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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.
Following the drummers are dancers, who often play the ''sogo'' (a small drum without enough resonance to contribute to the soundscape significantly) and tend to have more elaborate—even [[acrobatics|acrobatic]]—[[choreography]], particularly if the sogo-wielding dancers also manipulate the ''[[sangmo]]'' ribbon-hats. In some regional pungmul types, ''japsaek'' (actors) dressed as [[caricature]]s of traditional village roles wander around to engage spectators, blurring the boundary between performers and audience. ''Minyo'' (folksongs) 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 (rhythmic patterns) that are common to pungmul, [[sanjo (music)|sanjo]], [[p'ansori]] (RR-pansori), and other traditional [[Korean music|Korean musical genres]].▼
Pungmul performers wear a variety of colorful costumes. A flowery version of the [[Buddhism|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.▼
Pungmul was added to the [[UNESCO]] intangible cultural heritage list as "Joseonjok Nongak" by China in 2009 and South Korea in November 2014.<ref>{{cite web|url=http://www.korea.net/NewsFocus/Culture/view?articleId=123313|title='Nongak' added to UNESCO list|publisher=Korea.net|access-date=2014-11-28|date=2014-11-28}}</ref>
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In 1977, prominent architect [[Kim Swoo Geun]] designed the Konggansarang ({{lang|ko|공간사랑}}), 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-hhrm|사물놀이|四物놀이}}), 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>
==
=== Instruments ===
[[File:Korea-Ggaenggwari-01.jpg|thumb|
They
The first person of each group to play instruments is called 'sue' or 'sang'. (like 'sang soe'(
===
In Pungmul, dance elements further deepen the artistic and aesthetic characteristics of Pungmul as an integrated genre.<ref>{{Cite journal|last=Ok-kyeong|first=Yang|date=2011|title="In Pungmulgut, functions and aesthetic affects of the dance－Based on the actual of Pilbongnongak－."|url=http://www.riss.kr/search/detail/DetailView.do?p_mat_type=1a0202e37d52c72d&control_no=6affd659e88209e0b7998d826d417196#redirect|journal=Journal of Korean Dance History|volume=24|pages=157–180}}</ref>
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=== Costuming ===
▲[[File:2008 Yongsan Fall Festival-01.jpg|thumb|right|Brightly colored cloth sashes are often attributed to ''pungmul''{{'}}s roots in shamanism.|256x256px]]Following the drummers are dancers, who often play the ''sogo'' (a small drum without enough resonance to contribute to the soundscape significantly) and tend to have more elaborate—even [[acrobatics|acrobatic]]—[[choreography]], particularly if the sogo-wielding dancers also manipulate the ''[[sangmo]]'' ribbon-hats. In some regional pungmul types, ''japsaek'' (actors) dressed as [[caricature]]s of traditional village roles wander around to engage spectators, blurring the boundary between performers and audience. ''Minyo'' (folksongs) 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 (rhythmic patterns) that are common to pungmul, [[sanjo (music)|sanjo]], [[p'ansori]] (RR-pansori), and other traditional [[Korean music|Korean musical genres]].
▲Pungmul performers wear a variety of colorful costumes. A flowery version of the [[Buddhism|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.
=== Formations ===
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