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By Kim Deok-Soo
(Photo Credit: Author's Collection)
In the realm of Samulnori, one name arises almost instinctively. Kim Deok-Soo, the virtuoso who created the genre by integrating Korea’s traditional rhythms and melodies, has elevated it to a symbol of Korean music that captivates audiences worldwide. As part of a celebratory tour commemorating the 40th anniversary of Samulnori, Kim has been visiting New York, New Jersey, and Philadelphia, organized jointly by the Korean Cultural Center and the New York Chwita Band. Amid his busy schedule, we sat down for an interview with this living cultural treasure, whose spirit and vigor remain undiminished even now.
Yes, hello. I started performing in the United States in 1968, and since then, I have performed about 100 times annually, both domestically and internationally. After tonight's performance, I will be flying to Namwon, Jeollado, for another. Most of my performances abroad are for non-Korean audiences. I believe I have performed over 5,000 times in the past 60 years.
Indeed, I am often away. It was especially challenging when my children were young, though they understand and are proud now. The most difficult part was being away from home alone. I have been affiliated with a university for nearly 20 years, so I perform during times without academic commitments.
Performing keeps me healthy. I actually feel less well when I don’t perform, so each performance is like a form of rejuvenation for me.
I created Samulnori in 1978, and to celebrate its 40th anniversary, the Korean Cultural Center and the New York Chwita Band organized a grand Korean music festival. That is why I am here performing.
Yes, it’s been 40 years and five months since our first performance at Space Love in Seoul in February 1978. Reflecting on these years, I feel my greatest achievement was developing Samulnori—a tradition that maintains the pulse of traditional performing arts.
Born in 1952 during the Korean War, I witnessed many cultural transformations and losses in Korea. Elements fundamental to our traditional culture have faded away, such as our unique styles of rites of passage. During the late 1970s, when envisioning Samulnori, I recognized threatened instruments that had survived even under Japanese rule. Protecting these instruments felt essential, and thus Samulnori was created.
Interestingly, Samulnori has received more recognition and higher performance fees abroad than at home. U.S. cultural agencies often have Americans coordinating shows for foreign audiences, which is why it seems successful abroad.
Indeed, my journey began when I was five, performing with the Namsadang troupe annually at the Jochiwon marketplace atop a human pyramid. At the age of seven, I won the President’s Award at the national farmers’ music competition, and my global journey began. 1965 marked my involvement with the Korean Folk Music and Dance Troupe and Little Angels, leading to international performances. I’ve dedicated 60 years to this path, grateful to God and my ancestors for their blessings, enlightening me to live doing what I love.
The four instruments of Samulnori—kwaenggari, janggu, buk, and jing—symbolize natural phenomena: thunder, rain, clouds, and wind, respectively. The philosophy of Samulnori embodies Cheon-Ji-In (heaven, earth, and humanity) and Chinyeonsa-sang, with a focus on global issues such as climate change and environmental protection.
Samulnori aspires ultimately to convey world peace.
I’m particularly good at the janggu (laughs). All performers play various instruments, including vocals and pipes. The kwaenggari typically leads as the conductor in Samulnori.
Initially, there were scores, but they’ve evolved over time. Our team doesn’t rely on scores but plays beyond what's written, performing unspoken melodies. It’s about harmonizing in the moment.
Although rhythm-based, Samulnori is dynamic, with diverse rhythms and structured compositions. Festivals combine basic rhythms with dance, music, and theater, creating a comprehensive art form, leaving no time for monotony.
Since creating Samulnori, I’ve focused on developing continuities and new repertoires, with 20 years of diligent effort in educational material development. It’s crucial for recording our traditional “music and dance.” I feel obligated to complete a comprehensive overview of Korean rhythms before I die.
In the early 1980s, I focused on the Los Angeles area to promote our culture. I personally delivered instruments to universities like UC Berkeley, UCLA, and San Diego, showcasing Samulnori through materials and videos. Initially slow, interest grew over 20-30 years, and now, it is performed in 200 colleges nationwide. Recently, a resurgence occurred, driven by former Korean student activists immigrating to the U.S., allowing for a cultural revival.
Materials are now distributed to universities via Korean Cultural Centers. Foreign scholars have conducted significant research on Samulnori, earning advanced degrees. I plan to unite these efforts, aiming for a large performance at Central Park.
Having traveled the world for performances, I’ve realized human emotions are universally similar. Rituals across religions and cultures share fundamental elements. The festival unites traditions, and its co-performance by the World Traditional Orchestra and choir reflects a universal wish for harmony among heaven, earth, humanity, and nature.
No special methods are needed—simply listen to the music. Feelings of enjoyment are natural. The audience should approach with open minds, even toward traditional Korean music, to dismiss any biases.
Prior to our interview, Mr. Kim shared his insights, and we hope that many Korean Americans in New Jersey will participate in today’s performance and experience the essence of Samulnori. We, at Mom & I, are honored to support the mission of spreading world peace through Korea’s traditional music. [Link to source]
