Dynamic Korea and Rhythmic Form. Katherine In-Young Lee

       ACKNOWLEDGMENTS

      Since the theme of “encounters” figures prominently in this book, it seems only apropos to recount some of my own encounters with the many friends, mentors, and advocates who have nurtured this project over the past decade. I first express, from a deep reservoir of gratitude, my auspicious fortune to work with and learn from Kay Kaufman Shelemay—my dissertation adviser and mentor for life. I can say with certainty that this book would not have materialized without the expert advice, feedback, and cheerleading provided by Kay—doled out strategically and knowingly at key moments since our first encounter in Cambridge, Massachusetts. I am also indebted to Richard K. Wolf and Ingrid T. Monson, my other committee members, for their intellectual support and friendship throughout the years.

      I give special thanks to Deborah Wong—whom I have always admired—for reaching out to me and asking about my research when I was a new assistant professor at UC Davis. That encounter led to a new circle of connections at Wesleyan University Press. I am grateful to Suzanna Tamminen and the Music/Culture Series editors for taking a chance on a first book. The staff at Wesleyan University Press has been a pleasure to work with. My sincere thanks to Glenn E. Novak for superb copy editing, and also to Marla Zubel for her help in the early stages of the publication process. The two reviewers of the manuscript took immense care to provide me with invaluable feedback. This book has improved as a result of their critiques and suggestions.

      The SamulNori Hanullim community in Korea—an extended family of personalities who have proven to be brilliantly talented, endearing, challenging, and avuncular—are next. As Suzanna Samstag once explained to me, “Once you become a member of the SamulNori family, you gain membership for life.” I have often felt this to be true, especially in the moments when I have been sheltered and fed. I have received more than I could ever reciprocate. I am indebted to Kim Duk Soo Sŏnsaengnim for allowing me to tag along, hang out, and be included in events that ranged from the ordinary to the spectacular. Suzanna Samstag, one of SamulNori’s most influential yet hitherto unrecognized figures, has been a role model and a stalwart supporter since the early 2000s. I am also eternally grateful to SamulNori’s former managing director, Joo Jayyoun, with whom I worked closely in 2003. During my fieldwork period, Mr. Joo arranged for me to meet with SamulNori’s original members Lee Kwang Soo and Choi Jong Sil, and Konggan Sarang’s first presenter, Kang Joon-hyuk [Kang Chunhyŏk]. Staff members and former coworkers at SamulNori Hanullim (both past and present) also deserve special mention: Lyeum Joon-suk, Chung Hee-young, Han Kwang-hee, Lee Sekyung, Kim Dong-won, and Yeo SangBum. Members of the Samul GwangDae team—Jang Hyun-jin, Shin Chan-Sun, Park An-ji, and Kim Han-bok—have been exceptionally supportive throughout the years. I would also like to give thanks to other members of the extended SamulNori community who have offered their hospitality and warmth to me: Kang Minsok, Hong Yunki, Lee Dongju, Lim Pyŏnggo (of the Puyŏ SamulNori School), Lim Seung Duck, Kim Ju-hee, Kim Hee-jung, Lee Kyoung-phil, Ryo Hommura and Emi Kobayashi at Planet Arts, Charles Hong, Mun Kwang-in, Min Kyoung-ah, Hyun Seung-hun, Kim So Ra, and all members of the Samul-Nori Hanullim troupe who visited Harvard University in 2011 and UC Davis in 2014. I am grateful to have first met saxophonist Wolfgang Puschnig, bassist Jamaaladeen Tacuma, and Linda Sharrock (vocalist)—longtime collaborators with SamulNori—during my tenure as a SamulNori Hanullim staff member in 2003. I thank Wolfgang especially for being a kindred spirit and for offering me a place to stay in Vienna in 2011 and 2015.

      To the SamulNorians around the world, may you continue to drum! Vincent Mangado and Dominique Jambert,

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