mirror. By the looks from others when I’m out with my parents. Or simply by the inquisitive expressions on people’s faces when I introduce myself with my British last name. Even from this unique frame of reference, SANGJA hopefully provides a relatable story for everyone on their search to find their own identity and the meaning of family.
Working on this project as forced me to fiercely examine many of my unanswered questions. It initiated my personal reconciliation, my birth family search, and moved Korea back into a warm place in my heart.
Additional Notes
SANGJA was co-produced with ArtStageSAN, a Korean professional threatre company based in Seoul, and the show premiered in Seoul in November 2015. It has completed two Canadian tours to cities such as Vancouver, Burnaby, Surrey, Edmonton, Calgary, and Saskatoon. In 2016, it received the award for Best Theatre from the National Theater Association of Korea.
During the project, I wrote a letter to my birth mother. The search for my birth family continues on, kept alive by hope and longing. The letter is narrated appears in the final scene of SANGJA.
Dear Mother,
I have loved you my whole life without knowing you — as I hope you have loved me. I know not why you gave me up. What act of desperation or circumstance that led us here. Were you able to lead a good life? Will I have the strength to forgive you? I have so many unanswered questions. I have lived a good life, a loved life, but a life without you.
I have been searching for you, not knowing if I will ever find you. Uncertain if I am on a fruitless path. No matter how strong my desire, or how broken-hearted I am, I still hold onto hope that we will find each other again.
I return to place we were separated; I stand on the same patch of earth you once stood as you weighed both of our futures; feel the same gentle wind on my back and take shelter perhaps under the same tree you once held me. If we cannot meet again, I feel that you are with me here. In this place, I can talk to you and no matter where you are, you will hear my words and feel my love.
You will always have a place in my heart.
Biography
David Warburton (Moses Kim; 김모세) was born in South Korea and like many children there spent the first years of his life in an orphanage. At 2 ½ years old (an estimated age), he was sent overseas and adopted by a Canadian family. He was among the last wave of mass overseas adoptions that ended shortly following the 1988 Summer Olympics in Seoul.
David is the Director of Touring and Business Development at the Royal Winnipeg Ballet. He is responsible for the long-term tour planning and business development for the professional dance company. The RWB is one of the oldest ballet companies in North America and performs across Canada, the United States, and internationally, with tours recently to China, The Netherlands, Germany, and Italy. Prior, he served as Company Manager, responsible for managing the day-to-day operational affairs of the company.
Previously, as a Stage Manager and Production Manager, he has worked with some of Canada’s foremost independent companies such as Boca Del Lupo (Vancouver), Electric Company Theatre (Vancouver), The Virtual Stage (Vancouver), Theatre Under The Stars (Vancouver), The Harbourfront Centre (Toronto), Persephone Theatre (Saskatoon), and abroad with The American Conservatory Theatre (San Francisco).
David is an organizing member of the Korean Society of Manitoba.