Pungmul: Difference between revisions

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>

''Pungmul'' 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>

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