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>Information on Pansori

On August 19, 4 days later after the national independence, the National Music Construction Center was launched, which was continued to foundation of the National Center for Korean Traditional Performing Arts. Changgeuk movement became active again so several groups were founded. In May 1948, ‘Association of Female National Musicians’ that consisted of about 30 female national musicians was organized so Changgeuk was performed by females only. The repertory, escaping from the traditional Pansori, was expanded to story, unofficial history and folk tales.
The representative Changgeuk groups and Changgeuk works are [The Great Wall] of Gukgeuksa, [Samgyeong in Yedoseong] of National Changgeuk Federation, [Prince Hodong] of Joseon Changgeuk Group, [King Danjong and Six Loyal Servants] of Kim Yeon-Soo Changgeuk Group, which enjoyed the great popularity. On the other hand, [Sun and Moon] of Association of Female National Musicians made a big hit so the crowd surged in it.
However, such prosperity was momentary because the Korean War brought it to death. After the Korean War, Female National Changgeuk Group was organized again and it seemed to get popularity temporarily. Finally, 16 groups were organized, but after 1958, they started to decline and after April 19 Revolution, they disappeared. The end of Female National Changgeuk Group is same as the end of Pansori because at that time, Pansori was performed by Changgeuk Group or Female National Changgeuk Group except for a small number of singers like Bang-Wool Im, Eung-Min Jeong, Bong-Sool Park and Young-Chae Shin who held fast to pure Pansori.
The process ? Changgeuk style of Pansori which was continued after civilization came to an end, along with the end of Female National Changgeuk Group ? shows well what it will result in when purity of genre collapses. Through the introduction of the western stage, Pansori that was the object of listening was changed into the object of watching, and this flow led Pansori to put its focus on what to show. Consequently, Pansori got out of the traditional contents and format, and finally, Changgeuk led self-destruction. It goes without saying that the national difficulties and the dissolution of the national culture caused by the westernization accelerated it.
In November 1961, the Korean National Music Association was launched and in 1961, by the virtue of amendment of the governmental organization law, a national theater was prepared and the National Changgeuk Company of Korea was founded. From 1973, all the members of the National Changgeuk Company of Korea were paid, which was the start of the government’s support for Pansori.

Jang Pan-gye

(1885-1937)

Jeong Eung-min

(1896-1964)

Im Bang-ul

(1904-1961)

Park Rok-ju

(1906-1979)

Kim Yeon-su

(1907-1974)

Kim Yeo-ran

(1906-1982)

Jeong Gwang-su

(1909-2003)

Park Dong-sil

(1896-1969)

Lee Hwa-jung-seon

(1898-1943)

Lee Jung-seon

(1900-1932)

Gong Dae-il

(1910-1990)

Kim Myeong-hwan

(1913-)

Kim Deuk-su

(1917-)

Noted singers in the age of intangible cultural properties

The government’s political involvement in the traditional culture including Pansori became in earnest through the intangible cultural property system that was enforced in 1964, following Japan. Therefore, in 1964, Yeon-Soo Kim, Gwang-Soo Jeong, So-Hee Kim, and Yeo-Ran Kim were designated as intangible cultural properties, and then, Dong-Jin Park, Nok-Joo Park, Cho-Weol Park, Gui-Hee Park, Gwon-Jin Jeong, Seung-Ho Han, Do-Geun Kang, Jeong-Sook Oh, Chang-Soon Seong, Woo-Hyang Seong, and Sang-Hyeon Jo were designated too, who were under the national protection. The government felt the necessity for protecting the traditional culture on a national level so it enforced the intangible cultural property system, but the enforcement itself is a proof that the traditional culture has lost power of self-generation.
Pansori got the opportunity of revival through Pansori singers’ presentation of complete singing and Pansori listening show led by some intelligent persons. The singers’ presentation of complete singing is a presentation that singers sing Pansori from the beginning to the end, which was performed by Dong-Jin Park first in 1968. It was widely expanded, creating a great sensation among Pansori singers and audience. Now it has become a ground through which singers show their talents and have their performances evaluated. This system is evaluated to desirably position Pansori steadily while using the western stage and the western system, not damaging the traditional Pansori at all.