“Becoming One”: Embodying Korean P’ungmul Percussion Band Music and Dance through Site-Specific Intermodal Transmission

Kwon, Donna Lee

doi:10.5406/ethnomusicology.59.1.0031

Cited by 2 publications

(1 citation statement)

References 21 publications

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“…Intensive training camps held in Summer or Winter breaks, while important for audience building and promotion, are not a typical way for recruiting new ensemble members (Saeji, 2013, pp. 70-73; also Kwon, 2015).…”

Section: Heritage By Lawmentioning

confidence: 94%

Between preservation and change: performing arts heritage development in South Korea

Creutzenberg

2019

AEDS

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Purpose As intangible cultural heritage, traditional performing arts depend on transmission by individuals and collectives. The purpose of this paper is to explore how traditional performers practice their arts in South Korea. The analysis focuses on the transformations of performance conventions and contexts, as well as on new genres that developed in response to heritage legislation and social change during the last 200 years. Design/methodology/approach Drawing on a wide array of existing ethnographic research, the paper compares processes of transmission and transformation of three different genres: the solo singing-storytelling genre pansori, the ensemble percussion-dance genre pungmul and the various regional forms of mask dance drama subsumed under the label talnori. The paper argues that the artists, who perform these genres, while not unaffected by the expectations of their audiences, have the power to transcend traditional boundaries. Findings Due to early professionalization in the nineteenth century, pansori performers could adapt to the changing contexts of market-oriented modernity and survive until governmental intervention in 1962. Pre-modern pungmul and talnori was performed primarily by and for rural communities, resulting in an interruption of transmission when these contexts disappeared and partial re-invention in the wake of official preservation legislation. Originality/value The need for repeated performance in historically varying contexts makes the analysis of performing arts particular fruitful for understanding how practitioners of tradition (have to) adapt to change. A historical-comparative perspective provides concise insights into the dynamics of development that informs tradition today. The inclusion of offspring genres (changgeuk, madang-geuk, samulnori) furthermore shows the potential of heritage development beyond the official system of preservation.

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Section: Heritage By Lawmentioning

confidence: 94%

Between preservation and change: performing arts heritage development in South Korea

Creutzenberg

2019

AEDS

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“Now We're Actually Playing Music”: Sones and Parental Transformation in Mexican Chicago

Maurer

2023

Ethnomusicology

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The US-based revival of Mexican sones has received increased scholarly attention in the past two decades, primarily focused on the music's capacity for community formation and political activism among young adults. This article examines a different side of the son revival: parents and young children at a recently established Mexican Music School in Chicago. This type of institution—nongovernmental, but more formalized than traditional community transmission—is proliferating across many ethnic communities and musical traditions in US cities. This article shows how such programs can have unexpected transformative effects while bringing new populations into a music revival movement.

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“Becoming One”: Embodying Korean P’ungmul Percussion Band Music and Dance through Site-Specific Intermodal Transmission

Cited by 2 publications

References 21 publications

Between preservation and change: performing arts heritage development in South Korea

Between preservation and change: performing arts heritage development in South Korea

“Now We're Actually Playing Music”: Sones and Parental Transformation in Mexican Chicago

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