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{{short description|Korean folk music tradition}}
{{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 [[Traditional 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>

Older scholars often describe this tradition as '''''nongak''''' ({{Korean|hangul=농악|hanja=農樂}}{{IPA|ko|noŋak|lang}}), a term meaning "farmers' music" whose usage arose during the [[Korea under Japanese rule|colonial era]] (1910–1945). The [[Cultural Heritage Administration of Korea|Cultural Heritage Administration]] of [[South Korea]] uses this term in designating the folk tradition as an [[Important Intangible Cultural Properties of Korea|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 peninsula.

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 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>

== Classification ==
{{Pungmul activity regions}}
''Pungmul'' was first recognized as an [[Important Intangible Cultural Properties of Korea|Important Intangible Cultural Property]] in 1966 under the title ''nongak sipicha'' ({{Korean|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'' ({{Korean|hangul=영남|labels=no}}), Pyeongtaek for ''utdari'' ({{Korean|hangul=웃다리|labels=no}}), Iri for ''honam udo'' ({{Korean|hangul=호남우도|labels=no}}), [[Gangneung]] for ''yeongdong'' ({{Korean|hangul=영동|labels=no}}), and Imsil Pilbong for ''honam jwado'' ({{Korean|hangul=호남좌도|labels=no}}).<ref name="Hesselink2006p11">{{Harvnb|Hesselink|2006|p=11}}</ref>

Most scholarly works on ''pungmul'' focus on the two distinct styles present in the [[Honam]] region encompassing the two Jeolla provinces.<ref>{{Harvnb|Park|2000|p=65}}</ref> In this region, the designations ''jwado'' (left) for Imsil Pilbong and ''udo'' (right) for Iri are determined according to [[Geomancy|geomantic principles]]. Looking southward from the "center" ([[Seoul]], the capital), ''udo'' indicates "right", and ''jwado'' indicates "left".<ref name="Hesselink2006p11" /> 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.<ref>{{Harvnb|Park|2000|p=66}}</ref>

== History ==

=== Early development ===
[[File:Korean music-Nongak-03.jpg|thumb|]]

=== Suppression and unrest ===
During the [[Joseon]] 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'' ({{korean|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>

=== 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 hall]]s and the growing popularity of Western [[Classical music|classical]] and [[popular music]].<ref>{{Harvnb|Hesselink|2004|pp=408–409}}</ref>

[[File:Korean music-Nongak-02.jpg|thumb|''Samul nori'', unlike traditional ''pungmul'', is performed in a seated position.]]
In 1977, prominent architect [[Kim Swoo Geun]] designed the Konggansarang ({{Korean|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 ({{korean|사물놀이|四物놀이|labels=no|lit='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>

== Components ==

=== Instruments ===
[[File:Korea-Ggaenggwari-01.jpg|thumb|right|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, 5 major instruments are used for playing Pungmul: ''[[kkwaenggwari]]'' (RR- ggwaenggwari) (small handheld gong), ''[[janggu]]'' (hourglass drum), ''[[Buk (drum)|buk]]'' (barrel drum), and ''[[Jing (instrument)|jing]]'' (gong) and sogo.

They all require a different style to play and have their own unique sounds.

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

=== Dance ===

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>

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 (윗놀음, upper performance) and Bal-Noleum(발놀음, footwork), 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.<ref>{{Cite web|url=http://folkency.nfm.go.kr/en/topic/detail/6541|title=Jinpuri|website=[[Encyclopedia of Korean Folk Culture]]|language=ko|access-date=2019-03-15}}</ref>

* Group dance ({{Korean|hangul=군무|hanja=群舞|labels=no}}) : Jinpuri (진풀이, a variety of formations are presented during the performance)
* Solitary dance ({{Korean|hangul=독무|hanja=獨舞|labels=no}}) : Sangsoe Noleum (상쇠놀음, lead small gong player's solo performance), Sangmonori ({{Korean|hangul=상모놀이|hanja=象毛놀이|labels=no|lit='hat-streamer twirling performance'}}), Suljanggu Noleum ('hourglass-shaped drum performance'), Sogo Noleum({{Korean|hangul=소고놀음|hanja=小鼓놀음|labels=no|lit='small drum with handle performance'}})
* Japsaek dance ({{Korean|hangul=잡색|hanja=雜色|labels=no|lit='mixed colors'}}) : A member of the Pungmul troupe dressed as a certain character who acts out various skits. All expressions are the result of role-based self-analysis.

=== 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 ===
[[File:Tranditoinal Korean music band-April 6 2009.jpg|thumb|none|Choreography of the entire ensemble seldom receives the same attention or scrutiny as manipulation of the hats.]]

== International exposure ==
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|hangul=조선족 농악 무|hanja=朝鮮族農樂舞|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]]

== Development of Pungmul in America ==

=== First phase (1985–1989) ===
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="Kwon-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=39–56}}</ref>

In the 1970s and 1980s, a few Koreans stayed in the US for long periods of time to assist create p'ungmul organizations and spread its teachings. Kim Bong Jun, a Korean artist noted for his folk-inspired paintings and prints, was one such people. Many people were forced to reconsider their participation in the Korean-American connection due to issues like reunification and knowledge about the Kwangju Uprising.

=== Second phase (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="Kwon-2001"/> 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. Hanoolim<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 1990s 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="Kwon-2001"/>

== See also ==
* [[Important Intangible Cultural Properties of Korea]]
* [[Korean dance]]
* [[Traditional music of Korea]]
* ''[[Namsadang]]'', itinerant performance troupe having ''pungmul'' in its repertoire
* ''[[Samul nori]]'', traditional percussion genre derived from multiple ''pungmul'' styles
* ''[[Pung cholom]]'', a similar dance from [[Manipur]], [[India]]

== References ==

=== Citations ===
{{Reflist|colwidth=20em}}

=== Bibliography ===
{{Refbegin|2}}
* {{Cite thesis | last = Bussell | first = Jennifer L. | date = 2 May 1997 | title = A Life of Sound: Korean Farming Music and its Journey to Modernity | 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 | type = BA essay | publisher = [[University of Chicago]]}}
* {{Cite 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 | pages = 1–34 | publisher = [[Society for Asian Music]] | doi=10.2307/834278 | issn = 0044-9202 | jstor = 834278 }}
* {{Cite 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 | pages = 405–439 | publisher = [[Society for Ethnomusicology]] | issn = 0014-1836 | jstor = 30046287}}
* {{Cite 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 | isbn = 978-0-226-33095-2}}
* {{Cite 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 | pages = 75–106 | publisher = [[University of Bamberg]] | issn = 0043-8774 | jstor = 41699789}}
* {{Cite 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 | pages = 1–26 | publisher = Academia Koreana | doi = 10.18399/acta.2009.12.1.001 | s2cid = 193406479 | issn = 1520-7412| url-access = subscription | doi-access = free }}
* {{Cite journal | last = Kwon | first = Donna | title = 미국에서의 풍물: 그 뿌리와 여정 | trans-title = The Roots and Routes of ''P'ungmul'' in the United States | url = https://www.kci.go.kr/kciportal/ci/sereArticleSearch/ciSereArtiView.kci?sereArticleSearchBean.artiId=ART000938215 | language = Korean | journal = Eumak-gwa Munhwa | script-journal = ko:음악과 문화 | trans-journal = Music and Culture | volume = 5 | year = 2001 | pages = 39–65 | publisher = Korean Society for World Music | issn = 1229-5930 | oclc = 5588715083}}
* {{Cite thesis | last = Park | first = Shingil | date = 2000 | title = Negotiating Identities in a Performance Genre: The Case of ''P'ungmul'' and ''Samulnori'' in Contemporary Seoul | publisher = [[University of Pittsburgh]] | degree = PhD | isbn = 978-0-599-79965-3 | oclc = 53209871}}
{{Refend}}

== External links ==
{{Commons category}}
* [http://www.wesleyan.edu/vim/cgi-bin/instrument.cgi?id=109 ''P'ungmul nori''] at the Virtual Instrument Museum of [[Wesleyan University]]
* [http://www.poongmul.com Poongmul.com], a network of ''pungmul'' groups in the United States
* [https://web.archive.org/web/20160514155428/http://www.sdpungmul.org/ sdpungmul.org], Pungmul school in San Diego, CA, United States
* [https://www.youtube.com/watch?v=ztGeP1wCSiE Pungmul on YouTube], very well made video from Bucheon, Korea

{{UNESCO Oral and Intangible music}}
{{UNESCO Representative List of the Intangible Cultural Heritage of Humanity/APA}}

[[Category:Korean traditional music]]
[[Category:National Intangible Cultural Heritage of South Korea]]
[[Category:Intangible Cultural Heritage of Humanity]]