Pungmul


Pungmul is a Korean folk music tradition that includes drumming, dancing, and singing. Most performances are outside, with dozens of players all in constant motion. Pungmul is rooted in the dure farming culture. It was originally played as part of farm work, on rural holidays, at other village community-building events, and to accompany shamanistic rituals, mask dance dramas, and other types of performance. During the late 1960s and 1970s it expanded in meaning and was actively used in political protest during the pro-democracy movement, although today it is most often seen as a performing art.
Older scholars often describe this tradition as nongak, a term meaning "farmers' music" whose usage arose during the colonial era. The Cultural Heritage Administration of South Korea uses this term in designating the folk tradition as an Important Intangible Cultural Property. Opposition from performers and scholars toward its usage grew in the 1980s because colonial authorities attempted to limit the activity to farmers in order to suppress its use and meaning among the colonized. It is also known by many synonymous names throughout the .
Drumming is the central element of pungmul. Each group is led by a kkwaenggwari player, and includes at least one person playing janggu, buk, and jing. Wind instruments sometimes play along with the drummers.
Following the drummers are dancers, who often play the sogo and tend to have more elaborate—even acrobatic—choreography, particularly if the sogo-wielding dancers also manipulate the sangmo ribbon-hats. In some regional pungmul types, japsaek dressed as caricatures of traditional village roles wander around to engage spectators, blurring the boundary between performers and audience. Minyo and chants are sometimes included in pungmul, and audience members enthusiastically sing and dance along. Most minyo are set to drum beats in one of a few jangdan that are common to pungmul, sanjo, p'ansori, and other traditional Korean musical genres.
Pungmul performers wear a variety of colorful costumes. A flowery version of the Buddhist gokkal is the most common head-dress. In an advanced troupe all performers may wear sangmo, which are hats with long ribbon attached to them that players can spin and flip in intricate patterns powered by knee bends.

Classification

Pungmul was first recognized as an Important Intangible Cultural Property in 1966 under the title nongak sipicha. The designation was changed to simply nongak in the 1980s in order to accommodate regional variations. The Cultural Heritage Administration currently recognizes five regional styles of the tradition, each named for its center of activity, under Important Intangible Cultural Property no. 11: Jinju Samcheonpo nongak, from South Gyeongsang province ; Pyeongtaek nongak, from Gyeonggi province ; Iri nongak, from North Jeolla province ; Gangneung nongak, from Gangwon province ; and Imsil Pilbong nongak from North Jeolla province. Each style is unique in its approach toward rhythms, costuming, instrumentation, and performance philosophy: Jinju Samcheonpo for yeongnam, Pyeongtaek for utdari, Iri for honam udo, Gangneung for yeongdong, and Imsil Pilbong for honam jwado.
Most scholarly works on pungmul focus on the two distinct styles present in the Honam region encompassing the two Jeolla provinces. In this region, the designations jwado for Imsil Pilbong and udo for Iri are determined according to geomantic principles. Looking southward from the "center", udo indicates "right", and jwado indicates "left". Comparative studies between the two styles brought about the development of stereotypes among professional groups. Honam jwado became known for its varying formations and rapid rhythmic patterns, while honam udo was generally seen as having slow but graceful rhythmic patterns.

History

Early development

Suppression and unrest

During the Joseon dynasty, this folk tradition was the primary mode of musical expression for a majority of the population. Many scholars and performers today claim that the term nongak was introduced during the Japanese colonization era in order to suppress its broad use and meaning among the Korean population.

Revival

True public support for pungmul improved little in the decade following its recognition and financial backing from the government. There was a lack of interest among Koreans who abandoned their traditional customs after moving to the cities. This phenomenon was coupled with the introduction of Western-style concert halls and the growing popularity of Western classical and popular music.
In 1977, prominent architect Kim Swoo Geun designed the Konggansarang, a performance hall for traditional Korean music and dance located in the capital, and invited artists and scholars to organize its events. During the performance center's first recital in February 1978, a group of four men led by Kim Duk-soo and Kim Yong-bae, both descendants of namsadang troupe members, performed an impromptu arrangement of Pyeongtaek pungmul with each of its [|four core instruments]. Unlike traditional pungmul, this performance was conducted in a seated position facing the audience and demonstrated a variety of rhythms with great flexibility. It was well received by audience members, and a second performance was soon held three months later. Folklorist Sim U-seong, who introduced both men to the Konggansarang club, named the group SamulNori, meaning "playing of four objects". Samul nori eventually came to denote an entire genre as training institutes and ensembles were established throughout South Korea and Japan. Usage of the term nongak was retained in order to distinguish traditional pungmul from this new staged and urbanized form.

Music

Instruments

In general, the major 5 instruments are used for play Pungmul. There are kkwaenggwari , janggu, buk, and jing and sogo.
They are all different style to play, sounds, and the group of play each instruments. But all of them make a sound at the same time.
The first person of each group to play instruments is called 'sue' or 'sang'. , 'sue janggu, 'sue buk'' ', 'sue bukku

Repertoire

Dance

In Pungmul, dance elements further deepen the artistic and aesthetic characteristics of Pungmul as an integrated genre.
Pungmul dance does not deviate from the interrelationship and balance with the elements that make up the Pungmul but also harmonizes closely with music.
The dance has a system of individual body structure, such as Witt-Noleum and Bal-Noleum, and a system of pictorial expression in which individuals become objects to complete a group.
Divide according to the form of the dance and the composition of the personnel.

Formations

International exposure

Pungmul is played in several Korean American communities in the United States, including Oakland, Los Angeles, Chicago, New York City, and Baltimore.
College-based groups also exist at the University of California, University of Michigan, Ann Arbor, Stony Brook University, Columbia University, New York University, Massachusetts Institute of Technology, Harvard University, Yale University, the University of Chicago, the University of Pennsylvania, Cornell University, California Institute of Technology, the University of Illinois at Urbana-Champaign, University of Buffalo, Binghamton University, Syracuse University, Stanford University, The University of Toronto, Brown University, University of Oxford, etc., Far Eastern Federal University
Pungmul was added to the UNESCO intangible cultural heritage list in November 2014.