Voyage Within

Hee Yun Kim composer

Release Date: December 1, 2023
Catalog #: RR8098
Format: Digital
21st Century

Korean-born Hee Yun Kim returns with a compelling selection of works that reflect her unwavering curiosity about social justice, Eastern philosophy, and transformative change at large on VOYAGE WITHIN. This Ravello Records release is first and foremost a journey into the self, and only second a musical exploration. Kim adeptly weaves her insights into profound and harmonious compositions, capturing the essence of her experiences and contemplations. The resulting music is both introspective and reflective, with a foresight and precision that’s almost scientific in nature.


Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 R.I.P. 2020 Hee Yun Kim Stephanie Key, clarinet; Bronwyn White, soprano 11:31
02 White Rock Lake Hee Yun Kim Garrison Gerard, conductor; Elizabeth McNutt, flute; Jung Choi, oboe; Mia Detwiler, violin; Horacio Contreras, cello 9:48
03 Bit Hee Yun Kim Mehrdad Gholami, alto flute 9:28
04 Reversion is the Movement of Tao Hee Yun Kim ALEA III | Theodore Antoniou, conductor; Dianne Heffner, clarinet; Janet Underhill, bassoon; Seth Budahl, trombone; Craig McNutt, percussion; Krista Buckland Reisner, violin; Mark Berger, viola; Mark Simcox, cello; Yukiko Shimazaki, piano 11:14
05 Aftertone Hee Yun Kim Linda Antas, flute; Asli Gültekin Özek, viola; Colleen Potter Thorburn, harp 6:33
06 Lethe – the River of Forgetfulness Hee Yun Kim Orchestre de la Francophonie | Jean-Philippe Tremblay, conductor 9:29
07 Folksong I – Kunbam Taryeong Hee Yun Kim Darryl Friesen, piano 5:29

R.I.P. 2020
Recorded June 11, 2023 at Salmon Peak Studios in San Antonio TX
Recording Session Engineer Damian Rodriguez

White Rock Lake
Recorded April 23, 2023 at Merrill Ellis Intermedia Theater, University of North Texas in Denton TX
Recording Session Engineer Austin Martinez

Recorded June 2, 2023 at Recital Hall, Texas A&M University in Commerce TX
Recording Session Engineer Mehrdad Gholami

Reversion is the Movement of Tao
Recorded September 25, 2004 at Tsai Performance Center, Boston University in Boston MA
Live Performance Recording from the premiere during the final round of the 22nd ALEA III International Composition Competition

Recorded February 25, 2006 at Smith Recital Hall, University of Illinois in Champaign IL
Live Performance Recording from the Midwest Composers Symposium

Lethe – the River of Forgetfulness
Recorded June 27, 2007 at National Arts Centre in Ottawa, Canada
Live Performance Recording from the National Arts Centre Young Composers Programme

Folksong I – Kunbam Taryeong
Recorded February 17, 2007 at Auer Hall, Indiana University in Bloomington IN
Live Performance Recording from the Midwest Composers Symposium

Mastering Melanie Montgomery

Executive Producer Bob Lord

A&R Director Brandon MacNeil
A&R Danielle Sullivan

VP of Production Jan Košulič
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming, Morgan Hauber
Publicity Kacie Brown

Artist Information

Hee Yun Kim

Hee Yun Kim


Hee Yun Kim (b. 1971) is a composer of a wide variety of music including orchestra, chamber ensemble, chorus, and solo instruments. Her compositions have been performed by diverse ensembles across the globe, including Ensemble Calliopée, L’Orchestre de la Francophonie, University of Illinois Symphony Orchestra, Seoul Metropolitan Chorus, Dallas Asian Winds, New York New Music Ensemble, Alea III, Composers’ Ensemble of Northern New York, Juventas Ensemble, Loop 38, Euterpe Quintet, and HET trio. Her music has been reviewed as being “fully convincing” and “masterfully orchestrated” (Paris: La Lettre du Musicien).

Darryl Friesen

Darryl Friesen


Darryl Friesen has given acclaimed performances as a soloist and collaborative artist across Canada, the United States, Europe, China, and Brazil. He has performed as soloist with the Winnipeg Symphony Orchestra, and as a collaborator and recitalist with many distinguished artists, including Elliot Madore, Andrew Wan, Allen Harrington, Catherine Daniel, Millicent Scarlett, Valdine Anderson, the Adaskin String Trio, and the Martha Graham Dance Company. Friesen’s debut album, CURLICUE: The Solo Piano Works of Karen Sunabacka, was released by Ravello Records in September 2022.

Stephanie Key


Clarinetist Stephanie Key is co-founder and Artistic Director of SOLI Chamber Ensemble, which focuses on performing the works of living composers and has commissioned or premiered over 100 new chamber works. Key recorded John Cage’s Sonata for Clarinet under the composer’s supervision and performed Steve Reich’s New York Counterpoint with the composer at the controls at the South By Southwest™️ Conference.

Currently Interim Second Clarinetist with the Dallas Symphony Orchestra, Key was previously Associate Principal, E-flat, and Second Clarinetist with the San Antonio Symphony. She has performed as Guest Principal Clarinetist with the Minnesota Orchestra and the Fort Worth Symphony and has performed with several other symphonies across the United States and Mexico.

Key performs regularly at the Grand Teton Music Festival and is a Performing Artist/Clinician for Buffet Crampon Music Group. She is on faculty and serves with SOLI as Ensemble-In-Residence at Trinity University in San Antonio TX and at the Alba Music Festival in Italy. Key earned a Bachelor of Music with Distinction in Performance from New England Conservatory of Music and did graduate work at California Institute for the Arts.

Bronwyn White


Bronwyn White, soprano, is a graduate of Young Artist programs at Fort Worth Opera, Utah Festival Opera, Natchez Festival of Music, Opera San Antonio, and the iSing! International Festival in China. She has recently appeared as a soloist in concert with SOLI Chamber Ensemble, EnsembleNewSRQ, Fort Worth Symphony, Suzhou Symphony, Fort Worth Opera Frontiers, Utah Festival Opera Orchestra, Verdigris Ensemble, Purchase Symphony, and the Atlantic Music Festival Orchestra.

COVID-19 cancellations include performances with the Dallas Symphony/SOLUNA Festival, St. Petersburg Opera, and Amarillo Opera. Bronwyn has won prizes at Young Texas Artists Music Competition, Wednesday Morning Music Club Competition, Lois Alba Aria Competition, Metropolitan International Music Festival Competition, Friday-Woodmere Music Club Competition, New Jersey State Opera Competition, and the Concorso Lirico International Competition. She holds a Bachelor of Music from the University of Texas at San Antonio, Master of Music from State University of New York – Purchase, and an Artist Diploma from Texas Christian University.

Garrison Gerard


Garrison Gerard is a conductor with a particular focus on advocating for and performing contemporary music. He served as the conductor for the NOVA New Music Ensemble, the Nu Atmospheres Ensemble, and guest director of the University of North Texas Percussion Ensemble. Gerard has worked with many composers to premiere and perform their work including Jason Eckardt, Kirsten Soriano Broberg, Gerhard Stäbler, Joseph Klein, and others. He has also served as an orchestral and wind band conductor, leading multiple groups including the Harding University Wind Symphony and UNT Symphony Orchestra in performances and readings. Gerard earned his Ph.D. and Master’s of Arts in composition from the University of North Texas, and his Bachelor’s in Music from Harding University.

Elizabeth McNutt


Flutist Elizabeth McNutt is internationally recognized for her performances of innovative contemporary and electroacoustic music. She has premiered countless works and performed in Europe, Asia, and throughout the United States. Her playing has been described as “commanding” (LA Times), “fearless and astounding” (Flute Talk), “high-octane” (Musicworks), and “spell-binding” (Computer Music Journal).

In addition to her solo CD pipe wrench, her recordings are released on the CRI, Centaur, SEAMUS, and PARMA Recordings labels. She founded and directs the Sounds Modern series in Fort Worth, and frequently plays chamber music in the Calliope Duo, and with various improvisers in North Texas. McNutt is committed to scholarly research, with articles published in Organised Sound, Flutist Quarterly, Music Theory Online, and Oxford University Press. She is on the faculty of the University of North Texas, where she teaches flute and directs the new music ensemble Nova. Learn more by visiting

Jung Choi


Oboist Jung Choi is an active recitalist, educator, lecturer, adjudicator, solo, chamber, and orchestral musician. She was the associate principal oboist for the Korean National Symphony Orchestra for eight seasons and the principal oboist for the Springfield Symphony Orchestra in Springfield, MO for two seasons. She taught oboe at Nazareth College, Seoul National University, and Missouri State University.

As an avid chamber musician, she performs actively as a member of ensemble Sunyul based in Seoul, Korea and founded a double reed ensemble Duel Duo in order to promote music by composers of underrepresented groups. Her passion also lies in commissioning works to composers from the marginalized groups in order to diversify and expand oboe repertoire. She actively gives masterclasses nationally and internationally. She has given classes in schools such as University of Southern California, Mahidol University, Louisiana State University, University of Minnesota, and University of Illinois Urbana-Champaign to name a few.

She is regularly invited to national and international conferences as a recitalist, competition judge, and a lecturer. She presented in conferences such as the International Double Reed Conference, the College Music Society, and the Music Teachers National Association. Her oboe playing was heard internationally in places including Seoul, Thailand, Singapore, Japan, France, Czech Republic, Germany, and the United States. She is currently serving as the Assistant Professor of Oboe at the University of North Texas and is the newly appointed principal oboist for the Richardson Symphony in Richardson TX.

Mia Detwiler


Mia Detwiler is a versatile and dynamic violinist who has established herself as an accomplished performer of both traditional and contemporary repertoire. As an enthusiastic advocate of new music, she has premiered more than 80 works. She has performed at numerous international festivals including the Foro Internacional de Música Nueva Manuel Enríquez, New Music Gathering, Mise-en Music Festival, the International Computer Music Conference, the University of Louisville New Music Festival, Days of New Music Tirana, June in Buffalo, New Music on the Bayou, and the Kaleidoscope MusArt Series, among others.

A founding member of the Amorsima Trio, Detwiler collaborates with living composers from around the world. Notably, the trio commissioned and premiered 21 miniatures in celebration of Beethoven’s 250th anniversary in 2021 and received a Classical Commissioning Grant from Chamber Music America in 2022. As an avid chamber musician, she has also performed with various other ensembles including Duo Chromatica, Ensemble Mise-en, ensemble75, Sounds Modern, and NOVA Ensemble.

Detwiler holds a Doctor of Musical Arts in violin performance with a related field in contemporary music from the University of North Texas, where she studied with Felix Olschofka. She is currently Instructor of Violin at Texas Woman’s University.

Horacio Contreras


Venezuelan cellist Horacio Contreras has gained esteem through a multifaceted career as a performer, pedagogue, and researcher. He has collaborated with prestigious institutions across the Americas and Europe as a concerto soloist, a recitalist, a chamber musician, and a masterclass clinician. His pedagogic book Exercises for the Cello in Various Combinations of Double-Stops has received recognition as a significant contribution to the instrument’s literature. He is the coauthor of The Sphinx Catalog of Latin American Cello Works, a comprehensive database with information about works written by Latin American composers. He serves on the faculty of the University of North Texas and the Music Institute of Chicago, and is a member of Four Corners Ensemble and the Reverón Piano Trio. Learn more by visiting

Mehrdad Gholami

alto flute

Mehrdad Gholami is the assistant professor of flute at Western Washington university. A graduate of University of Tehran and TCU, Gholami has received fellowships from Atlantic Festival (2021) and Aspen Music Festival (2017-2019). He has premiered hundreds of pieces for flute both in Iran and America. His recent solo recording won Iran’s title of best contemporary classical performance. A sought-after pedagogue, Gholami has served as an adjudicator on panels for the National Flute Association, Texas Flute Society, and Texas Music Educators Associations. He has offered masterclasses and workshops on various topics from beginner pedagogy to contemporary techniques across the United States. Learn more by visiting

Aslı Gültekin Özek


Dr. Aslı Gültekin Özek was born in Ankara, Turkey. She received her Bachelor of Music degree from Bilkent University and her Master of Music and Doctor of Musical Arts degrees in viola performance from the University of Illinois at Urbana-Champaign (UIUC). At UIUC, she studied with Rudolf Haken and Masumi Per Rostad, the violist of the Grammy-winning Pacifica Quartet. She has been an active participant in masterclasses and music and orchestra festivals in Poland, Austria, Switzerland, Spain, and China. She performed in masterclasses of the Kronos Quartet, the Avalon Quartet, Jerzy Kosmala in Poland, and Csaba Erdelyi and Ivo-Jan van def Werff at UIUC.

She has given solo recitals and chamber concerts in Turkey and the United States. She is the recipient of the Chip Davis Mannheim Steamroller Orchestra Award in 2007 and was the finalist of the Coeur D’Alene Young Artist Concert Competition in 2008. She moved to Northern Virginia in 2010 and since then she has been teaching violin/viola in her private studio and performing frequently in the VA-MD DC area from musicals to chamber music. She has been playing in the Apollo Orchestra, has been a substitute violist in Fairfax Symphony Orchestra, and served as the principal violist of the Manassas Symphony Orchestra.

Colleen Potter Thorburn


Harpist Colleen Potter Thorburn’s playing, acclaimed as “full of spirit and sensitivity,” “engrossing,” and “winning,” has earned her national recognition as a winner of the American Harp Society’s Anne Adams competition. Her playing has been featured on recordings of new chamber music including harp by composers Zack Stanton, Aaron Price, Michael Weinstein-Roman, Naftali Schindler, Russell Nadel, Michael Winter, and others. Together with horn player Emily Boyer as the duo Apple Orange Pair, Thorburn has also premiered over 18 new works for harp and horn. Thorburn has performed as a concerto soloist with the Eastern Connecticut Symphony Orchestra and Symphony Nova, and has taught on the music faculties of Bluefield College, Liberty University, and Virginia Commonwealth University.

Jean-Philippe Tremblay


Jean-Philippe Tremblay is artistic director and principal conductor of the Orchestre de la francophonie, which he co-founded in 2001. Under his leadership, the OF has given more than 350 concerts across Canada, in China, Germany and in the United States. In recent seasons, he has conducted in Europe: l’Orchestre National de France, the Rotterdam Philharmonic, the Wiener Kammer Orchester, the Philharmonia Orchestra and the Orchestre National d’Asturias.

Following his debuts with the Netherlands Radio Philharmonic Orchestra in Utrecht, live on the national radio, critic Renée Reitsma wrote: “Conductor Jean-Philippe Tremblay was a last-minute replacement of Serge Baudo, but he more than held his own. Conducting the orchestra with an energy that reminded me of fellow French-Canadian Yannick Nézet-Séguin, Tremblay had contagious enthusiasm while still being in full control. The orchestra obviously responded well to him.”

In Asia, Tremblay has conducted the Macao Orchestra, the Shanghai Symphony Orchestra and the China Philharmonic Orchestra.

At home, he has been guest conductor with the Montreal, Winnipeg, Edmonton, Halifax, Quebec, Kitchener, and Hamilton orchestras as well as the NAC Orchestra in Ottawa, the Manhattan School of Music Orchestra, and the Philharmonie Orchestra of the Americas and the Simon Bolivar Youth Orchestra.

Tremblay studied viola, composition and conducting at the Conservatoire de Musique du Québec à Chicoutimi, at the Université de Montréal, the Royal Academy of Music in London, the Pierre Monteux School, and at the Tanglewood Music Center. Learn more by visiting

Linda Antas

Linda Antas


Linda Antas is a composer and flutist whose work spans acoustic, electroacoustic, and audiovisual composition and installations. She has appeared on festivals including the International Computer Music Conference (ICMC), the Society for Electroacoustic Music in the United States (SEAMUS), Sonorities, and the Sound and Music Computing Conference. She has been recognized by the Musica Nova International Competition of Electroacoustic Music, the Fulbright Foundation, the MuVi International Visual Music Exhibition, the Bourges Electroacoustic Composition Competition, and the International Computer Music Association.

As a flutist, she has performed a wide variety of works, from traditional orchestral repertoire to solo and chamber works at festivals including the National Flute Association Convention, SEAMUS, the Phonos Foundation’s (Barcelona) Instrumental-Electroacoustica Festival, Electronic Music Midwest, and the Electroacoustic Barn Dance.

Antas is an Associate Professor at Montana State University, where she teaches music technology, interdisciplinary arts courses, and composition. Her current research interests are visual music, physical computing, and sonification. In addition to — and sometimes in combination with — her musical activities, she spends as much time in the wilderness as possible. Her life and music are heavily influenced by Buddhist philosophy and the natural world.

Theodore Antoniou


Theodore Antoniou, one of the most eminent and prolific contemporary artists, leads a distinguished career as composer, conductor, and professor of composition at Boston University. He studied violin, voice, and composition at the National Conservatory in Athens, with further studies in conducting and composition at the Hochschule für Musik in Munich, and the International Music Center in Darmstadt. After holding teaching positions at Stanford University, the University of Utah, and the Philadelphia Musical Academy, he became professor of composition at Boston University in 1978.

As a conductor, Antoniou has been engaged by several major orchestras and ensembles, such as the Boston Symphony Orchestra Chamber Players, the Radio Orchestras of Berlin and Paris, the Bavarian Radio Orchestra, the Tonhalle Orchestra (Zurich), the National Opera of Greece, and the Berkshire Music Center Orchestra. In 1974 he became assistant director of contemporary activities at Tanglewood, a position he held until 1985. An ardent proponent of new music, Professor Antoniou has founded various contemporary music ensembles, including ALEA II at Stanford University; ALEA III, in residence at Boston University; the Philadelphia New Music Group; and the Hellenic Group of Contemporary Music. He is also director of the ALEA III International Composition Competition, and since 1989 the president of the National Greek Composers’ Association.

Many of Antoniou’s compositions were commissioned by major orchestras around the world, and more than 150 of his works have been published by G. Schirmer, Inc. & Associated Music Publishers, Inc. and Bärenreiter Verlag (Germany). He has received many awards and prizes, including the National Endowment for the Arts Fellowship grants and the Richard Strauss Prize, as well as commissions from the Fromm, Guggenheim, and Koussevitzky Foundations, and from the city of Munich for the 1972 Olympic Games. He has been recognized with ASCAP Awards for several years, and in 1991 he was awarded the Metcalf Award for Excellence in Teaching by Boston University. In December 1997 he was presented with the Music Award from the Greek Academy of Arts and Letters, one of the most prestigious awards and the highest academic distinction in music; and in January 2000, the Greek National Radio Broadcast Corporation awarded him the Dimitri Mitropoulos Award for his lifelong contribution to music.

Antoniou’s works are numerous and varied in nature, ranging from operas and choral works to chamber music, from film and theater music to solo instrumental pieces — his scores for theater and film music alone number more than 150 compositions. One of his most successful works, the opera Bacchae, was given its first fully staged production for the Athens Festival in Greece. His newest opera, Oedipus at Colonus, commissioned by the Süd-West Rundfunk, Baden-Baden, in Germany, to be paired in programs with Stravinsky’s Oedipus Rex, was premiered in Athens in May 1998; in August of the same year, the work received the prestigious Music Award presented annually by the Hellenic Union of Music and Theater Critics.

Alea III


Alea III is the contemporary music ensemble in residence at Boston University, a group devoted to promoting, playing, and teaching music of the 20th and 21st centuries. Founded in 1978, Alea III is the third such group organized by Theodore Antoniou. The ensemble is consistent with the music it embraces — flexible in size, open to experiments and to exploration. Over the years, Alea III has offered world-premiere opportunities for dozens of contemporary composers, often under the composer’s direction, and with extended program notes or comments.

The group has performed more than 1,645 works by 906 composers, most of them living. Frequent international touring has enhanced the relationships of American performers with their colleagues and composers from other parts of the world. With its inspiration, several other contemporary groups have been formed, offering growing opportunities to young composers and musicians to play and comprehend contemporary music.

The Greek word “alea,” taken from Homer, means “to wander.” In Latin, it refers to “a die or dice used for playing at games of chance.” The term “aleatoric music” indicates music based upon the principles of indeterminacy as evidenced by certain random and/or statistical procedures of composition. In regard to the ensemble, aleatoric is concerned with the expression of a multiplicity of musical directions, historical styles, and performance practices. Learn more by visiting


VOYAGE WITHIN takes a journey into my inner self. For a long time, I have been exploring to find a way of identifying myself and understanding the world around me. This quest led me into diverse interests in arts, philosophy, psychology, and science. VOYAGE WITHIN portrays a variety of musical expressions and influences within me.

Expressive is my musical personality. I pursue richness in timbre, texture, and other aspects of music. As a globe trotter of curiosity for cultures and arts, my compositions are integrated with extensive musical heritages. I seek music relevant to life and the times, through my act of composing.

In the album, you might notice a gap of composition years between the first half and the second half. During the years of being a stay-at-home mom, I took a long pause for composing. However, music has never stopped growing inside me. This album celebrates my return as a composer, and shares some of my chamber music, now and then.

— Hee Yun Kim

R.I.P. 2020 is reflecting my feelings and thoughts about the year 2020. During this unprecedented year, we experienced so many tragedies including the biggest wildfires in modern history, the COVID-19 pandemic, and the deaths of Breonna Taylor and George Floyd, which led to the Black Lives Matter movement. R.I.P. 2020 narrates these catastrophes and expresses my condolences and longing for a better future. The piece ends with a message of act now.

— Hee Yun Kim

White Rock Lake is depicting a day at White Rock Lake in Dallas TX. The lake has become a part of daily life since my family moved in the neighborhood. Around the lake, we bike together, walk our dog, go to a playground, or have a picnic. On a foggy day, the mystic lake resonates with the sounds of birds and squirrels moving fast between trees and piles of leaves. Yes, squirrels. One day my family found a new-born squirrel the size of a thumb in the gutter of our house in the pouring rain. We made an incubator for him and fed him cat milk. We named him Michael. He survived and went to a wildlife sanctuary near White Rock Lake, where he would be released later. Whenever I go to the lake and find a squirrel gazing at me, I wonder, “Are you Michael?”

— Hee Yun Kim

Bit is unfolding an idea of morphing. The piece begins with a bit of consecutive four notes. This initial material does not disappear and remains intact throughout the piece, which is deviating from the conventional concept of development in music. Instead, these short fragments continue to transform a bit at a time by slight changes of timbres, intonations, and nuances, as in the endless process of water cycle by evaporation, condensation, and precipitation.

— Hee Yun Kim

Reversion is the Movement of Tao is inspired by the sayings of Laozi, traditionally regarded as the founder of Taoism in ancient China and credited to have written the main book Tao Te Ching. The piece consists of eight sections, subtitled by Laozi’s quotes, and each section is built based on the concept of the quote: Nothing is static; Change itself is intelligibly systematized; Yin and Yang, this is Tao; 64 hexagrams; All Beings are one; Civilization is a degradation of the natural order; Not-Being is superior to Being; Return to Tao. Taoism emphasizes a natural way of life. In Taoist legends the Eight Immortals are believed to know the secrets of nature, thereby, the number eight plays key roles in the structure of the piece. Written for eight instruments with eight sections, each instrument has eight motifs, making 64 hexagrams (I Ching) altogether.

— Hee Yun Kim

Aftertone is representing a concept of Yeo-Eum, which indicates resonating sound after a musical tone is generated and often referred to music of Gayageum, a plucked zither of 12 strings. The delicate sounds of after-tone have been aesthetically appreciated in Korean traditional music, and Gayageum musicians developed many different types of after-tones by vibrating a plucked string in various ways. I love these beautiful subtle timbres of after-tones. It reminds me of gentle waves rippling outward in a pond when a small rock is thrown in. Aftertone creates various Yeo-Eum-like sounds, and embellishes, exaggerates, and amplifies them.

— Hee Yun Kim

Lethe – the River of Forgetfulness is imagining the river Lethe in Greek mythology. Some ancient Greeks believed that the newly dead should drink from the river Lethe before being reincarnated, so they would not remember their past lives. What is forgetfulness to us? Some recent research says that forgetfulness is a key to healthy memory. In the piece I am walking by the river Lethe, hearing the flowing sound of oblivion. I let go and move on.

— Hee Yun Kim

Folksong I – Kunbam Taryeong is employing a Korean folksong, Kunbam Taryeong as a source material. I have a lot of fond memories related to folk songs. Back in college I joined a folksong research club, Arirang. In summer we used to visit rural villages to help farmers work and learn their regional folk tunes, which I had often transcribed. In the club we also performed Samul Nori (meaning four objects play), a percussion ensemble originated from traditional farmer’s music. Folksong I is utilizing prepared piano to express the unique sound of Samul Nori, along with the use of the tune Kunbam Taryeong.

— Hee Yun Kim