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Dynamic Korea and Rhythmic Form
DYNAMIC KOREA AND RHYTHMIC FORM
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Meanwhile, the fledgling percussion quartet continued to evolve. At each consecutive appearance at the Space Theater, the quartet began to expand and develop its repertory in an organic manner. The rhythms of p’ungmul provided the musical grammar for SamulNori’s experiments in reconfiguring their own “language”—a slick and streamlined, yet somewhat recognizable urban dialect of p’ungmul. Interestingly, these musical explorations were always informed by the sonic identifiers of place—each “piece” an interpretation or “rearrangement” of rhythmic patterns from the central, southeastern, and southwestern regions of p’ungmul performance. The members of the quartet became a de facto study group, learning and researching rhythmic patterns associated with a variety of local percussion bands throughout South Korea. For this reason, the quartet’s incipient years can be viewed as part of the SamulNori “project,” which I base in part on Alain Delissen’s “Konggan Project.”
Kim Sugŭn’s Space Theater was the perfect incubator for this project, and influential figures such as Kang Chunhyŏk and Sim Usŏng served as trusted advisers. Similar to Kim, Kang, Sim, and the Minsogakhoe Sinawi, the quartet members (even while in flux) also shared a desire to rekindle Korea’s dwindling folk arts. Founding member Kim Duk Soo reflected on this preservationist impulse in the context of South Korean history:
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