Origin and Transmission of Pansori

Origin and Transmission of Pansori

from the southern provinces. Origin and Transmission of Pansori When the female shamans finished their various rituals, chang-u, who were often the husbands or sons of the shamans, performed other entertainments and festivities. Their performances consisted of storytelling and singing and the melodic modes of their songs are similar to those now found in pansori. The oldest written record of pansori appears in Therefore we can conclude Manhwajib (晩華集 a literary book named after the writer s that pansori originated from pseudonym) written by Yu Jinhan in 1754. In the book, chang-u groups songs. the story of Chunhyang is recorded in a form of hansi Professional singers have (poems written in Chinese characters). Through this it can played an important role in be inferred that pansori already existed by the 17th century, the history and development it was centered in the southern provinces, and it of pansori and of those developed into its current form of performing art by the singers, particularly distinguished ones are called 18th century. myeongchang. Sin Jaehyo (1812-1884), a nobleman from The oldest record of pansori is Chunhyang-ga found in the Manhwajib, written in 1754 by Yu Jinhan. Chunhyang-ga in Manhwajib is recorded in a form of hansi (poems written in Chinese characters). There are many different literary and musical theories the late Joseon period who studied pansori and was the regarding the origin and transmission of pansori. Of those patron and teacher of several singers, maintained that Seoul, Gyujanggak Archives. theories the overriding explanation, which is generally accepted in the musical community, is that pansori was created by chang-u groups (professional entertainers, shaman. First, in the southern regions, a woman will inherit the occupation through her family heritage. In the northern regions of sometimes also known as clowns, who performed folk Korea a woman will generally receive a calling as a shaman arts) who are related to a class of inherited shamans through an extraordinary or ecstatic experience. 1) 16 1) In Korea there are two means whereby one may become a 17

performers should masters of those periods. Generally, the early 19th possess four qualities in order to master the art of pansori, namely, a (dramatic stage) presence, eloquence, vocal attainment, and good century, called the Era of Eight Early Masters, is when pansori development reached its peak and eventually enjoyed its heyday under the rule of King Sunjo (1790-1834). King Cheoljong s (1831-1834) period is called the Era of Eight Late Masters. The period between the late mimetic gestures. Those 19th century and the early 20th century, when King masters who attained distinctive vocal timbres and have all these four characteristics were the ones who shaped the history of pansori. Master singers created different deoneum, melo- Gojong (1864-1907) ruled the country is called the Era of Five Masters. The masters of each era are shown in the following diagram. During the Eight Early Masters period in the early 19th century, pansori was divided into several je (schools of pansori), led by pansori masters, according to their distinct deoneum, geographical regions, and lineage of pansori transmission, resulting in three major branches: dongpyeonje, seopyeonje and junggoje. A picture of a pansori performance included in the Gisanpungsokdocheop ( a picture book of the late Joseon period). This book, comprised of pictures describing the lives of common people is a very good reference for folk music and culture. Seoul, Museum of Soongsil University. dies or styles used to accentuate his or her unique abilities, which greatly contributed to the Eight Early Masters (early 19th century) Gwon Samdeuk Eight Late Masters (late 19th century) Five Masters (late 19th century, early 20th century) Kim Changhwan development of pansori. Song Heungrok Park Yujeon Song Mangap Therefore, the transmission process of pansori is Yeom Gyedal Park Mansun Yi Dongbaek sometimes recorded as a history of masters. U Chundae, Mo Heunggab Yi Nalchi Kim Changryong Ha Eundam and Choi Seondal, who lived during the reigns of Kings Yeongjo (1694-1776) and Jeongjo (1777-1800), are known to be the first pansori masters. For the 19th century, when pansori was at its peak and the early 20th century, when it fell into decline, the history of pansori is sometimes divided into periods centered on the Go Sugwan Sin Manyeop Kim Jecheol Hwang Haecheon Ju Deokgi Song Gwangrok Kim Sejong Song Uryong Jeong Changeop Jeong Chunpung Kim Changrok Yu Seongjun Jeong Jeongryeol Park Gihong Kim Changhwan Kim Chaneop Kim Chaeman 18 19

1) Lineage of Pansori Transmission Dongpyeonje Song Heungrok Group Kim Sejong Group Jeong Chunpung Group Junggoje 20 21

Seopyeonje Pansori singers, most of whom were male in the 18th- 19th centuries, primarily descended from families of inherited shamans or itinerant performers, belonged to cheonmin or the lowest class. However, as pansori gained a greater popularity among high-class people, singers were also cultivated from classes other than the cheonmin. In the late 19th century, the statuses of some master singers were raised through the conferral of honorary titles or government appointments. In the late Joseon period, pansori was not only performed in public places with a large audience, but also in the yards of government office buildings, or in the living rooms of influential figures. Pansori, with its refined, noble audiences developed into a highly sophisticated art form. Therefore, while less sophisticated performances were created for the common people, centering on the aniri (narrative aspects), highly refined pansori performances were woven 2) for those with a greater appreciation of the depth and breadth of pansori. 22 23

Master singers of 1940s : from left, Yi Hwajungseon and Park Rokju High remunerations were made for pansori singers including Yi Hwajungseon (1898-1943), Park Rokju (1906- when they performed for wealthy merchants of the 1981), Park Chowol (1913-1987) and Kim Sohui (1917- middle class and noblemen or at palaces, particularly for 1995). Emergence of the female singers was possible in their mastery of the sori, or singing portions of pansori. part because many masters began teaching pansori at Thus, pansori singers and their apprentices began to favor courtesan federations in order to spread and pass on performing pansori with more singing rather than aniri, as pansori in the late 19th and early 20th centuries when was popular with the commoners. Since that time, pansori pansori was in a decline. has been passed down as more of a musical art rather than dramatic one. 24 from left, Park Chowol and Kim Sohui Gradually losing its own basis for development and transmission, pansori fell into decline in the 20th century After these initial periods in pansori history, female when the Western-style theater, Wongaksa opened at the singers started to appear. The first female master was Jin end of King Gojong s period. Works of traditional Korean Chaeseon, known to be a disciple of Sin Jaehyo, who was music were also staged in the theater. Pansori was also a favorite of the father of King Gojong (1820-1898). performed in the Western-style theater but in a different After the 20th century, many female masters emerged, Master singers of 1940s : form. In the changed format, several singers were 25

(1906-1981) commanded great popularity among the public. Many female singers not only performed in traditional changgeuk musicals, but also the newly formed yeoseonggukgeuk - all female troupes. Although popular among the public, the development of changgeuk also imposed a hindrance to the transmission of orthodox pansori. Pansori singers who also performed changgeuk focused Master singers of 1940s : from left, Yim Bangul and Kim Yeonsu memorizing assigned different roles and this new creation signifies the changgeuk words, easy songs and elements of plays of the change from the existing solo performance into a multiple- new productions, rather than emphasizing the vocal singer performance, which was subsequently called training necessary for orthodox pansori. changgeuk (musical drama). Once introduced as a new As a result, traditional pansori was put at risk. The type of performance, changgeuk began to enjoy great singing style for changgeuk was called changgeuk sori and popularity among the general public. With such differed from that of pansori. Therefore, when changgeuk popularity, Chiaksan (Chiak Mountain) and other new singers sang solo pansori, they still sang in changgeuk sori productions were added to the existing pansori repertoire. style thereby compromising the authentic pansori tunes Against this backdrop, during the Japanese colonial 26 on Master singer of 1940s : Kim Yeoran and performance practices. rule many changgeuk organizations were created in which It was customary for changgeuk singers to take turns many pansori singers participated and performed. Many singing parts of the pansori tales before they began a masters who made their debut after the era of the Five changgeuk performance. However, the singers learned only Masters, including Yim Bangul (1904-1961), Kim Yeonsu the most popular parts of the pansori tales and received only (1907-1974), Yi Hwajungseon (1898-1943), and Park Rokju partial training instead of learning the entire, lenghty works. 27

decline of pansori. Against this backdrop, the junggoje school of pansori singing was discontinued and there were also difficulties with the transmission of dongpyeonje and seopyeonje. What is worse, after the 1950s, the increase in popularity of movies endangered not only pansori, but also changgeuk. Ushering into the 1960s, efforts were made for a pansori renaissance, centered at the National Center for Korean Master singers of 1940s : from left, Jeong Jeongryeol and Kim Changryong Additionally, Jeong Jeongryeol (1876-1938), a singer Traditional Performing Arts (henceforth NCKTPA). A who lived during the Japanese colonial rule era, wove a full-length pansori performance by a master Park Dongjin version of the Tale of Chunhyang in his own style and (1916-2003) epitomized these efforts. The performance the adapted pansori became very popular. Singers came was staged in the NCKTPA rather than a more to be more eager to learn Jeong s version of pansori works traditional venue such as open yards, nevertheless it rather than the goje sori (古制, traditional singing style). became a historic performance, signaling a renaissance As a result, with no one willing to continue the history of for full-length pansori performances. goje sori style, which had been handed down to Yi This initiated a series of full-length pansori Dongbaek (1866-1950), Kim Changryong (1872-1943), performances by such prominent masters of the late 20th Jeon Doseong (1864-?) and Jang Pangae (1885-1937), it and 21st century as Park Chowol (1913-1987), Seong was eventually discontinued. Panrye (1932- ), Kim Sohui (1917-1995) and Oh Jeongsuk Oppression of Korean culture by colonial Japan, the 28 Master singer of 1940s : Yi Dongbaek (1935- ). influx of Western cultures, and the changes of the times Placing the art of pansori onto a stage rekindled the led by the development of media also accelerated the public interest in pansori and also inspired students 29

to train in full-length performances. Today, with the revival of pansori, either fulllength or partial performances are staged year-round at the NCKTPA and National Theater of Korea. In addition, in the 1960s, the Korean government, with the introduction of the Intangible Cultural Properties system, paved the way to provide protection and support for the transmission of traditional Master singer of 1940s : Jo Mongsil culture and art, including pansori. Master singers in the late 20th century include Kim Yeoran (1907-1983), Jeong Gwangsu (1909-2003), Park Chowol (1913-1987), Park Dongjin (1916-2003), Park Bongsul (1922-1989), Han Seungho (1924- ) and Jeong Gweonjin (1927-1986). Most of these masters were designated as Living National Treasures (LNT). After the early LNTs passed away, many contemporary pansori singers, succeeding their teachers sori je, continue to actively perform on stage and are now being designated as LNTs, including Oh Jeongsuk (1935), Seong Panrye (1935- ), Seong Changsun (1934- ), Cho Sanghyeon (1939- ), Park Jeongja (1927- ), Song Sunseop (1939- ) and Han Gabju (1925- ). 30 Musical Structure and Expressions of Pansori