The term SamulNori was first brought up in 1978 and describes a genre of music
as well as serving as the name of Korea's leading traditional performance group.
When used to describe the music genre, SamulNori refers to the performance of
four musicians playing and dancing each with a different Korean traditional
percussion instrument. The Korean worlds "samul" means "four things", and "nori"
means "to play" hence "four things playing."
In 1978 four extremely dynamic
and talented Korean percussionists came together to form the group SamulNori.
Henceforth, SamulNori has sparked a renaissance in Korea's music scene as well
as becoming world-acclaimed. The origin of SamulNori's music can be traced back
to what is usually referred to as "farmers" band music ("nong-ak"). SamulNori
uniquely combined the rhythms used in nong-ak with musical elements from
shamanic ceremonies and modern compositions.
They therefore stand at a
musical crossroad where rural and urban traditions and east and west meet in a
synthesis of music and dance. They mastered the rhythms to a high level of
intricacy and also increased the tempo immensely. These new styles were what
they became known for and what differentiated samulnori, the music genre, from
nong-ak.
Over the years, SamulNori's U.S. tours have brought them to New
York City, Los Angeles, Boston, Chicago, Hawaii and the Asia Society's sponsored
tour across the country. In 1985, the Asia Society was awarded an "Obie" for
Off-Broadway Theatre for introducing SamulNori to New York's stages.
SamulNori has performed at the Kennedy Center in Washington, D.C. and at the
Smithsonian Institution as part of an effort to establish scholarly exchanges
between the Smithsonian and Korea. They also appeared at the Percussive Arts
Society Convention in Dallas and served a residency for the University of
California at Berkeley.
Internationally, SamulNori has toured Germany,
Austria, Great Britain, Sweden, Switzerland, Japan, China, Australia and Greece,
where they accompanied the Korean Olympic representatives for the lighting of
the Olympic torch in 1988. They also visited Italy, where they were filmed for a
Puma sneakers commercial.
SamulNori has collaborated with many highly
acclaimed musicians from around the world from a variety of styles of music
ranging from jazz to pop and have also performed concerti written expressly for
them with orchestras. They have taken part in many festivals including "Live
Under the Sky" in Japan and Hong Kong, the Kool Jazz Festival, Moers Jazz
Festival, and Han River International Jazz Festival.
In addition to
their busy touring schedule, SamulNori is dedicated to furthering the tradition
of their unique performance and teach at the SamulNori Academy of Music in
Seoul. They have been the subject of several books (including their own
intensive instructional book) and videos for many labels including SONY. their
15 recordings are available on the CBS/SONY, Nonesuch, CMP, Polygram, Real
World, and ECM record labels.
"Samul", the
Instruments stand for Lighting, Wind, Rain, and Cloud
SamulNori's music is based on the rhythms of traditional Korean folk
percussion music.
The name SamulNori literally means "the play of four
things." The four things refer to the four percussive instruments. Each
instrument is associated with an element in nature.
They play the harmony of
cosmos linking up nature and human being in accordance with the rule of Yin and
Yang's change.
K'kwaenggwari (small gong) is made mainly of brass with
trace of gold or silver. It is hand held and played with a bamboo mallet. One
hand holds the mallet while the other hand is responsible for dampening the
sound produced. The player of this instrument often plays the role of leader,
signaling transitions in the music. As each instrument is associated with an
element in nature, the k'kwaenggwari is related to lightening.
The Ching
is a large gong that is struck with a padded stick. This instrument can be
played in a number of ways: hung on a frame, hand-held by handle, or played with
two hands.
Ching should make an osculating sound, imitating the shape of the
valleys of Korea. Thus, Ching is associated with the wind.
The JangGo is
often called the hourglass drum, referring to its shape. The drum has two sides,
each with a different types of leather skin. One side produces a high pitched
sound. This instrument is associated with rain.
The Buk is a barrel
drum, made of a piece of hollow out wood and two leather skins tied to the wood.
It is played by a single stick and provides the bass sounds of the group. The
buk is related to the clouds.
The Musical
background of SamulNori
The origins of their music,
"SamulNori" can be traced to what is usually referred to as farmers' band music
(nongak) and ceremonial music. It also incorporates the influences of folk and
religious music (pinari) and their intricate rhythms have become quite uniquely
on their own.
According to ethnomusicologist, Keith Howard, Ph.D. the "music
of SamuINori belongs primarily to the world of farmers' bands (nongak), a folk
tradition central to the Korean heritage. It has often been said that nongak
captures the spirit of all that is Korean. With a documented history beginning
back in the third century with Chen Suo's "San Kuo Chih", which reads "In Mahan
the people held a festival to honor God at the time of sowing in May and of
harvesting in October.
All of them assembled together, enjoyed singing and
dancing day and night without pause, forming lines, circling around, stamping on
the ground and clapping their hands according to set rhythms."
(not that we
could suggest that the music has remained similar over time), and a polysemous
history encompassing military, farming, ritual and entertainment elements,
nongak has been described variously.
The group "SamulNori" combined
traditional rhythmic constructs derived from local farmers' bands and traveling
troupes with shamanic ceremonies and modern compositions and thus stands at a
musical crossroads where rural and urban traditions and east and west meet in a
synthesis of music and dance.
For this reason SamulNori is both traditional
and contemporary.
"They don't play like we used to," say the islanders
to the south of the Korean peninsula and "that's not nearly what I taught them,"
said Kim Pyong-sop, in reference to their version of nongak.
Change has
clearly happened. Pan Kut traditionally referred to as a type of entertainment
given in a local gathering place, either by a local band during a village
ritual, or by a touring group. Pinari, a type of prayer, was traditionally given
by invited musicians or shamanic practitioners to promote health and prosperity
amongst a family, or to ensure spiritual support for a building project. But the
folk religious world to which Pan Kut and Pinari belong is dying; today few
villages maintain bands, even fewer hold annual Pan Kut and itinerant traveling
troupes have disappeared."
Dr. Howard offers some of his comments, "The
music has moved from the world of ritual to entertainment. Today in Korea, mass
entertainment channels and "airport art" provided for businessmen and tourists
present large groups of pretty, young dancers who give simple, repetitive
patterns from nongak in an ever-smiling environment. But SamuINori has chosen
rather a reinterpretation of the past in a specialized, thoroughly professional
present.
Complexity has been added to the simplest music, which leads to a
world of rich, dramatic contrast. Silence gives way to a mesmeric telling of the
gong, slow thuds on a drum, and accelerate to shrill pitched rapid strikes.
Climaxes are built and subside peacefully like waves.
SamuINori thus
provide a blend of old and new.
Samul in
Buddhism
In Buddhist tradition, there are actually two sets
of objects (not strictly for entertainment purposes) that are also called samul.
One set is part of the ritual lifestyle of the temple: the bupgo (a small
drum, covered with cow leather and played in front of the Buddha), the unpan (a
type of gong, placed in the kitchen and used to summon the monks to their
meals), the mogo (a hollow wooden block, made in the shape of a carp and struck
while hung when the sutras are read) and the daejong (a large bell). All other
times the instruments that accompany ritual dance or pompae are also known as
samul.
These are the ching, buk, taepyongso, and moktak.