SAT MAR 15 2014
SamulNori Kim Duk Soo with
김덕수의 사물놀이 공연 CHAN CENTRE FOR THE PERFORMING ARTS AT UBC 1
Welcome A few years ago, I was lucky enough to be able to visit Seoul, Korea for a performing arts conference. It was there that I became inspired to bring the internationally celebrated South Korean group SamulNori to the Chan Centre. This famous ensemble is named after an important form of percussion music that comes out of a Korean tradition of music, acrobatics, folk dance and rituals. The tradition came from farming villages and was used to celebrate and safeguard strong harvests. In the 1970’s during the time of martial law in South Korea, this kind of performance was linked with the student movement and anyone playing these folk instruments risked being arrested. The ensemble that you are about to see tonight, is led by renowned musician and brilliant performer Kim Duk Soo, who is credited for adapting this tradition and bringing it indoors to the concert stage in response to the political climate of the time. I am thrilled to welcome these artists to the Chan Centre. We are very fortunate to have to have on faculty, Dr. Nathan Hesselink, Professor of Ethnomusicology at UBC’s School of Music and author of a recently published book on the group entitled SamulNori: Contemporary Korean Drumming and the Rebirth of Itinerant Performance Culture. As a scholar, performer and passionate enthusiast of this music, we thank Dr. Hesselink for being such an incredible resource. We are also grateful to him for helping curate a number of enriching outreach activities leading up to this concert as part of our Chan Centre Connects Series. We would also like to thank the Consulate General of the Republic of Korea in Vancouver, UBC’s own Samulnori Korean Drumming ensemble, Ross King and the Department of Asian Studies, and the Traditional Korean Arts School in North Vancouver for their support, involvement and enthusiasm. Most especially, thank you for joining us for this powerful night of music and pageantry!
- Joyce Hinton Co-Managing Director, Chan Centre for the Performing Arts
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SamulNori with Kim Duk Soo Presented by the Chan Centre for the Performing Arts
Pre-Show Talk: with Dr. Nathan Hesselink Professor of Ethnomusicology, UBC School of Music 7:15pm - Royal Bank Cinema Performance: 8:00pm - Chan Shun Concert Hall Kim Duk Soo, founder and artistic director Hong Yun Ki Hyun Seung Hun Song Dong Woon Mun Sang Jun Joo Young Ho Lee Jun Hyeong
Program: Binari (Prayer song) Samdo Sul Changgo Garak (Changgo rhythms from the three provinces) Samdo Nongak Garak (Nongak rhythms from the three provinces)
Intermission Pan Gut (Play)
The performance will be approximately 1 hour and 40 minutes total, including one 20 minute intermission. Please remember to turn off your cell phones, and note that photography and/or recording of any kind is not permitted. Thank you!
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The Significance of Kim Duk Soo and SamulNori I first witnessed Korean drumming during my initial visit to Seoul the summer of 1992. Living in East Asia at the time as a budding graduate student in ethnomusicology, I had nonetheless never heard such music before and was completely unaware of the depth and richness of the tradition. There was only eight minutes of drumming during the concert I attended, and yet the performance was so powerful and moving that I knew I had to dedicate my professional life to playing, researching, and disseminating this beautiful and challenging art form. It was only many years later that I realized the full significance of what I had experienced back in 1992. The music (and dance) had roots extending back centuries, and yet the specific manner of presentation I saw had only been conceived in 1978. The brainchild of two young percussion virtuosos—Kim Duk Soo and Kim Yongbae (both surnames Kim, though they are unrelated)—what came to be known as SamulNori represented the repackaging and revitalization of a rural folk art practice for a modern concert hall stage. At a time when most of South Korean society was embracing Western music and dance en masse, SamulNori boldly invested itself in understanding and promoting this older art form, at the same time updating elements of its performance to suit a younger and more modernized citizenry. What they accomplished was a complete reorientation of South Korean attitudes towards traditional performative culture; and in the process, they also garnered the attention and admiration of audiences around the world. Kim Yongbae is unfortunately no longer with us. But Kim Duk Soo is still very much active as a performer and educator, and SamulNori continues to inspire generations of South Korean traditional musicians and dancers, as well as a worldwide community of SamulNori followers (known affectionately as “Samulnorians”). With all of his accolades and fame, however, it is still relatively rare to see Kim Duk Soo and SamulNori perform outside of South Korea or Japan. What this performance of SamulNori with Kim Duk Soo at the Chan Centre will mean for local Vancouver audiences is the opportunity to see a physically demanding and musically stirring event with few parallels, performed by the founder of the genre and movement that transformed the late twentieth century. For the many students who have taken my Korean drumming course at UBC it will provide direct access to Master Kim through workshops and the live concert event. And for me personally it will serve as a reminder of the love and deep satisfaction I have been afforded by a life transformed by SamulNori.
- Dr. Nathan Hesselink 4
Professor of Ethnomusicology, UBC School of Music
SamulNori SamulNori began as a group of four dynamic musicians dedicated to performing and preserving traditional Korean music and dance. Founded by Kim Duk Soo in 1978, SamulNori sparked a renaissance in Korea’s music scene and garnered worldwide acclaim. The Korean words samul and nori mean ‘four things’ and ‘to play.’ SamulNori thus refers to the four musicians playing and dancing with four percussion instruments. The origins of this music can be traced to what is usually referred to as farmers’ band music (Nongak) and ceremonial music. It also incorporates the influences of folk and religious music (Binari). In 1993, SamulNori became SamulNori Hanullim Inc. This change signified the growth from a four-man performance ensemble to a company of thirty artists and students. The ensemble performs in many configurations but usually tours as a quartet with Master Kim at the helm. SamulNori has toured extensively around the world, conducting extensive workshops with local musicians to impart knowledge of traditional Korean arts, music and dance. They have collaborated with many highly acclaimed musicians in a variety of styles of music from jazz, to pop, to classical. SamulNori has also recorded 15 records to date.
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The Instruments:
Lightning, Wind, Rain, and Clouds The “k’kwaenggwari” is a small gong that is made mainly of brass with traces of gold or silver. It is hand held and played with a bamboo mallet. As each instrument is associated with an element in nature, the k’kwaenggwari is related to lightning. The “ching” is a large gong that is struck with a padded stick. This instrument can be played in a number of ways: hung on a frame, hand-held by handle, or played with two hands. A ching should make an oscillating sound, imitating the shape of the valleys of Korea. This instrument is associated with the wind. The “changgo” is often called the hourglass drum, referring to its shape, which is similar to an hourglass. The drum has two sides, each with different types of leather skin. One side produces a high pitched sound when the other produces a low one, so this instrument has a wide sonic palette. This instrument is associated with rain. The “buk” is a barrel drum, made of a piece of hollowed out wood and two leather skins tied to the wood. It is played by a single stick and provides the bass sounds of the group. The buk is related to the clouds.
Kim Duk Soo Kim Duk Soo is the founder and leader of SamulNori, and has been recognized as one of the fifty most influential figures in Korea through the last five decades. Born in 1952, Mr. Kim was chosen out of eight other siblings to follow in the footsteps of his father as a professional musician in the tradition of wandering artist, or namsadang (the troupe of Korean Traditional Performing Arts). At the age of five he was awarded the President’s citation for his performance ability, thus beginning an amazing personal career that has taken him to virtually every corner of the world. He graduated from the Korean Traditional Music and Performing Arts School in Seoul and attended one year of college before the demands of his professional life took over. Aside from his talents as a performer, he has managed, directed and created numerous productions involving music, dance, and theatre. In addition to a busy touring schedule, Mr. Kim teaches at the Korean National University of Arts and serves as artistic director of SamulNori Hanullim Inc. 6
Program Notes Binari (Prayer song) A sweeping prayer song used to signal the beginning of a stay at a village, Binari can now be heard at events such as the opening of a new business or building, or at a performance. The shaman sings the extensive prayer, which touches on many aspects important to Korean beliefs. It recounts the tale of creation and it calls upon the various spirits that reside in the village and homes, eventually asking for a blessing upon the people, the players and the ground they inhabit. Traditionally placed on the altar is an abundance of food offerings to the gods and ancestors, including a pig’s head. Participants are invited to approach the altar with prayers. They may also light an incense stick, pour rice wine and bow. It is also customary to place an offering of money on the altar. The head of the pig signifies wealth, health and abundance; and, if an offering of money is placed in the mouth of the pig, it is believed that the prayers brought to the altar will be answered generously.
Samdo Sul Changgo Garak (Changgo rhythms from the three provinces) For this performance, all performers are seated with a changgo (hourglass drum) and play an arrangement consisting of the most representative changgo Garak (rhythmic patterns) of the three Korean provinces. Originally, one player would fasten the changgo to his body and perform a showy solo piece, flaunting his unique style of dance and technique. SamulNori created this new arrangement to be played while seated, shifting the focus from showmanship to musicality. This piece consists of five movements, showcasing five different Garak, beginning with the technically demanding “Tasurum,” and finishing off with the climax “Hwimori.”
Samdo Nongak Garak (Nongak rhythms from the three provinces) Like the previous piece Samdo Sul Changgo Garak, Samdo Nongak Garak is also an arrangement of different rhythms from the three provinces. Some of the Garaks that appeared in the previous piece also appears here, now interpreted by the four different instruments. During festivals, performers would traditionally have played these instruments while dancing, but SamulNori has broadened the scope of the many Garaks that appear by playing seated and developing the musical possibilities of this arrangement. The music’s intimacy with the land and agrarian culture is evident in the verses the performers exclaim before the climatic portion of this piece: Look to the sky and gather stars. Look to the ground and till the earth. This year was bountiful Next year let it also be so. Moon, moon, bright moon, As bright as day; In the darkness, Your light gives us illumination.
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Program Notes continued Pan Gut (Play)
Photo: Rolline Laporte
This dance features the “sangmo” (a ribboned hat) and the “bupo” (a feathered hat) which the performers will make move and spin with the energy of their dancing bodies. This particular Pan Gut is a modern rendition of the large group dances of the farming festivals made suitable for a few men on a stage. Because farmers were traditionally recruited as soldiers when a war broke out, there was a great exchange of ideas between the military musical tradition and village dances. Most of the choreography is based on military exercises, and the hats the performers wear resemble ancient helmets. It has also been said that the sangmo originally had shards of glass and metal attached to the ribbon and were used as weapons during battle. With feet treading the earth, ribbons flying upward, and rhythms sounding through the air, the players attempt to consummate the union of heaven, earth and humankind. The banner, the spiritual member of the troupe, with its stake driven into the ground, and its feathers reaching for the sky, embodies the desire for cosmic harmony.
THANK YOU!
Thank you to the Consulate General of the Republic of Korea in Vancouver for their support of tonight’s presentation.
Exploring the role of the arts and artists in society - chancentre.com/connects The Chan Centre Connects series features panel discussions, talks, film screenings and master classes, programmed by Artistic Presenting Manager Christine Offer in conjunction with the Chan Centre’s concert season. The purpose of this series is to engage the community in global issues and intercultural experiences through the lens of the arts. Chan Centre Connects events programmed around the presentation of SamulNori have included a film screening of Intangible Asset No. 82 in partnership with The Cinematheque, a talk on traditional Korean music in film by Dr. Hee-sun Kim, a film screening of The King and The Clown, both a beginners and advanced drum workshop with members of SamulNori, and finally the pre-concert chat this evening by Dr. Nathan Hesselink.
Upcoming Chan Centre Connects events: May 1, 2014 at 7pm - Give Me the Banjo at The Cinematheque (1131 Howe Street) This film, narrated by Steve Martin, explores the rich and varied story of the banjo. Presented in conjunction with the BĂŠla Fleck and Abigail Washburn concert on May 10th at the Chan Centre.
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Upcoming Events at the Chan Centre Full details at chancentre.com Sat Mar 22 at 7pm: UBC Opera Ball Presented by UBC Opera Ensemble Wed Mar 26 at 12pm + 6:30pm: Shane Koyczan Presented by the Chan Centre for the Performing Arts as part of the Beyond Words series. Telus Studio Theatre Fri Mar 28 at 8pm: The Natural World - UBC Concert Winds Presented by the UBC School of Music. FREE Sat Mar 29 at 8pm: Music for Film - UBC Symphonic Wind Ensemble Presented by the UBC School of Music. FREE Sat Mar 29 at 7:30pm, Sun Mar 30 at 2:30pm + 7:30pm: Thirst: Music of Ana Sokolovic, Julia Wolfe and Michael Oesterle Presented by musica intima, Nu:BC and Turning Point Ensemble in partnership with the Chan Centre. Telus Studio Theatre Fri Apr 4 at 8pm: Concerto Winner Concert featuring Hillary Young – UBC Symphony Orchestra Presented by the UBC School of Music. FREE Sat Apr 5 at 8pm: Stars – University Singers Presented by the UBC School of Music. FREE Sat Apr 6 at 4pm: Pinchas Zukerman & Yefim Bronfman Presented by the Vancouver Recital Society as part of the Classic Afternoons series at the Chan Centre Sat Apr 12 at 7:30pm: Passion and Resurrection Presented by Elektra Women’s Choir and Chor Leoni Men’s Choir in partnership with the Chan Centre Fri Apr 25 at 8pm, Sat Apr 26 at 8pm: Strings and Serenades Presented by the Vancouver Symphony Orchestra as part of the Classical Traditions series at the Chan Centre
Upcoming in May: May 10: Béla Fleck and Abigail Washburn Presented by the Chan Centre for the Performing Arts
Danse Lhasa Danse 10
Béla Fleck and Abigail Washburn
The Chan Centre for the Performing Arts at UBC Joyce Hinton Cameron McGill Jazel Argente Carl Armstrong Wendy Atkinson Brad Danyluk Kara Gibbs Beng Khoo Flora Lew Glenda Makela Trevor Mangion Claire Mohun Christine Offer George Pereira Andrew Riter Nadia Roberts Lyndsey Townsend
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Dal Grauer Memorial Lectures 11
thirst
radius
at the Telus Studio Theatre
Music of Ana Sokolovic, Julia Wolfe and Michael Oesterle An instrumental and vocal collaboration with Turning Point Ensemble, musica intima and The Nu:BC Collective
SAT MARCH 29 7:30pm, SUN MARCH 30 2:30pm + 7:30pm, 2014
Telus Studio Theatre, Chan Centre for the Performing Arts at UBC (6265 Crescent Rd, Vancouver) $10-35 I TICKETMASTER.CA 1.855.985.ARTS (2787) I CHANCENTRE.COM
Nu:BC
at the Chan Centre
Shane Koyczan Spoken Word Poet
“I sit before flowers hoping they will train me in the art of opening up.” – Shane Koyczan, “The Student”
Wednesday March 26 2014
Two Performances! 12:00pm + 6:30pm Presented by:
Telus Studio Theatre {Chan Centre at UBC} Tickets: $27 I $22 {UBC faculty / staff} I $15 {students} TICKETMASTER.CA I 1.855.985.ARTS {2787} Chan Centre Ticket Office {in person only} I CHANCENTRE.COM