Korean P’ansori in Yanbian: Transmission, Development, and Preservation
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P’ansori is a form of Korean narrative song typically performed by a solo singer/narrator accompanied by a drummer. The performance genre has become part of the cultural tradition of the Korean diaspora in Yanbian, China following the immigration of Korean people to China during the early 20th century. While p’ansori performances in Korea and China have been explored in depth by scholars from respective countries, few studies have directly compared and contrasted Korean p’ansori with Yanbian p’ansori. The major role that culture and society played in shaping the performance tradition as it spread from one community to another also failed to receive considerable academic attention. This article seeks to address these issues by examining the origin and development of p’ansori as well as its process of transmission to Yanbian.The influence of Neo-Confucianism on the content and repertoire of p’ansori performance during its heyday in Joseon Korea is discussed, as well as how culture and aesthetics have changed the preference of performers and audience in terms of timbral qualities, music structure, and performance style. In addition, the study considers the status quo and problems faced by p’ansori in China and the future of p’ansori protection in the digitized media age, stressing the necessity of education and innovation, the need for cultural communication, and the importance of balancing past, present, and future.
Abstract
P’ansori is a form of Korean narrative song typically performed by a solo singer/narrator accompanied by a drummer. The performance genre has become part of the cultural tradition of the Korean diaspora in Yanbian, China following the immigration of Korean people to China during the early 20th century. While p’ansori performances in Korea and China have been explored in depth by scholars from respective countries, few studies have directly compared and contrasted Korean p’ansori with Yanbian p’ansori. The major role that culture and society played in shaping the performance tradition as it spread from one community to another also failed to receive considerable academic attention. This article seeks to address these issues by examining the origin and development of p’ansori as well as its process of transmission to Yanbian.The influence of Neo-Confucianism on the content and repertoire of p’ansori performance during its heyday in Joseon Korea is discussed, as well as how culture and aesthetics have changed the preference of performers and audience in terms of timbral qualities, music structure, and performance style. In addition, the study considers the status quo and problems faced by p’ansori in China and the future of p’ansori protection in the digitized media age, stressing the necessity of education and innovation, the need for cultural communication, and the importance of balancing past, present, and future.
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