Pungmul: Difference between revisions

{{Italic title}}{{Cleanup|date=January 2024|reason=Grammar}}[[File:Folk village - Korea.jpg|thumb|400px|''Pungmul'' is a folk tradition steeped in music, dance, theater, and pageantry.]]

'''''Pungmul''''' ({{korean|풍물|風物}}; {{IPA-ko|pʰuːŋmul|IPA}}) is a [[MusicTraditional music of Korea#Folk music|Korean folk music]] tradition that includes [[drum]]ming, [[dance|dancing]], and [[singing]]. Most performances are outside, with dozens of players all in constant motion. ''Pungmul'' is rooted in the ''dure'' (collective labor) [[farm]]ing culture. It was originally played as part of farm work, on [[Culture of Korea#Festivals of the lunar calendar|rural holidays]], at other village community-building events, and to accompany [[Korean shamanism|shamanistic]] rituals, mask dance dramas, and other types of [[performance]]. During the late 1960s and 1970s it expanded in meaning and was actively [[Pungmul as Protest|used in political protest]] during the pro-democracy movement, although today it is most often seen as a [[Performing arts|performing art]]. Based on 1980s research, this kind of music was extensively studied in Chindo Island.<ref>Howard, Keith (1989) ''Bands, Songs and Shamanistic Rituals: Folk Music in Korean Society.'' Seoul: Royal Asiatic Society. (2nd ed 1990)</ref>

Drumming is the central element of pungmul. Each group is led by a ''[[kkwaenggwari]]'' (RR- ggwaenggwari) (small handheld gong) player, and includes at least one person playing ''[[janggu]]'' (hourglass drum), one person playing ''[[Buk (drum)|buk]]'' (barrel drum), and one person playing ''[[Jing (instrument)|jing]]'' (gong). [[Wind instrument]]s (taepyeongso, also known as ''hojeok'', ''senap'', or ''nalari'') sometimes play along with the drummers.

''Pungmul'' ({{ko-hhrm|풍물|[[wikt:風|風]][[wikt:物|物]]}}) was first recognized as an [[Important Intangible Cultural Properties of Korea|Important Intangible Cultural Property]] in 1966 under the title ''nongak sipicha'' ({{lang|koKorean|hangul=농악십이차|labels=no}}, "twelve movements of farmers' music"). The designation was changed to simply ''nongak'' in the 1980s in order to accommodate regional variations.<ref>{{Harvnb|Hesselink|2006|p=10}}</ref> The [[Cultural Heritage Administration of Korea|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|Jinju Samcheonpo ''nongak'']], from [[Gyeongsangnam-do|South Gyeongsang]] province (designated in 1966); [[Pyeongtaek nongak|Pyeongtaek ''nongak'']], from [[Gyeonggi-do|Gyeonggi]] province (1985); [[Iri nongak|Iri ''nongak'']], from [[Jeollabuk-do|North Jeolla]] province (1985); [[Gangneung nongak|Gangneung ''nongak'']], from [[Gangwon-do (South Korea)|Gangwon]] province (1985); and [[Imsil Pilbong nongak|Imsil Pilbong ''nongak'']] from [[North Jeolla Province|North Jeolla]] province (1988). Each style is unique in its approach toward rhythms, costuming, instrumentation, and performance philosophy: Jinju Samcheonpo for ''yeongnam'' ({{lang|koKorean|hangul=영남|labels=no}}), Pyeongtaek for ''utdari'' ({{lang|koKorean|hangul=웃다리|labels=no}}), Iri for ''honam udo'' ({{lang|koKorean|hangul=호남우도|labels=no}}), [[Gangneung]] for ''yeongdong'' ({{lang|koKorean|hangul=영동|labels=no}}), and Imsil Pilbong for ''honam jwado'' ({{lang|koKorean|hangul=호남좌도|labels=no}}).<ref name="Hesselink2006p11">{{Harvnb|Hesselink|2006|p=11}}</ref>

During the [[Joseon dynasty]] period, this folk tradition was the primary mode of musical expression for a majority of the population.<ref>{{Harvnb|Hesselink|2006|p=2}}</ref> Many scholars and performers today claim that the term ''nongak'' ({{ko-hhrmkorean|농악|[[wikt:農|農]][[wikt:樂|樂]]|labels=no}}) was introduced during the [[Korea under Japanese rule|Japanese colonization era]] in order to suppress its broad use and meaning among the Korean population.<ref>{{Harvnb|Hesselink|2006|p=15}}</ref>

In 1977, prominent architect [[Kim Swoo Geun]] designed the Konggansarang ({{lang|koKorean|hangul=공간사랑|labels=no}}), a performance hall for traditional Korean music and dance located in the capital, and invited artists and scholars to organize its events.<ref>{{Harvnb|Park|2000|p=177}}</ref> 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 (''utdari'') ''pungmul'' with each of its [[#Instruments|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 ({{ko-hhrmkorean|사물놀이|四物놀이|labels=no}}), meaning "playing of four objects".<ref>{{Harvnb|Park|2000|p=178}}</ref> ''[[Samul nori]]'' eventually came to denote an entire genre as training institutes and ensembles were established throughout South Korea and Japan.<ref>{{Harvnb|Hesselink|2004|pp=410}}</ref> Usage of the term ''nongak'' was retained in order to distinguish traditional ''pungmul'' from this new staged and urbanized form.<ref>{{Harvnb|Park|2000|p=25}}</ref>

== MusicComponents ==

[[File:Korea-Ggaenggwari-01.jpg|thumb|noneright|The majority of ''soe'' players today hold the instrument in the left hand by suspending it either with the first finger or the thumb.]]In general, the5 major 5 instruments are used for playplaying Pungmul. There are: ''[[kkwaenggwari]]'' (RR- ggwaenggwari) (small handheld gong), ''[[janggu]]'' (hourglass drum), ''[[Buk (drum)|buk]]'' (barrel drum), and ''[[Jing (instrument)|jing]]'' (gong) and sogo.

They are all require a different style to play, sounds, and thehave grouptheir ofown playunique each instruments. But all of them make a sound at the same timesounds.

The first person of each group to play instruments is called 'sue' or 'sang'. (like 'sang soe'(otherrefers wordto ofthe one who plays ''[[kkwaenggwari]])'', 'sue ''[[janggu]](same as sang [[janggu]]),'' 'sue ''[[Buk (drum)|buk]]'' ', 'sue bukku(who play with sogo)')

=== RepertoireDance ===

Divide according to the form of the dance and the composition of the personnel.<ref>{{Cite web|url=http://folkency.nfm.go.kr/en/topic/detail/6541|title=Jinpuri|last=국립민속박물관|website=[[Encyclopedia of Korean Folk Culture]]|language=ko|access-date=2019-03-15}}</ref>

* Group dance ('''군무'''[群舞]) : Jinpuri (진풀이, a variety of formations are presented during the performance)

Pungmul is played in several international communities, especially by the Koreans living abroad.

Some dancing activities associated with pungmul performed by the ethnic Koreans living in China, known as the "farmer's dance of ethnic Korean" ([[Korean language|Korean]]: {{lang|ko-Hang-CNKorean|hangul=조선족 농악 무}}, [[Hanja]]: {{lang|ko-Hani-CN|hanja=朝鮮族農樂舞}}, ''{{lang|ko-Latn-CN|mr=Chosŏnjok nongak-mu|labels=no}}''), were submitted as a cultural heritage to UNESCO.

Pungmul also has been performed by the numerous [[Korean American]] communities in the [[United States]], including [[Oakland, California|Oakland]], [[Los Angeles, California|Los Angeles]], [[Chicago]], [[New York City]], and [[Baltimore, Maryland|Baltimore]].<ref name="uspungmul">{{cite web|url=http://uspungmul.wordpress.com/pungmul-in-the-us/|title=Pungmul in the US|date=23 May 2011 |publisher=US Pungmul|access-date=2014-11-28}}</ref>

College-based groups also exist at the [[University of California]] ([[University of California, Berkeley|Berkeley]], [[University of California, Los Angeles|Los Angeles]], [[University of California, Davis|Davis]], [[University of California, San Diego|San Diego]], [[University of California, Santa Barbara|Santa Barbara]], [[University of California, Irvine|Irvine]]), [[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 at Buffalo, The State University of New York|University of Buffalo]], [[Binghamton University]], [[Syracuse University]], [[Stanford University]], [[The University of Toronto]], [[Brown University]], [[University of Oxford]], etc.,<ref name="uspungmul" /> [[Far Eastern Federal University]]

== The FormationDevelopment of Pungmul in American SocietyAmerica ==

=== First phase (1985 - 19891985–1989) ===

P'ungmul's history in the United States is intimately linked to the history of Korean American activism. Numerous founders of these organizations were active in or sympathized with Korean political conflicts. It is critical to note that all of these Korean expressive styles were prevalent throughout the 1970s and 1980s Minjung Munhwa movement that swept South Korean college campuses. Many of the early p'ungmul organizations either originated as a cultural division of a larger organizational (usually political) or became part of one, shortly after formation. In 1985, Binari in New York was established and Sori, formed on the University of California in Berkeley. Il-kwa-Nori of the Korean American Resource and Cultural Center in Chicago, also an affiliate of NAKASEC, formed in 1988. Shinmyŏngpae of the communal organization Uri Munhwa Chatkihwe in 1990.<ref name=":0Kwon-2001">{{Cite journal|last=Kwon|first=D. L|date=2001|title=The Roots and Routes of Pungmul in the United States|journal=Music and Culture|pages=39-5639–56}}</ref>

=== Second Phasephase (1990 - Present) ===

Yi Jong-hun, a Korean minister who visited the United States in 1990 and 1991, is another figure seen as important by many long-time p'ungmul practitioners. Yi Jong-hun paid visits to Los Angeles, New York City, and KYCC in Oakland during his tour. He was involved in the formation of the Kutkori group at Harvard. He also provided reading and teaching materials on Pungmul, Minyo, and Movement Songs .<ref name=":0">{{Cite journal|last=Kwon|first=D. L|date=-2001|title=The Roots and Routes of Pungmul in the United States|journal=Music and Culture|pages=39-56}}<"/ref>. A normal college p'ungmul group has between 15- and 20 members on average, while some organizations have persisted with less than 10 and as many as 30 to 35 members. HanUllimHanoolim<ref>{{cite web | url=https://community.ucla.edu/studentorg/734 | title=Hanoolim: Korean Cultural Awareness Group at UCLA }}</ref> (University of California/Los Angeles), Karakmadang (University of Illinois), Hansori (Massachusetts Institute of Technology), NyuRi (New York University), and Loose Roots (University of Chicago) are just a few of the early 1990's1990s groups. Other forms of special-interest clubs have emerged in the United States, bringing more variety to the community of p'ungmul students. Groups have been founded by and for Korean adoptees and activists as well as seniors, kids, Catholic Church members, and people in their mid-thirties and forties, to name just a few.<ref name=":0">{{Cite journal|last=Kwon|first=D. L|date=-2001|title=The Roots and Routes of Pungmul in the United States|journal=Music and Culture|pages=39-56}}<"/ref>

* [[MusicTraditional music of Korea]]

== NotesReferences ==

* {{CitationCite thesis | last = Bussell | first = Jennifer L. | date = 2 May 1997 | title = A Life of Sound: Korean Farming Music and its Journey to Modernity | publisher = Department of Anthropology, University of Chicago | year = 1997 | format = B.A. thesis | url = http://www.kycc.net/NPN/Documents/bussell_thesis.doc | archive-url = https://web.archive.org/web/20070703031718/http://www.kycc.net/NPN/Documents/bussell_thesis.doc | archive-date = 3 July 2007 | access-datetype = 10BA June 2011essay | postscriptpublisher = .[[University of Chicago]]}}

* {{CitationCite journal | last = Hesselink | first = Nathan | date = 1999 | title = Kim Inu's {{'}}''P'ungmulgut'' and Communal Spirit{{'}}: Edited and Translated with an Introduction and Commentary | journal = Asian Music | volume = 31 | issue = 1 | year = 1999 | pages = 1–34 | publisher = [[Society for Asian Music]] | doi=10.2307/834278 | issn = 0044-9202 | postscriptjstor = .834278 | doi=10.2307/834278}}

* {{CitationCite journal | last = Hesselink | first = Nathan | date = 2004 | title = ''Samul nori'' as Traditional: Preservation and Innovation in a South Korean Contemporary Percussion Genre | journal = Ethnomusicology | volume = 48 | issue = 3 | year = 2004 | pages = 405–439 | publisher = [[Society for Ethnomusicology]] | issn = 0014-1836 | postscriptjstor = .30046287}}

* {{CitationCite book | last = Hesselink | first = Nathan | date = 2006 | title = ''P'ungmul'': South Korean Drumming and Dance | url = https://books.google.com/books?id=jRtVikLpdBIC | series = Chicago Studies in Ethnomusicology | publisher = [[University of Chicago Press]] | place = Chicago, I.L. | year = 2006 | isbn = 978-0-226-33095-2 | postscript = .}}

* {{CitationCite journal | last = Hesselink | first = Nathan | date = 2007 | title = Taking Culture Seriously: Democratic Music and Its Transformative Potential in South Korea | journal = The World of Music | volume = 49 | issue = 3 | year = 2007 | pages = 75–106 | publisher = [[University of Bamberg]] | issn = 0043-8774 | postscriptjstor = .41699789}}

* {{CitationCite journal | last = Hesselink | first = Nathan | date = June 2009 | title = 'Yŏngdong Nongak': Mountains, Music, and the Samulnori Canon | url = https://muse.jhu.edu/article/805030 | journal = [[Acta Koreana]] | volume = 12 | issue = 1 | yearpages = 20091–26 | pagespublisher = 1–26Academia Koreana | publisherdoi = Keimyung University10.18399/acta.2009.12.1.001 | issns2cid = 1520-7412193406479 | postscriptissn = .1520-7412}}

* {{CitationCite journal | last = Kwon | first = Donna Lee| title = 미국에서의 풍물: 그 뿌리와 여정 | trans-title = The Roots and Routes of ''PungmulP'ungmul'' in the United States | journalurl = Music and Culturehttps://www.kci.go.kr/kciportal/ci/sereArticleSearch/ciSereArtiView.kci?sereArticleSearchBean.artiId=ART000938215 | volumelanguage = 5Korean | yearjournal = 2001Eumak-gwa Munhwa | pagesscript-journal = 39–65ko:음악과 문화 | publishertrans-journal = KoreanMusic Societyand for World MusicCulture | issnvolume = 1229-59305 | urlyear = http://kycc.net/NPN/Documents/USpungmul_2001.doc2001 | archive-urlpages = https://web.archive.org/web/20080827185325/http://kycc.net/NPN/Documents/USpungmul_2001.doc39–65 | archive-datepublisher = 27Korean AugustSociety 2008for World Music | access-dateissn = 10 June 20111229-5930 | postscriptoclc = .5588715083}}

* {{CitationCite thesis | last = Park | first = Shingil | date = 2000 | title = Negotiating Identities in a Performance Genre: The Case of ''P'ungmul'' and ''Samulnori'' in Contemporary Seoul | year = 2000 | publisher = Department of Music, [[University of Pittsburgh]] | typedegree = Ph.D. thesisPhD | isbn = 978-0-599-79965-3 | postscriptoclc = .53209871}}

== External links ==

[[Category:ImportantNational Intangible Cultural PropertiesHeritage of South Korea]]