Dynamic Korea and Rhythmic Form
Katherine In-Young Lee
DYNAMIC KOREA AND RHYTHMIC FORM
Wesleyan University Press Middletown, Connecticut
Wesleyan University Press
Middletown CT 06459
© 2018 Katherine In-Young Lee
All rights reserved
Manufactured in the United States of America
Designed by Mindy Basinger Hill
Typeset in Minion Pro
This publication was supported by the Academy of Korean Studies Grant (AKS-2018-P13).
We gratefully acknowledge the support of the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
Library of Congress Cataloging-in-Publication Data available upon request
Hardcover ISBN: 978-0-8195-7705-4
Paperback ISBN: 978-0-8195-7706-1
Ebook ISBN: 978-0-8195-7707-8
5 4 3 2 1
Cover design by Benjamin Shaykin.
TO MY PARENTS
CONTENTS
Notes on Translation and Romanization xv
TWO The Dynamics of Rhythmic Form 32
THREE Dynamic Korea and Samul Nori 61
FOUR Global Encounters with Samul Nori 80
FIVE Transnational Samul Nori and the Politics of Place 108
APPENDIX ONE English Translation of Pinari Text 139
APPENDIX TWO SamulNori: “Tradition Meets the Present” 147
ACKNOWLEDGMENTS
Since the theme of “encounters” figures prominently in this book, it seems only apropos to recount some of my own encounters with the many friends, mentors, and advocates who have nurtured this project over the past decade. I first express, from a deep reservoir of gratitude, my auspicious fortune to work with and learn from Kay Kaufman Shelemay—my dissertation adviser and mentor for life. I can say with certainty that this book would not have materialized without the expert advice, feedback, and cheerleading provided by Kay—doled out strategically and knowingly at key moments since our first encounter in Cambridge, Massachusetts. I am also indebted to Richard K. Wolf and Ingrid T. Monson, my other committee members, for their intellectual support and friendship throughout the years.
I give special thanks to Deborah Wong—whom I have always admired—for reaching out to me and asking about my research when I was a new assistant professor at UC Davis. That encounter led to a new circle of connections at Wesleyan University Press. I am grateful to Suzanna Tamminen and the Music/Culture Series editors for taking a chance on a first book. The staff at Wesleyan University Press has been a pleasure to work with. My sincere thanks to Glenn E. Novak for superb copy editing, and also to Marla Zubel for her help in the early stages of the publication process. The two reviewers of the manuscript took immense care to provide me with invaluable feedback. This book has improved as a result of their critiques and suggestions.
The SamulNori Hanullim community in Korea—an extended family of personalities who have proven to be brilliantly talented, endearing, challenging, and avuncular—are next. As Suzanna Samstag once explained to me, “Once you become a member of the SamulNori family, you gain membership for life.” I have often felt this to be true, especially in the moments when I have been sheltered and fed. I have received more than I could ever reciprocate. I am indebted to Kim Duk Soo Sŏnsaengnim for allowing me to tag along, hang out, and be included in events that ranged from the ordinary to the spectacular. Suzanna Samstag, one of SamulNori’s most influential yet hitherto unrecognized figures, has been a role model and a stalwart supporter since the early 2000s. I am also eternally grateful to SamulNori’s former managing director, Joo Jayyoun, with whom I worked closely in 2003. During my fieldwork period, Mr. Joo arranged for me to meet with SamulNori’s original members Lee Kwang Soo and Choi Jong Sil, and Konggan Sarang’s first presenter, Kang Joon-hyuk [Kang Chunhyŏk]. Staff members and former coworkers at SamulNori Hanullim (both past and present) also deserve special mention: Lyeum Joon-suk, Chung Hee-young, Han Kwang-hee, Lee Sekyung, Kim Dong-won, and Yeo SangBum. Members of the Samul GwangDae team—Jang Hyun-jin, Shin Chan-Sun, Park An-ji, and Kim Han-bok—have been exceptionally supportive throughout the years. I would also like to give thanks to other members of the extended SamulNori community who have offered their hospitality and warmth to me: Kang Minsok, Hong Yunki, Lee Dongju, Lim Pyŏnggo (of the Puyŏ SamulNori School), Lim Seung Duck, Kim Ju-hee, Kim Hee-jung, Lee Kyoung-phil, Ryo Hommura and Emi Kobayashi at Planet Arts, Charles Hong, Mun Kwang-in, Min Kyoung-ah, Hyun Seung-hun, Kim So Ra, and all members of the Samul-Nori Hanullim troupe who visited Harvard University in 2011 and UC Davis in 2014. I am grateful to have first met saxophonist Wolfgang Puschnig, bassist Jamaaladeen Tacuma, and Linda Sharrock (vocalist)—longtime collaborators with SamulNori—during my tenure as a SamulNori Hanullim staff member in 2003. I thank Wolfgang especially for being a kindred spirit and for offering me a place to stay in Vienna in 2011 and 2015.
To the SamulNorians around the world, may you continue to drum! Vincent Mangado and Dominique Jambert, Matthieu Rauchvarger, Hendrikje Lange, Suzanne Nketia, Nathalie Baumann, Violette Nys, Kenichi Yanaka, Mayumi Abe, Yuki Goto, Stephen Wunrow and Martha Vickery, Han Yong Wunrow, Sam Sangho Kim, Sarah Lee, Nik Nadeau, Lia Bengtson, Shirley Sailors, Viry Sánchez, Wendy Rodríguez, Ariadna Ramírez, Itto Cario Martínez, Alik Son, Inga Sin, Nastia Alexuyk, Bo-sung Kim, Myung-hyun Park, Hyo Jin Shin, Han Song Hiltmann, and Na-Rhee Scherfling: I look forward to many future encounters. To those of you who were kind enough to grant interviews or host me in your countries, I bow my head deeply. Your passion for samul nori is at the heart of this story. I hope that I have accurately conveyed some of that passion in this book.
In 2012, I moved cross-country to California and began a new life at UC Davis. I also gained a family. Henry Spiller has been a wonderful colleague, mentor, friend, and kindred spirit. Thank you, Henry, for reading drafts and