Janggu Sanjo by 김덕수, Duksoo Kim

Kim, Duksoo’s Janggu Sanjo

"Sanjo (散調)" refers to a freestyle solo in a traditional Korean instrumental. Since the Gayageum Sanjo was founded by Kim Changjo in the 19th century, it has been evolving until today. Songs start slowly but steadily build up to faster tempos, which is a method known as gigyeonggyeolhae (起景結解: from the beginning to highlight, pause, and release), and the musicians' individual creativity, spontaneity, and dynamism play important parts in the genre. As musical instruction changed from master to apprentice based on gujeonsimsu (teaching with words and learning by heart) to classes in institutional organizations with the use of scores, structural aesthetics, rather than spontaneity, has become more emphasized. In addition, with the new concept of the intangible cultural asset, this genre became music to be enjoyed genealogically. In Sanjo, the Janggu has played an important role as a sophisticated and diverse accompanying instrument that uniquely harmonizes with the Gayageum, Geomungo, Daeguem, Piri, Haegeum, and Ajeng. Some argue that this is why Janggu has not been able to become a solo instrument.

However, Kim, Duksoo discovered the possibility and potential of the Janggu as a solo instrument. Furthermore, because Sanjo is an instrumental solo, he thought that it should expand and develop with the spontaneity and dynamism of the traditional Korean rhythm. Kim’s first solo instrument album <Janggu Sanjo> is the focal point of this view.
The songs in the album can be divided into two main categories. One is shamanic rhythm, and the other is Nongak (farmer’s music) rhythm. In the case of the songs of the shamanic rhythm, the melody of Gyeonggido Danggut (Tutelary Rite) and Jindo Sitgimgut (Cleansing Rite) are at the center of the songs. The Nongak melody of Gyeonggi, Yeongnam, and Honam are at the center of the songs of the Nongak rhythm. However, the songs do not follow the conventional flow of Sanjo, from a slow to a fast rhythm. The emphasis was in the relationship between the beats so that listeners would be immersed in the music with the density of the beat and flow. It was not about what melodies Kim could play. It was about delivering the dynamism and intensity of the Korean traditional rhythm for listeners of Janggu Sanjo.
The rhythms of Korea are very colorful. They change and evolve continuously, even today. People try to categorize or group so many different rhythms that exist in Korea according to genre, purpose, or form. However, Kim’s attention is more on the fundamentals of rhythm. He believes that a rhythm is not a sudden invention but a collection of the lives of our ancestors in its evolved form. Too many rhythms exist for a single performer to digest. They are the source of life and the engine for change in traditional Korean percussion. Once you start to analyze and understand a rhythm in a set structure, it will lose its liveliness.

Master Kim has lived all his life with the Janggu and its rhythm. To Master Kim, the Janggu and its rhythm is life itself. Therefore, for him, rhythm is the most effective tool to express the different emotions of life. He wants to communicate through the Janggu Sanjo. He embodies and breathes the rhythm and moves his body and mind along with it. It is not that the rhythm is a part of him, he is a part of the rhythm.
The year 2018 marks the 40th anniversary of the birth of the Samulnori, and the year also marks the 60th anniversary as an artist for Kim. Finally, it is the beginning of a new era for Master Kim, who has written new chapters in the history of Korean traditional folk theatrics with his first solo album <Janggu Sanjo>.