User:Tommytz/Pansori

Lead
Pansori is a 17th-century type of traditional Korean music. Audiences' emotions are conveyed via a combination of storytelling, musical instrument performance, and vocalization. Every time a Pansori story is told, there is a lesson to be learned by the listeners. The sound is often produced with leather drums. A variety of accessories and traditional clothes, including hand fans and hairpins, are included in the set.

Article body
The meaning of Pansori in Korean life

Pansori delivers the feelings of the artists to the audience most accurately. From anger, joy, sadness, pain are all portrayed via stories and plays. The stories described in Pansori all link to a distinct moral issue of people: Chunhyangga, Simcheongga, and Heungboga. Each tale teaches a valuable lesson and illustrates the ancient Koreans' believe in karma in their own unique way.

Chunhyang relates the tale of a girl who was born into a humble household but transformed herself after marrying the governor's son. She subsequently rejected and resisted another governor's pressure. The narrative concludes with her husband rescuing her when she demonstrates the purity, love, and unity of individuals from many social classes.

Simcheongga emphasizes filial piety, chastity, and fortitude. Simcheong was freed by the King of the Sea as a compassion act, and she met and married the king of her realm, whom she had sacrificed herself to restore his sight. When she organizes a blind party, she stumbles across his father. Her father's sight is restored as a result of her tremendous love and devotion. The song underlines the significance of parents and children developing a solid bond.

Heungboga's lessons underscore the pitfalls of human avarice. Heungbo's aid to a swallow with a broken leg pays off. His wicked brother, too, breaks a swallow's leg and does lovely things, but he pays for his actions. In this song, morality and goodness are praised, while wickedness is punished. This song teaches people this.

Preservation of Pansori

Compared to the 19th century, the number of Pansori performances and singers has drastically decreased. The fall is reflected in the quantity of audiences and the number of student performers interested in studying Pansori.

Orthodox Pansori performances in well-known places and on traditional theater stages are commonplace. Tradition-based theater and full-length performances in one of the many recognized specialty sectors of Orthodox Pansori are all included within the government of Korea's cultural conservation program, which includes Orthodox Pansori. The performances take place on well-known theater stages, recalling the excitement of older times of court and market entertainment. On the other side, dramatic platforms raise the performers above the audience. In the past, Pansori gave equal importance to the performers and the audience.

Touristic Pansori is a term that refers to renowned Pansori singers doing short acts of the traditional Pansori performance with other kinds of music, such as religious music. Often, the many short performances have nothing in common, like when court music or religious dances are combined with Pansori. International visitors and visitors from other regions of Korea make up the bulk of the audience. The objective is to make Pansori accessible to a broad audience that is unfamiliar with its norms or with the significance of the tradition to the Korean people.

Pansori and influences by western culture

Western performing arts first made their way to Korea in the late nineteenth century. Jeong Du-won brought Western music concept to Korea for the first time in 1632. He became familiar with Western music via the teachings of Chinese Catholic priests. Lee Eun-Dol, the first Korean to study western music at the Japanese Army's staff sergeant school, began coaching bugle bands in Seoul in 1882. Seo Sang's 1884 presentation of Yun's religious music, notably protestant songs, also had a considerable effect.