SoundsofKoreastudyguide

Please fill out our online surveys at http://www.umass.edu/fac/centerwide/school/index.html Thank you! Suggested Study Guide *Please note that this is only a suggested guide. As each group of students differs, instructors may wish to focus on only a few of the proposed topics of discussion or create their own study guide more suited to their particu- lar student group. We hope that your students enjoy this cultural experience and that it deepens their under- standing of this unique culture and art form! Sounds of Korea: Percussion and Dance Thursday, November 19, 2015 at 10 a.m. UMass Fine Arts Center Concert Hall

1 Welcome Welcome Welcome Welcome Information for Teachers and Parents Information for Teachers and Parents Information for Teachers and Parents Information for Teachers and Parents Our goal is to offer high quality performances for young people in a safe and comfortable setting. Please help us by following the below guidelines. Please arrive early. You should arrive at the theatre 30 minutes prior to the noted start time. Allow for travel time, parking, being seated and bathroom visits. It is important that we begin our performances on time so that all schools can meet their lunch and/or dismissal times. Be sure to check the location of the performance when making your bus reservations. Performances take place in the Fine Arts Center Concert Hall or Bowker Auditorium in Stockbridge Hall. Please see the map at the end of this guide for driving and drop-off instructions. Upon arrival your group will be greeted by an usher either at your bus or in the lobby. We do not issue individual tickets for performances. Your usher will direct your group to their reserved seats. Both theaters are accessible for Mobility Impaired members. An infrared listening system is available in both theaters. Access parking is available adjacent to the theaters. An Access permit should be clearly visible in the parked vehicle. To better meet your needs, please inform us of any special seating requirements one month prior to the performance by calling 413-545-2116. For the comfort of all our seated patrons, we request that backpacks, lunches and other gear be left on the bus. Also, please remove all hats when seated in the theater. Food, drinks other than water, smoking, candy and gum are all not allowed in the theater. The use of cell phones, portable music players, cameras or any other recording device, including non-flash photography and cell phone cameras, is strictly prohibited. PLEASE BE SURE TO TURN OFF ALL CELL PHONES. Any teasing, disruptive and rude behavior by students towards each other or to others seated close-by during a performance is not acceptable. Teachers and chaperones will be held responsible for any such incident reported to the Fine Arts Center staff. All complaints received will be forwarded to the schools involved. Repeated offences from the same school/s may result in cancellation of future reservations for shows.

3 Program Program Program Program Overview Overview Overview Overview The Sounds of Korea Music and Dance Ensemble elevates traditional music and dance from their homeland to a higher level. Their striking instruments and colorful costumes are part of the unfolding of the traditional performing arts of Korea – from Buddhist drumming and shamanistic dance to folk dance and music of many regions. Several of the ensemble’s members have earned the distinction of “Intangible National Asset” – the highest national honor for a performing artist in Korea. They have performed at various venues throughout the country including New York’s Lincoln Center, The 92nd St. Y, Wave Hill, and the Philadelphia Museum of Art.

4 Artists’ Bios Artists’ Bios Artists’ Bios Artists’ Bios Ki-Young Lee A minyo (folk song) singer in the Kyonggi regional style. He was trained under the late Master Chang-bae Lee, who was an Intangi- ble Cultural Asset for kyonggi minyo . Mr. Lee has and continues to perform in the New York area through his affiliation with the KTPAA and also served as the KTPAA Presi- dent in1998. Sue Yeon Park A traditional folk dancer with a specialization in seung moo (Buddhist ritual dance) and salpuri ch’um (shaman ceremonial dance). She was trained under the Master Dancer, Mae Bang Lee, who is an Intangible Cultural Asset of South Korea. Sue Yeon Park performs extensively in the U.S. and Canada, and continues to hold recitals and performances in South Korea. She is also trained in the Kyonggi regional style of folk minyo singing, and is a master of changgo drumming. She teaches dance and percussion drum- ming in weekly sessions at the association. Ms. Park is the founder of the Korean Traditional Performing Arts Association (KTPAA) in New York, also known as the Korean Performing Arts Center. Ye Sook Kim A traditional Korean dance performer whose training began at Sun- Hwa Art School in South Korea. She has performed extensively in South Korea as well as internationally in Japan, Canada and the U.S. Since 2001, she has been a dancer and arts coordinator at KTPAA. Gee Sook Baek A kayagûm player trained in the lineage of Yoo, Dae Bong. She is one of the few preservers of this esoteric style inherited through her father, the master kayagûm artist, In Young Baek. She studied the kayagûm at the Chu-Gye Traditional Music Conservatory in Seoul, Korea and since her immigration to the U.S. has been active- ly performing in the New York area with the KTPAA. Miss Baek teaches the kayagû m at the KTPAA in weekly sessions and serves as the Treasurer of the association.

6 Examples of Examples of Examples of Examples of Songs and Dances Songs and Dances Songs and Dances Songs and Dances DRUMS AND GONGS ( Samdo Suhl-janggo garak and Samulnori ) • Drum ensemble piece • Suhl-janggo composition ⇒ Played on janggo (hourglass drum) and buk (barrel drum) ⇒ Rhythms incorporate prolific rhythmic patterns passed on from legendary percussionists of samdo (“the three do,” referring to Gyonggi/Choong-choung, Honam, and Youngnam regions of Korea) • Samulnori ⇒ Literally means “four objects’ play” ⇒ Consists of janggo, buk, qengkari (small gong) and jing (large gong) ⇒ Originated during rural celebrations in farmer’s music • Tradition of group drumming dates back to ancient times when rural villages gathered together to pray for blessings and good will DANCE OF JOY ( Heung Chum ) • Well-kno wn improvisational folk dance based on characteristically Korean dance gestures and movements • “Heung” denotes joy, which is traditionally thought of as a feeling expressed in music and dance • Sensual quality of joy is evoked through internal and metaphysical terms rather than through external acrobatic motion • The way dancers hold and use fans are also evocative of an image of idealized flowers or birds inhabiting a pure and unfettered landscape

7 Examples of Examples of Examples of Examples of Songs and Dances Songs and Dances Songs and Dances Songs and Dances SWORD DANCE ( Gum Moo ) • Military dance handed down from age of Silla Dynasty almost two thousand years ago • Origins of dance purported to have come from Shilla people who danced to com- memorate the memory of a young boy, Hwang Chang Rang, who heroically gave his life for his kingdom in a suicidal attack on the opposing Beak-Jae Dynasty’s king. The dancer wears a mask in order to bear a resemblance to the young soldier • During Choson Dynasty, when this dance began to be performed in the king’s palace, the militaristic function of the dance was changed to the more elegant and artful dance that is seen today JANGGO DANCE ( Suhl Janggo ) • Very energetic and rhythmic dance where performers dance while beating drums that are strapped to their bodies • Drums are called janggo ⇒ Double-headed and hourglass-shaped ⇒ Played by striking skin with palm on left side and bamboo drumstick on right ⇒ In an artful fusion of music and choreography, the dancers dance and spin around playing yet graceful rhythms EXORCISM DANCE ( Salpuri Chum ) • Traditional folk dance that originated from the shaman’s dance to exorcise evil spirits and bad luck o dancer dressed in white dances with long white handkerchief to distinctive salpuri rhythm from southwestern regions of Korea • Distinctive up-and-do wn movement from dancer’s heel firmly grounded with the toes up carries through the body to the shoulders and rises and falls with the breath • One of the most powerful artistic expressions of the Korean sense of han , a mixture of grief and longing

9 Examples of Examples of Examples of Examples of Songs and Dances Songs and Dances Songs and Dances Songs and Dances FOLK SONGS ( Suhdo Minyo ) • Countless number of folk songs of various regional styles orally passed down through the generations grow out of Korean people’s love for singing • Vocal style from Suhdo (western and northern regions of Korean peninsula) ⇒ Style comparable to lamentations, sometimes tearfully emotional in its nasal reso- nance and sonorous vibrato • Minyo refers to songs with no recognized composer ⇒ Lyrics are timeless histories evoking life’s joys and sorrows through seasonal changes of time FAN DANCE ( Buchae Chum ) • Group dance that is one of the most popular traditional folk dances of Korea • Relatively modern dance that developed in the 18th century using the fan, ⇒ A prop used in shaman rituals ⇒ An object that was believed to expel evil and bring prosperity beyond its decora- tive and everyday functions • Grace of music combined with colorful costumes and shifting geometrical designs lead audience to believe that they are surrounded by a flower garden

10 About the About the About the About the Art Form Art Form Art Form Art Form Gloria Lee Pak is the former Director of Programming of Sounds of Korea and an ethnomusi- cologist. When you speak of traditional Korean music, are you referring to the music and dance from north or south Korea, or Korea as a whole? Well, first you have to remember that the split did not occur until the middle of the 20th century, and our traditional music and dance goes back many centuries before that. South Korea in the last t wenty to thirty years has begun to reinterpret that which had been lost for so many years. What makes Korean music different or special? First of all, Korean rhythms are broken into patterns of three. It is all in triple meters to ex- press the desire to undo the deep sorrow into great joy. Also, the percussion parts are not written down. They have been passed do wn orally from generation to generation. What’s kno wn as “court music,” which consists of strings and flutes does have written notation. How does the music affect the movement of the dancers? There is a real sense of tension and release in the body. First there is a heavy downbeat and then two lighter upbeats. The third beat leads us into the downbeat of the next meas- ure. The head and body go do wn on beat one and lift lightly on beats two and three. Al- so as the music gets louder or faster, our movements become larger, and then smaller as the music becomes slower or softer. What do you want people to understand or experience about your art form? I want people to experience the transformation of the music from slow to fast, from the Han or deep to the Heung or great joy. Traditional Korean music is not to be observed. It is to be experienced. What do you hope people will take away from attending your performance? I want them to know that Korea is a part of Asia. I want to break down the stereotypes that exist, and I want them to know that we are not Chinese or Japanese, but that we have our own country and our own culture. I want them to realize that Koreans are a part of the people that make up New York City. I want them to know who we are and where we come from.

12 Cultural & Social Cultural & Social Cultural & Social Cultural & Social Context Context Context Context KOREA: Follo wing World War II, Korea was split into a northern Com- munist half and a southern Western-oriented half. North Korea is located in East Asia in the northern half of the Korean peninsula bordering the Korean Bay and the Sea of Japan, with China and Russia to its north and South Korea at its southern border. Com- paratively, its area is slightly smaller than Mississippi’s with a population of 22 million. Buddhism and Confucianism are the chief religions. Buddhism was founded in India by Gautama Buddha in the mid 6th century B.C. and is known for its universal charity and compassion to- wards all people. Buddhist doctrine consists of the “four noble truths,” which state that people suffer because they try to hold on to things and concepts that are believed to be permanent, but are not. Confucianism is the philosophy founded on the teaching of Confucius (551-479 B.C.), which dominated the sociopolitical life of China throughout its history and also influenced Korea. Confucian doctrines support political authority to maintain order, preserve tradition, and maintain a standard of living for the peas- ants. North Korea relies heavily on international food aid to feed its population, while continuing to expend resources to maintain an army of over one million. Kim Chongril has ruled North Korea since has father’s death in 1994. Bet ween 1950-1953, the U.S. and other UN nations intervened to defend South Korea from the North Korea attacks supported by the Chinese. An armistice was singed in 1953, after which South Korea achieved amaz- ing economic growth. South Korea is located in eastern Asia on the southern half of the Korea peninsula bordering the Sea of Japan and the Yellow Sea. South Korea is slightly larger than the state of Indiana and has a population of around 45 million people. The religious orientation of South Korea is split bet ween Christianity and Buddhism. Korean is the official language, but English is taught in junior high and high school. In 1997, South Korea suffered a severe financial crisis from which it continues to make a recovery. South Korea remains committed to maintaining democracy as its political philosophy and in its government.

13 Glossary Glossary Glossary Glossary A cappella Vocal music that is performed without any instrumental accompaniment. Arrangement An adaptation and orchestration of a musical composition to a different medium than what it was originally intended for. Band A group of musicians performing together. Bass A musical instrument that produces tones in a low register (e.g. – electric bass, double bass, tuba). Buk Barrel drum Call and response Exchange between the lead singer’s improvisations and a group’s recurring response. Choreographer One who plans and oversees the movement in a dance program. Choreography The arrangement of movement in a dance. Ching Large gong played with a soft-tipped mallet. Chorus The section of a song that a group of singers or musicians repeats at certain intervals. Composer One who writes music. Daegum Bamboo flute. Harmony The relationship between chords, their progression and structure that result in a sound that is pleasing to the ear. Improvisation The unplanned and spontaneous creation of music during a performance. Interpretation A performer’s expression of a particular conception of a musical composition. Janggo Double-headed hourglass-shaped drum that is played while strapped to the body. Jing Large gong.

15 Glossary Glossary Glossary Glossary Chaango Jing Kayagum Deagum Qengkari Samulbuk

16 Bibliography Bibliography Bibliography Bibliography W E B S I T E S: http:// w w w . w am.umd.edu/~provine/akmrpage.htm – Association for Korean Music Research http://210.95.200.104/english_version/html/ja0h000101.html – The National Center for Korean Tradi- tional Performing Arts http:// w w w .korea-np.co.jp/pk/037th_issue/98040808.htm – Intro to Korean Musical Instruments http:// w w w . cia.gov/cia/publications/ factbook/geos/ks.html – CIA World Factbook – S. Korea http:// w w w . cia.gov/cia/publications/ factbook/geos/kn.html – CIA World Factbook – N. Korea http://korea web. w s/ – Korean Studies portal B O O K S: Lee, Byong Won [Yi Pyông wôn]. "Korea", in The New Grove Dictionary of Music & Musicians , ed. Stanley Sadie. Macmillan. Ho ward, Keith. Korean Musical Instruments: A Practical Guide. Seoul: Se-Kwang Music Pub- lishing Co. Lee, Byong Won [Yi Pyông wôn]. Styles and Esthetics in Korean Traditional Music. Seoul: Na- tional Center for Korean Traditional Performing Arts. Ho ward, Keith. Bands, Songs, and Shamanistic Rituals: Folk Music in Korean Society. Seoul: Royal Asiatic Society, Korea Branch, 2nd ed., 1990. Korean Traditional Performing Arts Centre [Kungnip kugag wôn]. The Traditional Music & Dance of Korea , ed. Alan Heyman. Seoul: Korean Traditional Performing Arts Centre. A U D I O: Four Thousand Years of Korean Folk Music . 2001. ASIN #: B000002NTU. Anthology of Korean Traditional Music. Seoul: Korean Traditional Music Publication Co., 1969. The Favorite Korean Folk Songs. Seoul: Se-Kw ang Music Pub. Co., 1972. V I D E O: Tune in Korea . 1999-2001. Available through Asia Society, Education Dept.,725 Park Ave, NY, NY 10021. Tel: 1-888-ASK-ASIA. http:// w w w . askasia.org/ for_educators/ fe_f rame.htm . Sopyonje. One of the first internationally recognized Korean films Set in 1950s and '60s Korea Tells the story of an orphaned brother and sister adopted by a vagabond musician who go on to master the art of the Korean drum and p'ansori (traditional folk singing) Available through Korean Cultural Service 460 Park Avenue, 6th Floor, New York, NY 10022. Tel: 212-759-9550. http:// w w w .koreanculture.org/c_lending.htm .

18 PARKING AND DIRECTIONS FOR THE FINE ARTS CENTER’S CONCERT HALL and RAND THEATER School Bus Parking: Students should be dropped-off at Haigis Mall off of Massachusetts Avenue. University Security will direct buses to an appropriate parking lot during the performance (typically by the football stadium). PLEASE BE SURE YOUR BUS DRIVER KNOWS THAT ALL PER- FORMANCES LAST APPROXIMATELY 1 HOUR AND THEY SHOULD RETURN A FEW MINUTES BE- FORE THE ANTICIPATED END TIME. If drivers are not with the buses, they may miss the radio call from security asking them to return for pick-up, resulting in unnecessary delays returning to your school. Individual cars: If necessary, individuals may drop-off students with a chaperone at Haigis Mall (you will be directed by security to the mid-point turn of Haigis Mall – see map) prior to parking. We rec- ommend parking in the Campus Center Parking Garage to avoid searching for a me- tered space. It is a five-minute walk to the Concert Hall. All other available parking during weekdays is at meters. Available lots and pricing (current as of 1/1/07) are listed below: Parking in the Garage is available to our patrons at a discounted rate of $1. To receive this rate you MUST give the Garage attendant a parking pass. To receive your pass, please call our office to let us know that you will be arriving by car. Parking passes are sent with the invoices. Please call (413) 545-2116 if you didn’t receive one. Parking meters are enforced Monday – Friday, 7AM – 5PM. Meter rates are $1.00 per hour. Parking Garage – near Campus Center, across from the Mullins Center off Commonwealth Avenue Lot 34 – Behind Visitors Center with 3, 5 & 10-hour meters available Haigis Mall – 2 hour maximum on meters Lot 62 - Adjacent to Fernald Hall with 3 hour maximum on meters, limited spaces available. From the North: (Vermont, Greenfield) I-91 south to Route 116. Follow signs on 116 “To the University of Massachusetts.” Exit ramp leads to Massachusetts Avenue. Turn left (east) on to Massachusetts Avenue toward the campus. Continue through one light and watch for Lot 34 by the Visitors Center on your right and the en- trance to Haigis Mall on your left. From the South: (Springfield, Holyoke) I-91 north to Route 9. Turn right (east) on Route 9 over the Coolidge Bridge and through Hadley. Turn left (north) on Route 116 (across from Staples) heading toward campus. Turn right at first exit at “University of Massachusetts,” then bear right onto Massachusetts Avenue toward campus. Continue through one light and watch for Lot 34 by the Visitors Center on your right and the entrance to Haigis Mall on your left. From the West: (Northampton, Pittsfield) Route 9 east through Northampton and over Coolidge Bridge. Fol- low remaining directions under “From the South”. From the East: (Belchertown, Ludlow) North on Routes 21, 181 or 202 to Route 9 into Amherst. Right on to North Pleasant Street (main downtown intersection), north through center of town. Turn left at Triangle Street (Bertucci’s Restaurant on your right), rejoining North Pleasant Street. To reach Lot 34 and Haigis Mall continue on main road, which becomes Massachusetts Avenue. Haigis Mall will be on your right, Lot 34 on your left.

19 For Concert Hall, Rand Theater and Bowker Auditorium – Patrons traveling by car are encouraged to park in the parking garage. Discounted parking is available in the garage for $1. A parking permit is required for discounted parking in the garage. Please call the Arts & Educational Programs Office if you require permits at (413) 545-2116. All other parking on campus is at available meters at the rate of $1 per hour. Parking is enforced Monday – Friday, 7AM – 5 PM. Buses will drop-off students as indicated on map. Buses will be given parking instructions by Campus Security.