SamulNori: Contemporary Korean Drumming and the Rebirth of Itinerant Performance Culture. By Nathan Hesselink. (Chicago Studies in Ethnomusicology.) Chicago: Uni ver - sity of Chicago Press, 2012. [xiv, 201 p. ISBN 9780226330969 (hardcover), $75; ISBN 9780226330976 (paperback), $25.50.] CD, music examples, illustrations, figures, tables, appendices, notes, bibliography, index-glossary.Since its first performance in 1978 at the Space Theater (Konggan Sarang), the percussion quartet SamulNori has created a sensation among both professional and amateur traditional music performers in Korea and abroad. As SamulNori became overwhelmingly popular and famous, the genre samulnori emerged into the wider Korean culture. Named after the number of musical instruments employed, the SamulNori quartet plays four percussion instruments, the changgo (two-sided hourglass drum), kkwaenggwari (small gong), ching (large gong), and puk (barrel drum). The members of SamulNori knew exactly what Korean society of its time wanted: a strong sense of Korean identity. They and their music offered a way to aesthetically reconfigure and manipulate this identity in an urbanized context, in a way that was innovative yet still drew from tradition.In his book, SamulNori: Contemporary Korean Drumming and the Rebirth of Itinerant Performance Culture, Nathan Hesselink explores the ways in which SamulNori maintains connections with the old while creating something new, popko ch'angshin. Hesselink offers a groundbreaking historiography of SamulNori, as well as an analysis of the music that shows how SamulNori makes its own innovative sonic features. Given that this book is the first sociological and musical-theoretical examination of SamulNori/samulnori (p. 10), it complements cultural studies of Korean music and ethnomusicological studies of the turbulent Korean society from which SamulNori emerged and accumulated tremendous attention.Chapters 1 and 2 sketch the historical and sociocultural contextual backgrounds in which SamulNori was formed in the midst of a rapidly changing and economically developing Korean society. Looking into the history, organization, and activities of namsadang, which is an itinerant performance group, Hesselink traces the roots of SamulNori. He suggests that the professionalism and presentation-style music making of SamulNori can be credited to namsadang. As this itinerant troupe traveled as far as Manchuria as well as to all the provinces of the Korean peninsula, the group embodied pan-regional performance styles. He demonstrates that p'ungmul, a Korean genre of percussion music and dance, was performed as part of the opening of the group's performance. Namsa - dang has been revived, especially thanks to the scholarly attention of a Korean folklorist, Shim Usong, and of cultural institutions since the 1960s. Despite the wealth of historical accounts of namsadang, more detailed description of how SamulNori and samulnori connects with namsadang historically and aesthetically would be helpful to understanding and placing SamulNori and/or samulnori within the larger contexts of namsadang.Chapter 2 is one of the most compelling chapters, in that Hesselink examines the ways in which sociocultural activism, higher learning institutions, concert halls, different contributions from scholars in folklore, musicology, and architecture, and folk music associations in the 1970s brought forth something new musically within the framework of the traditional. This chapter investigates the influences of urbanization and modernization during the time of SamulNori's formation and the appreciation it found among the new and younger generations. While the Space Theater performance has been widely mentioned in the history of the SamulNori, other concert halls, including the Sejong Center for the Performing Arts, its predecessor the Seoul Civic Center, the National Theater, and the National Center for Korean Traditional Performing Arts, have not often appeared in historiographies of SamulNori and/or other folk performing arts groups. …
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