Pansori, Korea’s captivating solo opera, blends storytelling, music, and gestures, accompanied by a drummer. Originating in the 18th century, it’s recognized as a UNESCO masterpiece. Its diverse genres, like Eastern, Western, and Central styles, reflect regional influences. Pansori’s rhythm patterns, like Jin-yang and Jung-mori, convey various emotions in performances. Characters are vividly portrayed with depth and realism, reflecting societal realities. Despite modifications, Pansori remains rooted in secular realism, offering a unique blend of narrative, musicality, and social commentary. Research on Pansori has explored its literary, musical, and societal aspects, enriching our understanding of this cultural treasure.
Pansori is a type of solo opera, where one person performs songs and storytelling with gestures and speech, accompanied by a drummer called a “gosu” (고수). The word “pansori” comes from “pan” meaning “place where many people gather” and “sori” meaning “sound,” referring to songs sung in front of a large audience. Pansori performances can last from three to six hours and are characterized by dramatic storytelling set to traditional Korean melodies. Initially called “sori,” it later became known as pansori and is recognized as Korea’s Intangible Cultural Heritage since 1964 and a UNESCO Masterpiece of the Oral and Intangible Heritage of Humanity since November 7, 2003.
Origin of Pansori
Pansori, a form of vocal music performance, has been passed down in Korea since the 18th century. The term “pansori” originally referred to the sounds sung during “pannoleum” (판놀음), a type of traditional entertainment.
“Pannoleum” referred to various entertainments like acrobatics and tightrope walking. During the Joseon Dynasty, it included music by entertainers called “saemyeon” (樂子), along with poetry and narrative songs called “pansori” (本事歌). Therefore, referring to pansori simply as “changgeuk” (창극) or “changgeukjo” (창극조) is not entirely accurate. While “changgeuk” became a term after pansori was dramatized, it doesn’t accurately represent pure pansori. Similarly, “changgeukjo” is not quite suitable for the musical aspect of pansori.
The term “pansori” originated independently from “pannoleum” and refers to the sounds sung during performances. The literary form of pansori, documented in writing, is called “pansorisaseol” (판소리사설). Therefore, distinguishing between the musical term “pansori” and the literary term “pansoriseosul” is necessary, although using “pansori” interchangeably for both is acceptable, similar to “sijo” (시조).
Genres of Pansori
Pansori’s genres are a blend of music and literature that emerged during the medieval period in both Eastern and Western cultures. In China, during the Tang Dynasty, a genre called “gangchangryu” (강창류) originated, which evolved into “pyeonghwa” (평화) during the Song Dynasty, where storytellers mixed storytelling and singing to entertain the public, forming a narrative literature. This developed into a form similar to Korean pansori called “jegungjo” (제궁조) during the Goryeo Dynasty. Eventually, this evolved into folk operas and later into original songs. In Europe, after the medieval period, there were groups of wandering minstrels called “ginyu” (음유) poets. In France, monks in cathedrals sang in the vernacular language, called “changson de geste,” narrating the history of their cathedral for pilgrims, and romances developed in gatherings like squares and salons.
These literary and musical collaborations led to the creation of narrative forms found in every culture. This was a common literary form during the medieval period from around the 10th to the 14th and 15th centuries, but what’s distinctive about Korean pansori is that novels in written form emerged first, and this pansori form emerged later in the 18th century, which is its unique characteristic.
Types of Pansori
The period from King Sukjong to King Yeongjo of the Joseon Dynasty is generally considered the time when Pansori as a folk music form reached its completion. The golden age of Pansori is typically seen from the reign of King Jeongjo to the early years of King Cheoljong’s reign. During this period, renowned Pansori writers and theorists like Shin Jae-hyo and the Eight Master Singers emerged, which indicates its flourishing.
Pansori consists of twelve sections, also known as twelve “madangs.” In Song Man-jae’s <Gwanuhi> <Bonseoga> (Observation and Criticism), published around 1810, the twelve madangs of Pansori are listed as <Chunhyangga>, <Hwayongdo-taryeong>, <Bak-taryeong>, <Gangneungmaehwa-taryeong>, <Byeongangcho-taryeong>, <Walja-taryeong>, <Simcheongga>, <Baebijang-taryeong>, <Onggojip-taryeong>, <Gajja Sinseon-taryeong>, <Tokgitaryeong>, and <Janggitaryeong>.
Additionally, in Yun Dal-seon’s <Gwanghanruakbu> preface, compiled during the reign of King Cheoljong in 1852, it is recorded that Pansori consists of twelve “gangs” (taryeong). Similarly, in Jeong No-sik’s <History of Korean Traditional Opera>, there is a description of twelve “madangs” in Pansori. While most of the madangs mentioned in <Gwanuhi> are still sung today, some like <Byeongangcho-taryeong>, <Baebijang-taryeong>, <Janggitaryeong>, and <Onggojip-taryeong> are only found in written form and are not performed. <Gangneungmaehwa-taryeong> and <Walja-taryeong> have not been transmitted, let alone sung. Among them, <Gajja Sinseon-taryeong> is sung by modern pansori singers, but its melody and narrative transmission relationship with the pansori sung by the famous singer Jeong Jeong-ryul during the late Joseon and early modern periods are ambiguous.
From the evidence presented, it can be inferred that Pansori had twelve madangs before 1810. However, many of them were no longer sung during Shin Jae-hyo’s time, and since then, the number of madangs has gradually decreased. Currently, only five madangs are sung, including <Chunhyangga>, <Simcheongga>, <Hwayongdo (Cheokbyeokga)>, and <Bak-taryeong (Heungbuga)>. It is possible that the number of Pansori madangs could be more or less than twelve. It is believed that the choice of twelve madangs was not necessarily because Pansori had to have twelve madangs but rather because people traditionally favored the number twelve. Thus, the repertoire of Pansori could be twelve or more, or even fewer.
Structure of Pansori
Pansori is a form of storytelling performed by a solo singer (sori gwangdae) accompanied by a drummer (gosu), who sits and plays the drum. It involves singing, speaking, and rhythmic gestures while weaving a lengthy narrative.
Thus, the term “Pansori” means “sound play” or “storytelling with sound.” While the word “sori” can refer to sound or melody, as seen in the case of traditional songs or bird calls.
“Pannoreum” refers to a wide platform used for various forms of entertainment such as music, dance, drama, and acrobatics, arranged sequentially. Commonly prefixed with the word “pan” in relation to Pansori, examples include “panjul” for tightrope walking, “panchum” for dance, “panguk” for ritual music, “panyeombul” for acrobatics, and “pansori” for storytelling.
Historically, Pansori has been referred to in old texts as “bonsaga” (story songs), “taryeong” (beat songs), “jabga” (miscellaneous songs), “geukga” (dramatic songs), and “changga” (singing songs). However, except for “bonsaga,” these terms do not specifically refer to Pansori. “Taryeong” and “jabga” imply folk music, while “geukga” refers to dramatic singing, and “changga” denotes songs sung by performers.
Performers in Pansori are known as “gwangdae,” who entertain by singing, speaking, and gesturing while seated. Depending on their expertise and role, they may be categorized into different types such as “changu” (singing clown), “changbu” (singing man), or “nolribachi.” Among them, “sorigwangdae” received the most recognition. Skilled sorigwangdae were called “myeongchang” (famous singers) and were honored with the title “gagaek” (song guest). Originally, “gagaek” referred to those who sang traditional songs. While gwangdae typically wore blue clothes and a bamboo hat, distinguished singers wore formal attire with a gat (traditional hat) and a gatshin (headband).
In Pansori, singing is called “sori,” and speaking is called “aniri.” Whether sung or spoken, without adhering to fixed rhythms, it’s considered “aniri.” Thus, spoken parts are called “maljoaniri,” and sung parts are called “sorijoaniri.” Among famous singers, some excel in “sorijo” (singing), while others excel in “aniri” (speaking), but both are considered skilled performers.
The gestures and movements performed by gwangdae in response to the music and narration are called “ballim.” It includes dance-like movements synchronized with the music, expressive gestures emphasizing the music, and dramatic gestures depicting the narrative.
Ballim has its techniques, and although some famous singers, like Kim Chang-hwan, emphasize ballim, others, like Song Mang-gap, focus less on it. However, all follow the same basic principles. Gosu, also known as “chwi-gosu” or “goin,” refers to the drummer who plays the “samhyeon” (three-stringed instrument), but in Pansori, it specifically denotes the drummer who plays the drum.
In Pansori, the drummer follows the rhythm set by the gwangdae’s voice, providing cues for tempo and beat while also engaging in banter to add dramatic tension. The drummer’s role is crucial, hence the saying “One drummer, two famous singers.”
When the gwangdae’s performance excites the audience, the drummer or the audience shouts expressions like “Jota” or “Eolssigu” to heighten the excitement, known as “chuimsae.”
The drummer’s chuimsae serves various purposes, such as stimulating excitement, filling gaps in the music, replacing rhythmic beats, enhancing dramatic tension as a foil to the gwangdae’s performance, and emphasizing musical or dramatic elements.
Pansori performances were held at government offices, villages, or private gatherings. The performance area, called “soripan” or “soricheong,” was typically the courtyard of a government office, a village square, or a large veranda.
Pansori was sometimes performed alongside tightrope walking, acrobatics, and folk dances, or as standalone performances. During the late Joseon period, it was also performed in private chambers.
In the middle of the Joseon dynasty, sorigwangdae sang various stories in Pansori format, selecting twelve among them, which are detailed in works like Song Man-jae’s “Gwanuhi” and Jeong No-sik’s “History of Korean Traditional Opera.”
These twelve sections gradually disappeared, and by the late Joseon period, only five sections remained, sung by the last famous singers active during that time. These sections include “Chunhyangga,” “Simcheongga,” “Heungboga,” “Sugungga,” and “Cheokbyeokga.” The rest were no longer transmitted.
Regional Characteristics of Pansori
Pansori has developed different styles based on regional characteristics and transmission lineages, covering a wide area from the western part of Jeolla Province, Chungcheong Province, to the southern part of Gyeonggi Province. These regional styles are categorized as follows:
Eastern Style (Dongpyeonje, 東便制)
The Eastern Style is centered around the transmission of singing styles from the northeastern regions of Jeolla Province, including Unbong, Gurye, Sunchang, and Heungdeok. It is mainly based on the singing styles transmitted by famous singers such as Song Hyeong-rok, Song Gwang-rok, Park Man-sun, Song U-ryong, and Yu Seong-jun during the Joseon Dynasty.
Additionally, singing styles transmitted by figures like Kim Se-jong, Jang Ja-baek, Jung Chun-pung, and Park Gi-hong also contributed significantly to the Eastern Style. Singing in the Eastern Style often utilizes a lot of “woojo” (melodic patterns), has a heavier vocalization, and features short, thick, and majestic endings to phrases.
Western Style (Seopyeonje, 西便制)
The Western Style is based on the transmission of singing styles from the southwestern regions of Jeolla Province, including Boseong, Gwangju, and Naju. It is primarily centered around the singing styles transmitted by famous singers like Park Yu-jeon and successors such as Lee Nal-chi and Kim Chae-man during the reign of King Cheoljong.
Additionally, singing styles passed down by figures like Jung Chang-eop, Kim Chang-hwan, and Kim Bong-hak also formed significant branches of the Western Style. Singing in the Western Style often utilizes more “gyeomyeonjo” (modulation patterns), has lighter vocalization, and features longer and more intricate endings to phrases.
Central and High Style (Junggoje, 中高制)
The Central and High Style encompasses singing styles transmitted in the regions of Gyeonggi Province and Chungcheong Province. It is primarily based on the singing styles passed down by famous singers like Kim Seong-ok, Kim Jeong-geun, Hwang Ho-tong, and Kim Chang-ryong during the reign of King Cheoljong.
Additionally, singing styles transmitted by figures like Yeom Gye-dal, Go Su-gwan, Han Song-hak, and Kim Seok-chang also contributed significantly to the Central and High Style. Singing in the Central and High Style is closer to the Eastern Style, featuring a refined and intense rhythmic structure.
The Rhythmic Patterns of Pansori
The music of Pansori is rooted in the indigenous music of the local regions within the traditional music circles. It can be seen as originating from the simple forms of folk music sung by chanters within the ritual music of the traditional music circles, and evolving into highly artistic music by incorporating various musical techniques from other fields as well as expanding and elaborating on rhythm patterns and vocal expressions. It seems that various tones and vocal qualities have developed depending on the nature of the performers.
Today, Pansori can express a wide range of musical and dramatic emotions through various rhythms, melodies, embellishments, vocalizations, and articulations. It is highly regarded as excellent dramatic music due to its ability to musically express various dramatic situations depicted in Pansori narratives.
Different rhythmic patterns, called “jangdan,” are used in Pansori performances, including Jin-yang, Jung-mori, Jung-jung-mori, Ja-jin-mori, Hwi-mori, Eot-mori, and Eot-jung-mori. Among these, Jung-mori, Jung-jung-mori, and Ja-jin-mori were likely the basic rhythmic patterns.
Pansori utilizes various rhythmic patterns ranging from slow to fast, depending on the dramatic situation depicted in the narrative.
Jin-yang(진양)
Jin-yang is a slow rhythm based on a 3-beat or 6-beat structure, with variations in the drumming pattern occurring every 3 to 6 beats. The unit of this variation is called “gak,” and it is commonly set to a 4-gak cycle, resulting in a 24-beat rhythmic pattern. Jin-yang is often used in calm and lyrical scenes in Pansori narratives. Famous passages in Jin-yang include “Red Castle Song” and “Longing Love Song” from Chunhyangga.
Jung-mori(중모리)
Jung-mori, also known as Jung-meori, is a moderately fast rhythm based on a 2-beat or 12-beat structure. It is divided into slow Jung-mori, moderate-paced Pyeong-jung-mori, and slightly faster Ja-jin-jung-mori. Jung-mori is often used in serene or descriptive scenes in Pansori narratives. Famous passages in Jung-mori include “Pulling Chunhyang” and “Reunion in the Prison” from Chunhyangga.
Jung-jung-mori(중중모리)
Jung-jung-mori is a slightly slower rhythm than Jung-mori, with a 3-beat or 4-beat structure that can also be perceived as slightly faster 12-beat rhythm. It is divided into slow Nujin-jung-jung-mori and moderate-paced Ja-jin-jung-jung-mori. Jung-jung-mori is often used in lively scenes involving dancing or lively actions in Pansori narratives.
Ja-jin-mori(자진모리)
Ja-jin-mori, with a 3-beat or slightly faster 4-beat structure, is divided into slow Nujin-ja-jin-mori and slightly faster Ja-jin-ja-jin-mori. It is often used in fast-paced and intense scenes in Pansori narratives.
Hwi-mori(휘모리)
Hwi-mori is a very fast rhythm with a 2-beat structure, which is divided into several units for drumming variations. It is commonly used in highly intense and fast-paced scenes in Pansori narratives.
Eot-mori(엇모리)
Eot-mori is a complex rhythm with a mixed beat structure, often perceived as a very fast 10-beat rhythm. It is used in mysterious or supernatural scenes in Pansori narratives.
Eot-jung-mori(엇중모리)
Eot-jung-mori is a moderately fast rhythm with a 2-beat structure, corresponding to Ja-jin-dodri-jangdan. It is commonly used in the concluding parts of Pansori performances.
In addition to rhythmic patterns, Pansori performances also utilize various rhythmic embellishments, called “bupimsae(붙임새),” to enhance the musical expression. These embellishments include Eot-bupim, Ineo-geori, Wanja-geori, Gyodae-juk, and Doseop, among others. Proper use of bupimsae adds dynamism and richness to the rhythm, while improper use, known as “saengja-bupim,” is frowned upon as it disrupts the natural flow of music. These terms for Pansori rhythmic patterns and embellishments are also used in similar musical traditions such as Sanjo, Sinae, and Nongak, as well as in folk dance terminology for choreography.
The Literary Characteristics of Pansori
The fundamental structure of Pansori narratives consists predominantly of inherited tales and legends. Through the evolution of Pansori performances, singers expanded and elaborated on particularly intriguing aspects of these traditional stories.
These newly created sections, enriched with literary and musical innovations, are referred to as “deon-eum.” Modern Pansori performances are the culmination of numerous such deon-eum.
Thus, rather than striving for overall narrative tension or coherence, Pansori tends to focus on expanding and emphasizing particular moments or scenes, aiming to captivate the audience with localized interest and emotion.
It’s common in Pansori for the content to sometimes exhibit inconsistencies or discrepancies between different parts. This is due to the emphasis on individualized storytelling within the performance.
Pansori employs a series of techniques to engage the audience, including the juxtaposition of dramatic and humorous scenes, alternating between tension and release, creating a unique rhythm that fosters psychological and aesthetic effects.
Characters in Pansori are not only diverse but also vividly portrayed, exhibiting a sense of depth and realism. Events and settings in Pansori often reflect the contemporary social reality or its allegorical projection. The characters within these settings are not idealized figures but rather ordinary individuals reflecting the realities of their time.
Even characters with exceptional abilities are not portrayed as flawless heroes but are often subject to satire and ridicule. Moreover, negative characters are not always depicted as purely evil but often exhibit human vulnerabilities.
Additionally, Pansori features characters like Bbang-ja, Ae-nang, Jeong-uk, and Mae-hwa, who, despite being under feudalistic hierarchies, expose the hypocrisy and weaknesses of their superiors, adding a layer of social commentary and satire.
Pansori narratives blend prose and verse and exhibit a wide range of linguistic and rhetorical styles. From elegant classical phrases to overtly comical and colloquial expressions, the language in Pansori is diverse.
The narrative style in Pansori often undergoes significant changes depending on factors such as character background, temperament, and the tone of the scene. This phenomenon, known as “literary style separation,” contributes to the dynamic nature of Pansori storytelling.
While Pansori narratives primarily reflect the worldview and sensibilities of the common people, they also critique medieval ethics and values in a satirical manner. The secular realism based on the experiences of ordinary people forms the core of life in Pansori.
However, the adoption of yangban (aristocratic class) audiences in some Pansori performances since the early 19th century has led to modifications and compromises in its content, resulting in a dualism between surface and underlying themes, particularly evident in the remaining five stories of the traditional canon.
Nevertheless, when interpreting Pansori as a whole, it’s evident that its societal consciousness and worldview fundamentally lean towards a secular realism, despite not fully replacing medieval ideologies.
Research on Pansori began in the 1930s and continued until the 1960s, primarily focusing on literary and musical aspects, with later studies delving deeper into its societal and narrative characteristics, as well as its interpretation in relation to contemporary theatrical performances.
While the exploration of Pansori’s live performance aspect remains a challenging task, the integration of literary and musical studies promises advancements in understanding and explaining its intricacies.