Mina Cho is a multifaceted scholar, jazz pianist, and composer with a specialization in Korean music and history. Originally from Seoul, she holds a faculty position at Emerson College’s Performing Arts Department, where she imparts knowledge in global music courses, encompassing both traditional and contemporary Korean music. Mina earned her initial doctoral degree in jazz composition and a minor in musicology from the New England Conservatory. Presently, she is in the final stages of completing her PhD in musicology dissertation, which focuses on the work of master Pansori singer Dongjin Park at Brandeis University. She has become deeply involved as an arts and culture liaison between the USA and Korea, founding the International Gugak Jazz Institute while also heading the Gugak Jazz Society and the Boston Academy of Korean Traditional Arts (BAKTA). Mina lives in Boston with her five-year old daughter, Grace.
UKJazz News: What is the best advice you received about balancing/juggling motherhood and career?
Mina Cho: One of the most impactful pieces of advice I’ve embraced is ‘Carpe diem’ – seize the moment. This mantra guides me as I cherish the fleeting moments when my child looks at me with love and trust, reaches out to touch my fingers, or snuggles perfectly in my embrace. These precious times will naturally evolve as my child grows and gains independence. Moreover, maintaining open communication with my spouse about mutual support in childcare, making the most of our shared time, and managing it effectively, has also been crucial. The essence lies in making intentional choices, accepting the responsibilities that come with them, and fully immersing oneself in the present with joy.
UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?
MC: I grew up in a culture that emphasized a hierarchical parent-child dynamic, with parents often being overprotective. I’ve been careful about letting my child handle delicate items or participate in household chores like cooking, dishwashing, and cleaning. However, an eye-opening experience occurred when we were invited to dinner by our neighbors. My daughter, just old enough to walk and talk with adults, was encouraged to help with the meal preparation. They provided a step stool for her to reach the kitchen counter. This experience made me realize the importance of recognizing my child as an independent person rather than a dependent infant, a lesson I wish I had embraced sooner.
LJN: Your top tip(s) for other mothers in jazz:
MC: Maximizing technology has been essential for managing musical projects and conducting lessons amidst the pandemic. For instance, using Zoom has been a game-changer, serving as a multifunctional platform for various meetings.
Discovering when I’m most productive has also been key. I’ve found that early mornings, before my family stirs, are when I’m most alert and can work most efficiently. Night routines and childcare often drain my energy, but the tranquility of dawn recharges me.
Streamlining tasks and setting clear priorities have been vital in juggling the demands of motherhood and a jazz career.
As for crafting my narratives, much like improvising in jazz, I navigate the complex interplay of being a mother, wife, and musician. I assess my reality and weave stories on the fly, reminiscent of the improvisational piece “Prints of Imperfection” from the Beat Mirage album. This interweaving of music and life not only fuels my creativity but also carves a unique path forward.
UKJN: Baby/child gear tips for travel/touring/gigging:
MC: When we’re on the road or off to a gig, my child’s old quilted blanket is essential. It’s been a source of comfort for her since birth. I also pack a soft pillow and a variety of engaging toys and crafts to keep her happy and busy. To make her feel included in different environments, I bring along duplicates of items she can use, like a mini teapot set at a restaurant. With this, she can play at creating her own menu using cups, papers, and crayons.
UKJN: Best general travel/gigging/tour-with-child advice:
MC: Bringing my child into musical settings, sharing tunes during drives to introduce her to a range of genres, and opting to have her attend my concerts with my spouse instead of using a babysitter or leaving her at home, has beautifully integrated our family life with my musical journey. Teaching her how to be part of an audience and cultivating her love for a variety of musical styles, especially the blend of Gugak with Jazz – a style her mother is passionate about – has been incredibly rewarding.
UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?
MC: Before embarking on parenthood, I was apprehensive about the potential sacrifices regarding opportunities, time, and energy. Indeed, these challenges manifested, yet they led to an extraordinary transformation in my worldview. Now, the sight of any child brings a flood of memories from the miraculous birth of my own, stirring within me the unconditional love every child deserves. Motherhood has enriched my capacity for empathy, sharpened my insight into life’s subtleties, and filled me with warmth and completeness. This newfound emotional depth resonates through my music, serving as a source of profound inspiration.
UKJN: What boundaries have you set for yourself as a mother in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?
MC: Setting clear priorities has been crucial, allowing me to focus on the musical pursuits that offer the most satisfaction, like composing and deep collaboration with my bandmates. I recognize the comprehensive preparation some projects require, such as thorough research and practice on traditional Korean instruments. This understanding has led me to the necessary but challenging decision to forgo certain opportunities in performance and music creation, ensuring I commit to what truly resonates with my artistic vision.
Mothers in Jazz was started by vocalist Nicky Schrire. The initiative aims to create an online resource for working jazz musicians with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Mothers In Jazz” shines a light on the very specific role of being both a mother and a performing jazz musician.
Mina’s forthcoming album “Beat Mirage,” by her Grace Beat quartet (named for her daughter Grace), is a quartet date featuring bassist Max Ridley, drummer Yeongjin Kim, and Insoo Kim on Korean traditional percussion (janggu, kkwaenggwari, jing, sori-buk). It is out on 9 February 2024.
Upcoming performances:
15 February 2024 Lunar New Year Celebration Concert, Museum of Fine Arts, Boston;
24 February 2024, Community Gospel Choir Concert, Somerville MA.
