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cosmosbeelover · 3 months ago

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The History of Korean Female Soloists from the 20th Century: Episode 1/?

The inaugural episode of 'The History of Korean Female Soloists from the 20th Century' is now underway, focusing on renowned Korean artists who gained prominence during the early 20th century amid Japanese occupation.

The available information on these artists varies significantly, as they were active nearly a century ago, prior to the Korean War, which contributed to the loss or scarcity of historical records.

Kim So Hee (김소희;金素姬)

In Part 4 of 'The History of Korean Male Groups,' I made a brief reference to Kim So-hee, who was associated with the Gyeongseong Broadcasting Station (JODK) (경성방송국). Since I have previously discussed this broadcasting station, I will not elaborate extensively but will provide a concise overview here.

Kim So-hee (김소희; 金素姬), originally named Kim Soon-ok (김순옥; 金順玉), was born on December 1, 1917, in Gochang-gun, Jeollabuk-do, during the era of Japanese colonial rule. She gained immense recognition as a distinguished pansori vocalist, earning the title of national singer and being designated as a national intangible cultural asset. Under her pen name, Man-jeong (만정; 晩汀), she was actively involved in the Joseon Vocal Music Research Association and the Hwarang Changgeuk Troupe, ultimately achieving legendary status as a significant cultural figure of her time.

At the age of twelve, she began her vocal training with the renowned singer Song Man-gap (宋萬甲), accompanied by her father, Kim Bong-ho (김봉호) and also learned traditional songs and sijo (時調) from Jeon Gye-mun (全桂文). Following her graduation from Heungdeok Public Elementary School, she developed a deep appreciation for "Chuwolmanjeong" (秋月滿庭) by Lee Hwa-jung-seon (李花中仙) during her time at Jeonnam Girls' High School while staying with her older sister in Gwangju, which led her to enroll in Song Man-gap's school in 1929. In the late 1920s, while serving as a boy gisaeng (童妓) within the Joseon Gwonbeon (朝鮮券番), she acquired knowledge of female vocal styles and lyrics, ultimately gaining recognition as a prominent girl singer. Her performances were featured on the Gyeongseong Broadcasting Station (경성방송국; 京城放送局), and she recorded her work for an album.

In the 1930s, she acquired knowledge of the initial segment of the five Madang of pansori and engaged in recording and broadcasting activities. Her tenure at the Gyeongseong Broadcasting Station spanned from 1927 to 1942, during which she performed a variety of pieces, including "Gangsanpungwol" (江山風月),"Gyerak" (界樂), and numerous folk songs such as "Yukjabaeki" and "Chunhyangga." Kim So-hee made her debut on the station on December 29, 1931, where she showcased the nundae sections of "Sugungga," "Simcheongga," "Jeokbyeokga," and "Chunhyangga." Each broadcast featured her renditions of short songs like "Gangsangpungwol," "Geongonga" (乾坤歌), and "Jangbuga" (丈夫歌). Throughout the Japanese colonial era, she recorded a total of 54 albums with various record labels, including four with Columbia, thirty with Orkeh, and twenty with Vikta.

English - After recording the Pansori Chunhyangga album (Victor Records, Seoul) in 1935. From left, Han Seong-jun, Im Bang-ul, Lee Hwa-jung, Jeong Jeong-ryeol, Park Nok-ju, and Kim So-hee (18 years old). Korean - 1935년 판소리 춘향가 음반 (빅터 레코드, 서울) 을 취입한 후의 모습. 왼쪽부터 한성준, 임방울, 이화중선, 정정렬, 박녹주, 김소희(18세).

Life and Career

Kim So-hee's entry into the art world began after her graduation from Gwangju Girls’ High School, now known as Jeonnam Girls’ High School (全南女子高等學校). At the age of 13, she was deeply moved by a performance of 'Lee Hwa-jung and Her Party' at a tent theatre. A connection through her maternal grandmother's adopted daughter's husband, who was affiliated with the police, led her mother to meet Mr. Song Man-gap. During this meeting, she performed a line from 'Simcheongga,' and later, in her 50s and 60s, she recorded a complete rendition of 'Simcheongga,' titled 'Chuwolmanjeong (秋月晩汀),' which highlighted her artistic prowess. Upon hearing the emotionally charged melody that began with ‘Chuewol is full of emotion, reflected on the coral curtain, and the geese in the clear sky fly high under the moon, tturu…’, Master Song Man-gap was so moved that he knelt in admiration.

She decided to leave school to focus on her singing career under the guidance of Song Man-gap. Within just six months of training, she made her stage debut as ‘Lee Doryeong’ at a disciple recital and subsequently performed in 'Lee Hwa-jung and her party' across various locations, including Busan and Mokpo. Additionally, she studied seungmu and geommu with Jeong Seong-rin in Jeonju, learned lyrics and songs from Jeon Gye-mun, and trained in yanggeum with Yu Sun-seok in Jeongeup, astonishing her teacher by mastering the intricate details of ‘Yeongsanhoesang’ in merely ten days.

A photo of the famous singer Kim So-hee while she was still alive. She was praised as a 'sound sent from heaven'.

At the age of 14, she entered the inaugural Pansori Master Singer Competition in Namwon, securing first place among approximately 80 participants and earning the title of 'baby master singer.' The silver spoons awarded to her as a prize are now preserved by her daughter, Professor Park Yun-cho.

In the winter of 1931, Kim So-hee moved to Seoul to pursue her singing studies more seriously, residing at her aunt's home in Gwancheol-dong. There, she took an examination with the renowned master Han Seong-jun, who was introduced to her by Song Man-gap. During this period, she learned "Chunhyangga" from Jeong Jeong-ryeol while also making television appearances, performing, and recording.

Around this time, she adopted the stage name Kim So-hee, having been born Kim Ok-hee. She began her pansori training at 15 under Song Man-gap, concentrating on "Simcheongga" and "Heungboga." By the age of 18, her repertoire had grown to include "Chunhyangga" and "Sugungga," which she studied under Jeong Jeong-ryeol. At 22, she advanced her education with Park Dong-sil at Jishilchodang in Nammyeon, with support from Park Seok-gi. Throughout her thirties, Kim So-hee continued to enhance her vocal abilities with esteemed instructors such as Jeong Eung-min, Jeong Gwon-jin, Park Rok-ju, Kim Yeo-ran, and Park Bong-sul

At the age of 16, she expanded her musical education by studying songs and sijo under Jeon Gye-mun (1872-1940) and learned to play the geomungo and yanggeum from Kim Yong-geon. By 17, she had begun her dance training with Jeong Gyeong-rin and subsequently pursued studies in calligraphy and Chinese classics. Notable figures such as An Hyang-ryeon (1944-1981), Han Nong-seon (1934-2002), and several others became her disciples.

Shortly after starting her vocal training with Song Man-gap, she was introduced to Lee Hwa-jung-seon (李花中仙) (1899-1943), who recognized her talent and featured her in a performance at Gwangju Theater that same evening. This pivotal moment led to her joining Lee Hwa-jung-seon's Hyupryulsa, and she achieved first place in the Namwon Master Singer Competition the following year. By 18, she recorded "Simcheongga" and "Jeokbyeokga" for Oke Records and Columbia Records, establishing herself as a prominent young singer, and at 20, she collaborated with other notable artists to record the complete collection of Chunhyangjeon for Big Records.

Kim So-hee (김소희) Published by Lee Jeong-gyu. ‘Korean National Treasure-level National Singers, Master Singers, Master Drums, and Master Geum Photographs and Poetry Collection’. Suncheon Photo Printing Company.

In February 1936, the establishment of Changgeukjwa as a branch of the Joseon Vocal Music Research Association marked a significant development in her career, as she engaged in changgeuk activities alongside Kang Tae-hong, Kim Se-jun, and Kim Yeon-su. She participated in the opera Bae Bi-jang-jeon (裵裨將傳), performed by the Joseon Vocal Music Research Society from February 9-11, 1936, and took part in a flood relief music competition on August 28-29, 1936. Additionally, she showcased her talents in a renowned singer competition at the Gwangju Theatre on October 16-17, 1938, further solidifying her status in the musical landscape of the time.

On June 11, 1937, she participated in the complete recording of Chunhyang-jeon by the Viktor Gramophone Company, alongside several significant pansori pieces, including the brief song "Gangsangpungwol," which featured janggu accompaniment by Han Seong-jun and was later recorded on Columbia Records in Japan. Collaborations with Kim Deok-jin (haegeum), Sim Sang-geon (gayageum), and Jeong Hae-si (tungso) resulted in numerous songs, including "Godangsang" (高堂上), which were released on Japanese Victa records. Additional recordings, such as "Gisaengjeomgo" (妓生點考), were made with Obi-chui, Shin Sook, and Lee Hwa-jung-seon for Oke records, while "Orijeongibyeol" (五里亭離別) from Chunhyangjeon appeared on the Gunsohaehoe record. She was appointed as a director during the 5th regular general meeting of the Joseon Vocal Music Research Association on May 23, 1938.

On December 24, 1940, she performed at the inaugural show of the Hwarang Changgeuk Troupe, founded by Park Seok-gi at the Jeil Theater, alongside Cho Sang-seon, Han Ju-hwan, and Kim Yeo-ran in productions of Chunhyangjeon, the historical drama "The Bell Sound of Bongdeoksa Temple," and Kim Won-hak's original Changgeuk "Paldamchunmong." Following Korea's liberation in early 1948, she appeared with Seong Won-mok, Gong Gi-nam, and Kim Deuk-su in the performance of "Goguryeo's Hon (魂)," staged by Park Dong-sil, the head of the Gukgeuk Association established in early 1948.

English - Ensemble of Seong Geum-ryeon (gayageum), Ji Yeong-hee (haegeum), Kim So-hee (yanggeum), and Kim Yun-deok (geomungo) Korean - 성금련(가야금)·지영희(해금)·김소희(양금)·김윤덕(거문고)의 합주

The Korean Traditional Music Women's Association was founded on September 1, 1948, with significant contributions from President Park Nok-ju, Vice-Presidents Kim Yeon-su and Im Yu-aeng, General Affairs Manager Jo Yu-saek, and members including Park Gwi-hee, Han Yeong-sook, and Kim Nong-ju. Their first performance showcased the original Changgeuk "Okjunghwa" (獄中花) at Sigonggwan in October of the same year, followed by "Sunshine and Moonshine," composed by Kim A-bu, which premiered in February 1949. During the Korean War in 1950, she performed "Gayageum," created by Yu Chi-jin, with the Haetnim Gukgeuk Troupe at the Busan Theater, alongside notable performers such as Park Gwi-hee, Jo Nong-wol, and Kang Nam-wol. In 1955, she established the Korean Folk Arts Academy, played a pivotal role in founding the National Gugak Arts School, and served as a pansori instructor from its inception.

A scene from a class at a disciple's studio. Teacher Kim So-hee is teaching pansori to her young students. The person with her back turned is her daughter Park Yun-cho.

At the age of 32, she was instrumental in the establishment of the Women’s Traditional Music Association while actively performing with the Joseon Vocal Music Research Association. Her notable contributions during this period included works such as 〈Okjunghwa〉 and 〈Haetnimdalnim〉. By the age of 38, Kim So-hee, a dedicated advocate for changgeuk, women’s traditional Korean music, and pansori, founded the Folk Arts Institute and became its first director. She maintained a vigorous schedule of performances in traditional Korean music both within the country and abroad, culminating in her receipt of the 4th Gugak Award (Changak Practical Skill Award) from the Gugak Promotion Association in 1959.

In the early 20th century, notable female singers in modern Korean history included Jin Chae-seon, Heo Geum-pa, and Kim Cho-hyang, who were prominent figures in the changgeuk theater. Kang So-chun, recognized as a leading vocalist of Won-gak-sa, also contributed significantly to this era. Lee Hwa-jung-seon is often regarded as a successor to these artists. In contemporary times, the landscape of female singers has expanded to include Kim Nok-ju, Bae Seol-hyang, Shin Geum-hong, and others. Notably, in 1964, Kim So-hee and Park Cho-wol became the first female pansori singers to be recognized as Important Intangible Cultural Properties.

Kim So-hee in her later years.

Kim So-hee's musical journey was marked by her exceptional vocal talent and collaborative spirit. She developed close relationships with fellow musicians, including Park Nok-ju and Oh Bi-chwi, and maintained a lifelong friendship with Park Gwi-hee. Her training encompassed a diverse range of traditional arts, learning pansori from esteemed masters such as Song Man-gap and Jeong Eung-min, while also studying classical dance and various string instruments. Advisor Yang Won-seok emphasized the importance of personal interpretation in music, suggesting that true mastery involves integrating distinct styles rather than merely imitating them.

By 1964, she was recognized as the custodian of Important Intangible Cultural Property No. 5, Pansori Chunhyangga. She served as a practical instructor at the Gugak Arts School, which commenced on March 5, 1960. In the same year, she participated in the inaugural changgeuk Daechunhyangjeon performance alongside Kim Yeon-su and fellow members Park Gwi-hee, Kang Jang-won, and Kang Jong-cheol, organized by the National Gugak Company of Korea to celebrate its establishment. Additionally, in 1962, she performed at the 9th International Festival of Folk Arts in Paris and later toured the United States with the Samcheolli Dance Troupe in 1964. Her accolades include first prize at the Namwon Chunhyang Festival Folk Arts Competition (1931), the 4th National Gugak Award (1959), the World Broadcasting Award (1962), the Literature and Arts Promotion Award (1972), the Order of Civil Merit, Dongbaek Medal (1973), the 1st Korean Traditional Music Award (1982), the Republic of Korea Culture and Arts Award (1984), the Namwon City Arts and Culture Award (1987), the 1st Dongri Grand Prize (1987), and the 1st Bangil British Music Award (1994).

English - Cover of 『Kim So-hee's Chunhyangga (Book: Kim Myeong-hwan)』 1-6Seoul Records. 1995 Korean - 『김소희 춘향가(북 : 김명환)』 1-6 표지서울음반. 1995

The reunion of the royal inspector with Chunhyang, as depicted in the narrative of <Chunhyangga>, alongside the portrayal of the middle class in <Simcheongga>, and the lamentation of the military in <Jeokbyeokga>, showcases the rich tapestry of Korean pansori tradition. Notably, Kim So-hee, a prominent figure in this art form, collaborated with drummer Han Seong-jun to produce significant recordings, including those of "Chunhyangga" and "Simcheongga," which are regarded as masterpieces. In 1964, Kim was honoured as the holder of the Important Intangible Cultural Property for "Chunhyangga," a testament to her exceptional talent. Her rendition of "Chunhyangga" reflects a carefully reconstructed manjeongje, characterized by a naturally gifted voice that is both clear and beautiful. Kim's singing style is marked by elegance and restraint, avoiding excessive emotional extremes while maintaining a delicate approach. Through her training with esteemed teachers, she adeptly synthesized various elements to create a unique interpretation of "Chunhyangga," embodying the distinctive qualities of both eastern and western musical traditions.

Kim So-hee's career spanned from 1929 to 1994, during which she distinguished herself as a master singer and was honored with the title of national singer. Her contributions to the art of pansori are significant, particularly through her establishment of the Manjeongje pansori style, which emphasized elegance and sophistication. She played a pivotal role in advancing traditional Korean music, notably by co-founding the Women’s Traditional Korean Music Club and the National Traditional Music Arts School, now known as the National Traditional Arts Middle and High School. Alongside contemporaries Park Rok-ju and Park Cho-wol (1917-1983), she is recognized as a leading female figure in the evolution of modern pansori.

Married Life

Kim So-hee's artistic development was significantly influenced by her encounter with the contemporary geomungo master, Hyonam Park Seok-gi. Born into affluence in Damyang, Jeollanam-do, Park Seok-gi pursued his education in French Literature at Dongguk University, where he also made his mark in Korean baseball as a player and team leader for the Tokyo International Student Baseball Team. He passed away in 1953 at the age of 54, leaving behind a daughter, Park Yun-cho, who was only nine at the time of his death.

Although Kim So-hee held great respect for Park Seok-gi, their relationship was brief. Park recounted that his father was not a conventional Korean musician; he chose seclusion over collaboration with the Japanese during their occupation, particularly after his aspirations to be a writer were thwarted. In his retreat to his hometown, he embraced the geomungo as a companion and dedicated himself to reviving traditional Korean music, establishing a music academy in Jisil and inviting renowned artists like Park Dong-sil to mentor students. Graduates from this academy, including figures like Kim So-hui, became prominent leaders in the Korean traditional music scene. Today, Park Seok-gi is recognized as a key figure in the revival of Korean traditional music, akin to Dong-ri Shin Jae-hyo, who is celebrated for his contributions to pansori.

Kim So-hee's birthplace at 335 Sapo-ri, Heungdeok-myeon, Gochang-gun, Jeollabuk-do, and her grave at Hwasan-ri, Gochang-eup, Jeollabuk-do.

In 2015, the National Gugak Center commemorated the 70th anniversary of liberation with the production "Thinking of Park Seok-gi," which was dedicated to Park Seok-gi and performed over three days. Park recounted a childhood memory regarding her parents' conflict over her mother's artistic pursuits.

She reflected on her father's opposition to her mother's art sales, which she initially found incomprehensible but later understood as her mother’s necessity to support the family, given her maternal grandfather's inability to provide assistance. Park noted that her mother assumed the role of the eldest child after the early deaths of her brothers. Furthermore, she revealed that her mother rarely mentioned her father, referring to him as "your father" or "teacher," indicating a relationship more akin to that of mentor and mentee than spouses. Throughout her life, Man-jeong (Kim So-hee) prioritized her artistic integrity over financial gain, insisting on receiving only her appearance fee. Park also shared a poignant memory from the year of her mother's passing, during a trip to Gurye, Jeollanam-do, where her mother expressed a desire to live as an ordinary housewife if given another chance, revealing her longing for a fulfilling family life beyond her public persona.

Park Seok-gi (박석기; 朴錫驥)

Unfortunately, there is a scarcity of information regarding Park Seok-gi.

Park Seok-gi, born in 1899 in Okwa, Jeollanam-do, passed away in 1953 at the age of 54, leaving behind a nine-year-old daughter, Park Yun-cho. He graduated from Tokyo Imperial University in Japan but chose to dedicate his life to the arts, studying Geomungo Pungryu and Geomungo Sanjo under Baek Nak-jun, the founder of Geomungo Sanjo, ultimately becoming a master in this traditional music form during the Japanese colonial era.

Park Seok-gi (박석기), father of Park Yoon-cho.

In his hometown, he constructed a thatched cottage where he invited renowned singers and artists to mentor him, while also gathering young music students to impart traditional music knowledge, thereby aiding in the preservation of cultural heritage during a time of anti-Japanese sentiment. During this period, he engaged Park Dong-sil as a pansori instructor, who taught notable students such as Kim So-hee, Han Ae-sun, and Kim Nok-ju, while Park Seok-gi himself took on the role of geomungo instructor. Notably, Han Gap-deuk, recognized as a holder of the geomungo sanjo art and designated as an Important Intangible Cultural Property in 1967, also learned this art form from him.

Filmography and Music

From 1929 to 1994, Kim So-hee produced numerous albums and participated in various films, including First Marriage (1965), The Last Witness (1980), Nanjung Diary (1977), Sea Village (1965), and The Story of Janghwa Hongryeon (1956), among others.

Her Legacy

Kim So-hee, known as Manjeong, stands out among the renowned female singers in the rich 300-year tradition of pansori, often regarded as the 'last legend' of this art form. Her performance of "Departing Ship" at the closing ceremony of the 1988 Seoul Olympics remains etched in the memories of many.

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Her performance starts from 1:22:30 – 1:25:00. Even though it might have not been her last performance, being able to watch her perform on a stage in front of hundreds of people must’ve felt somewhat sad but proud at the same time.

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Her voice, described as clear and elegant, resonated with the beauty of "the cry of geese on a moonlit autumn night," evoking deep emotions in her audience. While she learned from notable figures like Song Man-gap and Jeong Jeong-ryeol, she uniquely blended their influences to carve her own distinctive style. Professor Choi Dong-hyun from Kunsan National University emphasized her significance, stating that Kim So-hee is always among the first names mentioned in discussions about women's pansori, a testament to her enduring legacy.

Continuing her mother's legacy, her daughter Park Yun-cho (박윤초; 朴倫初) has also made her mark in the field, with notable students including Jang Yeong-chan, Ahn Hyang-yeon, and Kim Dong-ae (金東愛). Kim So-hee participated in the recording of the 5-LP album "Changgeuk Daechunhyangjeon," alongside artists such as Kim Yeon-su, Park Nok-ju, and Park Gwi-hee. She passed away on April 17, 1995, and a memorial concert commemorating her contributions was held at Ho-am Art Hall on April 19, 1997, marking the second anniversary of her death.

Park Yun-cho (박윤초; 朴倫初)

Professor Park Yoon-cho has been attuned to Manjeong’s voice since her childhood, suggesting an innate talent for singing. Her teacher, perhaps mindful of her potential, encouraged her exploration across various artistic disciplines, including dance, gayageum, theatre, and painting, rather than confining her to a singular path as a pansori performer.

In her academic pursuits, Professor Park has studied traditional dance under esteemed cultural figures such as Han Yeong-sook and Lee Mae-bang, while also mastering the gayageum with guidance from Seong Geum-yeon and Ham Dong-jeongwol. Additionally, she has honed her skills in Korean painting with Lee Dang Kim Eun-ho and delved into Chinese classics and calligraphy under the tutelage of Ujeon Shin Ho-yeol alongside her mother.

In 1982, Kim So-hee's daughter Park Yun-cho performed as the lead actress in the opera "Aladdin" in New York, USA.

She occasionally explored pansori, but her mother sternly advised her to abandon it. Subsequently, she immersed herself in the theatrical realm, gaining recognition for her role in "What Will Become?" produced by "Extreme Freedom," which uniquely fused theatre with traditional Korean music. Following a successful European tour from 1978 to 1981, she was cast as the lead in La Mama's Broadway production of Aladdin (The 3 Travelers of Aladin with the Magic Lamp).

In her own words, she described Aladdin as a collaboration among prominent theater companies from the US, UK, and France, where she infused her performance with singing and traditional dance forms such as seungmu and Bongsan mask dance, creating a notable impact. Despite feeling overshadowed by her peers from prestigious institutions like Juilliard, she recognized her unique heritage and the skills she had acquired from esteemed masters as a means to carve her own artistic path. Upon returning from New York, she dedicated herself to furthering her vocal studies. She fondly recalled the emotional connections formed during her 1996 solo pansori concert tour in the Netherlands and Belgium, as well as her participation in UNESCO's 'International Women’s Day' in 1997, where she showcased her cultural heritage. Her mother, while not as demanding as with her students, took pride in her daughter's achievements, particularly at Carnegie Hall, and in her commitment to nurturing young global artists in traditional Korean music workshops in Paris.

Professor Park recounted a revealing incident involving her mother during a reporter's visit. When asked how it felt to hear her daughter perform a well-known song, her mother responded with skepticism, questioning the cost of such an experience and expressing doubt about her daughter's abilities. The following day, the newspaper misrepresented her mother's words, leading to her outrage. In a moment of defense, Professor Park confronted the reporter, wishing her mother’s doubts were unfounded, which only intensified her mother's anger towards the media's ignorance. This incident marked a turning point, as her mother subsequently avoided interactions with reporters.

In 1994, shortly before Man-jeong's passing, she was honored with the 'Artist’s Great Mother Award.' When questioned about her aspirations for her daughter, Man-jeong candidly expressed her desire for her to become a painter. Professor Park reflected on her mother's approach to praise, noting that while she was generous with her students, she reserved her commendations for her daughter. In a poignant moment before her death, her mother acknowledged their bond, stating, "So you are my daughter," a sentiment that continues to resonate deeply with Professor Park.

Professor Park Yoon-cho of Seoul Institute of the Arts and her husband Yang Won-seok, former senior advisor at the Archibald Architecture and Urban Research Institute.

On May 21, during the centennial celebration of Kim So-hee's birth, she passionately delivered the poem "Come Even in My Dreams - Samogok 2."

The verses reflect a profound sense of longing and introspection, as the speaker grapples with feelings of isolation and the passage of time. The imagery evokes a deep connection to maternal wisdom and the inevitability of fate, culminating in a poignant plea for reunion, even in dreams. The poem encapsulates the emotional weight of memory and the enduring bond between mother and child, highlighting the complexities of love and loss.

The following information consists of accounts provided by Kim So-hee's daughter, who recounts the lives of her mother, her father Park Seok-gi, and her own experiences.

“My mother was a lonely woman all her life.” - (“어머니는 평생 외로운 여자였어요”)

This text reflects the cultural and artistic landscape surrounding the renowned master singer Park Yoon-cho. As the daughter of the legendary vocalist Manjeong Kim So-hee (김소희; 金素姬), Park embodies a wealth of artistic talent, excelling in various disciplines including pansori, gayageum byeongchang, and traditional dance. Distancing herself from the superficiality of television appearances, she is committed to deepening her artistic expression while mentoring the next generation. One wonders if her fervour is fuelled by a profound sorrow for her mother, resonating with the spirit of her era, as she shares the intertwined narratives of their lives.

Park Yoon-cho talks about the life of her Mother

Kim So-hee, whose real name is Kim Soon-ok and pen name Man-jeong (晩汀), is a name well-known to those who lived in Korea over the past century. Renowned for her distinctive voice, which was unmatched and emerged from her petite 5-foot stature, she gained prominence as a singer. Born in Gochang, she achieved first place in the Namwon Famous Singer Contest at just 14 years old, having trained for only six months, and quickly became the preferred choice for record labels during the Japanese colonial era.

In addition to her vocal prowess, Kim So-hee excelled in various artistic disciplines, including dance, instrumental music, and calligraphy, as well as in pansori. Revered as the godmother of Korean traditional music, she mentored many students and was recognized as Human Cultural Asset No. 5 in 1964. A masterful representative of Korean music on the global stage, her legacy endures, evidenced by the continued admiration of her students following her passing in 1995.

Manjeong Kim So-hee's daughter, Park Yoon-cho, has also made a name for herself as a prominent singer, following in her mother's footsteps and establishing herself in the realm of Korean traditional music. Park reflects on her mother's artistry, noting that her natural voice resonated deeply, characterized by clarity and beauty, and highlighting the dedication and introspection that contributed to her mother's status as a celebrated singer of the Republic of Korea.

Thank you, my precious 'Mother & Teacher'

Park Yoon-cho, born in 1944, asserts that her vocal abilities have significantly improved over the last two decades, a claim supported by her continued active engagement in her field as of 2015. She reflects on a poignant connection to her late mother, who passed away in 1995, suggesting that her mother’s spirit influences her dreams, often manifesting as gentle smiles coupled with ominous hints. These dreams, where her mother appears adorned in a blue hanbok and requests assistance, evoke feelings of anxiety related to her own physical and professional struggles.

This is the last performance of Kim So-hee. She is performing at the awards ceremony for winning the first Bang Il-young National Music Award on November 28, 1994, a year before she passed away.

Since the fifth grade, Park Yoon-cho has diligently maintained a diary, viewing it as a personal chronicle of her life. When a reporter inquired about sharing these diaries, she responded with skepticism, questioning the rationale behind such a request. She recalls that her earlier grievances about her mother eventually transformed into poetic expressions, highlighting the profound impact of her mother, Manjeong Kim So-hee, who was both a maternal figure and a mentor. Park Yoon-cho reminisces about her mother’s exceptional talent, once praised by the New York Times, and emphasizes the significance of ballim (Dance), in the art of pansori, noting that while her singing may not match her mother’s, her proficiency in ballim surpasses it.

The loneliness of my mother that I learned over time

The existence of a traditional Korean musician is fraught with challenges. It is reported that the musician's mother expressed a desire, prior to her passing, to be reborn as an ordinary woman or a noble lady, rather than endure the difficult life associated with traditional music. This sentiment echoes the harsh realities depicted in films such as "Seopyeonje" (서편제; 西便制), which portrays the lives of itinerant pansori singers in the 1950s, a period marked by significant cultural upheaval due to Japanese and Western influences. The narrative is conveyed through a series of flashbacks, illustrating the struggles faced by these artists.

The complex relationship between Park Yoon-cho and her mother is characterized by both affection and resentment, shaped by their shared experiences. Park Yoon-cho reflects on her mother's life, acknowledging her as a remarkable woman who, despite her talents, lacked love and fulfilment. This realization deepened for Yoon-cho when she experienced the intense love of her own husband, contrasting sharply with her mother's loneliness stemming from her father's indifference.

Park Yoon-cho's father, Park Seok-gi, was a distinguished geomungo sanjo master and the second son of a prosperous family, educated at Tokyo Imperial University. He established a residence in Damyang with the intention of gathering talented individuals from across the nation to impart knowledge of Korean traditional music. His initiative was driven by a strong sense of national identity, emphasizing the importance of preserving Korean cultural heritage in the face of Japanese dominance. This endeavour ultimately led to his meeting with Kim So-hee, who would become his wife, marking the beginning of their intertwined destinies.

Reunion, the war with mother, begins

My father, renowned for his intellect and masculine allure, was not particularly affectionate towards my mother, who embodied traditional femininity but struggled to understand love. In time, my mother, enraged by my father's infidelities, abandoned me at the age of two or three to move to Seoul, leaving me in the care of my father.

As a result, I developed a closer bond with my father, who aspired for me to grow into a graceful young woman. He instilled in me the principle of valuing my talents over monetary gain. Tragically, my father passed away from an illness contracted while escaping during the Korean War when I was just ten years old.

At the age of twelve, I had the opportunity to reconnect with my mother, facilitated by my grandmother, who was the youngest sister of Yukdang Choi Nam-seon and had cared for me. Although I sensed my mother's longing for me, I was hesitant to live with her, leading to an awkward dynamic during our meetings. This marked the beginning of a complicated relationship with my mother.

A Mother & Daughter who were completely different from the beginning

The assertion made by her mother regarding Park Yoon-cho—that she would survive even in the harshest conditions—reflects a profound level of trust. While the statement may seem severe, it underscores a belief in Park Yoon-cho's resilience. Nonetheless, the inevitable conflicts that arise between them can be attributed to their fundamentally different personalities.

Their contrasting preferences are evident in their choice of colours; the narrator favours muted tones like gray, while her mother is drawn to vibrant shades such as orange and pink. This divergence extends beyond aesthetics, as the narrator notes the differences in their physical appearances and grooming habits. Although she is her mother's daughter, she identifies more closely with her father's traits, highlighting the complexity of their relationship.

The mother's attempts to shape Park Yoon-cho's upbringing stem from her own concerns and aspirations. She believed that adhering to her values would protect her daughter from the harsh realities of life. In contrast, Park Yoon-cho is determined to forge her own path, vowing to reject the lifestyle her mother exemplified, thus illustrating the tension between inherited expectations and personal identity.

The loneliness of living as a perfect singer

She recalled her mother's saying, "I sing when I'm sad, happy, missing someone, or lonely." Her mother embodied the essence of an entertainer, with the burdens of fame as a renowned singer weighing heavily upon her.

"My mother was unable to avoid the challenges that came with her profession. She had numerous students, and as they matured, some attempted to overshadow her. I recognized this dynamic, but when I brought it to her attention, she reacted with anger, accusing me of jealousy." Due to her mother's celebrity status and their familial tensions, personalized instruction was not feasible. Consequently, Park resorted to secretly recording her mother's singing to learn on her own.

In a performance, teacher Kim So-hee is dancing the dotboegi dance.

"My mother rarely needed to raise her voice, yet she often did so with great intensity, which was overwhelming for me. Her relentless pursuit of perfection may have contributed to her lifelong struggles. In contrast, I found joy in singing. While she may not have projected her voice loudly, many claimed it was a divine gift." Park's reflections were tinged with a sense of regret for the complexities of their relationship.

I didn't know how to untie the knot of Han

Park Yoon-cho reflects on her evolving relationship with her mother, noting that as she matured, their conflicts gradually diminished. This transformation led to a deepening affection that resembled the resilience of grass in a field. Nevertheless, this late realization is tinged with regret, highlighting the complexities of their bond.

She expresses a poignant wish that time could halt, allowing her to hold onto her mother and extend the opportunity for reconciliation. The desire for her mother's peace, however, is fraught with the understanding of the hardships her mother endured, leading to a conflicted sentiment that she feels compelled to suppress, even at the cost of her own well-being.

The relics of teacher Kim So-hee. She received the Geumgwan Order of Cultural Merit in 1995, shortly after her death.

Park Yoon-cho grapples with feelings of guilt for not adequately preparing to say goodbye to her 78-year-old mother. This inability stems from a long-standing emotional turmoil, where years of resentment created a tangled web of love and hatred. She acknowledges that her affection was buried deep within, masked by a harsh demeanour, rooted in a misunderstanding that her mother had usurped her father's love.

20th anniversary without regrets for my mother and me

Park Yoon-cho articulates her complex feelings towards her mother as a challenging enigma to unravel. Despite the passage of time, she endeavoured to address her mother's perceived shortcomings, albeit belatedly. The overwhelming presence of the renowned Kim So-hee added to her fatigue, complicating her emotional landscape.

In the wake of her mother's death a year prior, Park experienced profound regret, which was compounded by conflicts with other prominent artists engaged in similar endeavours. Although she sought to honour her mother’s legacy and fulfil her responsibilities as a daughter, she faced criticism for her efforts, which she found disheartening. Her intentions were rooted in love and duty, yet external judgments clouded her experience.

As the 20th anniversary of her mother's passing approaches in 2015, Park Yoon-cho hopes to navigate this milestone without regrets. Encouraged by the support of those who genuinely cherished her mother, including Teacher Lee Myeong-hee and Ms. Kim Mi-sook, she aims to serve as a bridge to honour her mother's memory. The upcoming commemoration is anticipated to be a significant yet challenging occasion, as she strives to ensure a respectful and meaningful tribute.

#south korea #history #korea #Korean Music #Korean Music History #Music History #Kim So-hee #Park Yoon-cho #Park Seok-gi

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miaxylor · 4 years ago

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사람은 죽으면 이름을 남기고 범은 죽으면 가죽을 남긴다 ㅫ 명창과 더늠

명창과 더늠 판소리 청중들 사이에서는 흔히 8명창 시대니, 5명창 시대니 하는 용어를 사용하는데, 이는 특정한 시기와 명창을 연결지어 일컫는 말이다. 여기서는 판소리사를 구분하는 청중들의 이러한 관습에 따라 전기 8명창 시대, 후기 8명창 시대, 5명창 시대, 그리고 현대로 시기를 나누어 명창과 더늠을 살펴보기로 한다. 8명창 시대를 전기와 후기로 특별히 나누는 이유는, 8명창 시대가 100년에 이르는 긴 기간을 포괄하고 있어서 다른 시기와 균형을 맞추기 위한 것이기도 하지만, 8명창 시대에 해당하는 19세기의 전반과 후반의 판소리가 여러 가지 면에서 다르다고 보기 때문이다.1) 1. 전기 8명창 시대 8명창 이전 시대의 소리꾼으로는 판소리의 시창자라고 하는 최선달·하한(은)담 등이 있으나, 이들은 구체적인 더늠을 남기지는 못하였다. 1810년경에 씌어진 것으로 보이는 송만재(宋晩��)의 「관우희(觀優戱)」에 우춘대(禹春大)라는 명창이 등장하지만, 역시 더늠이 전하지는 않는다.전기 8명창 시대는 19세기 전반에 해당된다. 이 시대에 이르러 판소리는 12 바탕으로 완성되고, 여러 명의 훌륭한 명창들이 등장하여 판소리의 비약적인 발전과 함께 판소리의 전성기를 구가하게 된다.전기 8명창에 거론되는 사람들은 권삼득·송흥록·염계달·모흥갑·고수관·신만엽·김제철·주덕기·황해천·송광록 등이다. 이들은 자신들이 개발한 구체적인 더늠이나 특별한 선율 형태 등으로 이름을 날렸는데, 특�� 각 지역의 향토 음악 선율을 판소리에 도입하여 판소리가 호남이라는 지역적 한계를 벗어나 민족의 예술로 발돋움하는 데 결정적인 역할을 하였다. 판소리의 전성기는 이러한 명창들의 노력과 성과에 의해 이루어졌다.권삼득(權三得: 1771~1841)은 비가비(양반 출신 광대)로 전기 8명창 중의 가장 선배 격이다. 전북 완주군 용진면 구억리 출신이며, 덜렁제(설렁제·권마성제·권조)를 만들었다. 그의 더늠은 〈흥보가〉의 ‘놀보 제비 후리러 가는 대목’이다. 덜렁제는 높은 음역의 소리를 길게 지속하거나, 낮은 음에서 높은 음으로, 또는 높은 음에서 낮은 음으로 넓게 뛰어내리거나 뛰어오르는, 이른바 도약형 선율을 사용하여 씩씩한 느낌을 준다.2)송흥록(宋興祿: ?~1863년경)은 남원 운봉 비전리 출신이다. 가왕(歌王)으로 일컬어지며, 시중천자(詩中天子) 이태백에 비유된다. 송흥록은 그 당시까지의 모든 판소리를 집대성하여 한 차원 높은 예술의 경지로 발전시켜, 판소리의 중시조로 추앙을 받고 있으며, 동편제 판소리의 시조이기도 하다. 송흥록의 더늠은 〈춘향가〉 중의 ‘옥중가’인데, 혹 ‘동풍가’라고 부르기도 한다. 특히 귀곡성(鬼哭聲)은 걸작으로 알려져 있다. 송흥록은 또 그의 매부인 김성옥과 함께 진양조 장단을 개발하였으며, 산유화조(메나리조)라고 하는 경상도 향토 선율을 판소리화하기도 하였다. 『조선 창극사』에는 「천봉만학가(千峰萬壑歌)」라고도 일컬어지는 단가가 그의 더늠으로 소개되어 있다. 〈적벽가〉와 〈변강쇠타령〉을 잘하였다.염계달(廉季達)은 송흥록과 동년배이다. 그의 고향은 경기도 여주, 혹은 충남 덕산이라고 하는데, 충주에서 살았다. 염계달은 경드름(경조)과 추천목3)을 개발하였다. 경드름과 추천목은 경서도(京西道) 향토 선율을 판소리화한 것이다. 염계달의 더늠으로 전해지는 경드름 대목은 〈춘향가〉 중 ‘남원골 한량’ ‘사령이 춘향에게 돈을 받고 돈타령하는 대목’ ‘이도령이 춘향 달래는 대목’ 등이다. 추천목은 〈춘향가〉 중 ‘네 그른 내력’ 〈수궁가〉 중 ‘앞내 버들은 유록장 두르고’ ‘토끼가 자라에게 욕하는 대목’ 등이다. 경드름은 경쾌하고 가벼운 가락이고, 추천목은 마치 그네를 뛰는 것처럼 흥겹고 흥청흥청하는 느낌을 준다. 염계달은 〈장끼타령〉도 잘하였다.모흥갑(牟興甲)은 전주 출신으로 알려져 있는데, 경기도 진위, 또는 전북 죽산 출신이라고도 하나, 말년에는 전주 부근에서 보낸 것이 확실하다. 권삼득과 더불어 송만재의 「관우희」에 이름이 등장하며, 서울대학교 도서관에 소장되어 있는 ‘평양감사 부임도’라는 병풍에는 그가 대동강의 능라도에서 소리하는 모습이 그려져 있기도 하다. 모흥갑의 특징적인 창법으로는 강산조(박유전의 강산제와 구별하기 위해 ‘동〔東〕강산제’라고 부르기도 한다)가 있다. 이는 한때 그의 수행 고수였던 주덕기가 많은 사람들 앞에서 자신을 폄하하는 것을 보고, 때마침 그곳을 지나가던 모흥갑이 ‘전치몰락(前齒沒落)의 순음(脣音)’으로 ‘이별가’ 중 ‘여보, 도련님, 날 다려가오’ 대목을 불러 주덕기로 하여금 사죄케 한 일화가 있는데, 이때 부르던 소리를 말한다. 이는 주덕기에 의해 전파되었다고 하는데, 현재도 이 대목이 판소리 〈춘향가〉에 남아 있다. 판소리 평조와 그 구성음은 비슷하나, 고음역 선율이 많아서 청아하고 들뜬 느낌을 준다.고수관(高壽寬)은 충남 해미 출생이며, 공주에서 만년을 보냈다. 성음이 극히 미려하고 다른 목청을 자유자재로 구사하여 ‘딴청 일수’라는 별명을 얻었다. 그의 더늠으로는 〈춘향가〉 중 중중모리로 된 ‘자진 사랑가’가 있다. 이 대목의 선율은 추천목으로 되어 있어 흥겹고 흐늘거리는 느낌을 준다.신만엽(申萬葉)은 전북 여산 출신인데, 후에 고창에서 살았다. 신만엽은 〈수궁가〉를 잘 불렀으며, 그의 더늠으로는 ‘토끼 배 가르는 대목’과 ‘소지노화 대목’이 있다. ‘소지노화 대목’을 특히 석화제라고 하는데, 이는 가야금 병창제라고도 하며, 선율형은 판소리 평조와 거의 같다. 석화제는 명쾌하지만, 계면조의 비장한 느낌에 비하여 가볍고 진지하지 못하기 때문에, 명창들은 석화제의 남용을 금하고 있다.김제철(金齊哲)은 충청도 출생이며, 만년에는 경상도 함양에서 살았다. 석화제를 잘 불렀으며, 더늠은 〈심청가〉 중 ‘심청이 탄생하는 대목’인데, 화평하고 유현한 느낌을 준다.황해천(黃海天)은 황해청(黃海淸)이라고도 한다. 대명창이었다고 하나, 출생지나 생애에 대해서는 알려진 바가 없다. 자웅성(雌雄聲)에 능했다고 하며, 「탄세단가(歎世短歌)」에 그의 더늠으로 ‘농부가’가 소개되어 있다.주덕기(朱德基)는 전주 출신, 또는 전라남도 창평 출신이라고 한다. 처음에는 송흥록과 모흥갑의 수행 고수 노릇을 하였으나, 후에 소리 공부하기를 결심하고 깊은 산에 들어가 소나무 밑동을 베어놓고 주야로 제사를 드리며 수련을 했는데, 소나무 수천 그루를 베었다 하여 ‘벌목정정(伐木丁丁)’이라는 별호를 얻었다고 한다. 그러나 소리를 장작 패듯 힘차게 한 데서 그 별명이 비롯되었다고도 한다. 그의 더늠으로 〈적벽가〉 중 ‘자룡 활 쏘는 대목’이 전하고 있다.송광록(宋光祿)은 남원 운봉 출신으로 가왕 송흥록의 동생이다. 처음에는 형인 송흥록의 고수 노릇을 했으나, 고수의 하대에 불만을 품고 제주도로 들어가 수년 간의 노력 끝에 대명창이 되었다. 그의 소리는 아들 송우룡과 ��자 송만갑, 증손자 송기덕에게까지 이어져, 동편 소리의 거대한 산맥을 이루었다. 더늠으로는 ‘만첩청산’으로 시작하는 진양조 ‘사랑가’가 전하고 있다. 2. 후기 8명창 시대 19세기 후반은 후기 8명창 시대로 일컬어진다. 이 시대에 활동했던 사람들 중에서 8명창에 드는 사람들은 박유전·박만순·이날치·김세종·송우룡·정창업·정춘풍·김창록·장자백·김찬업·이창윤 등이다. 이들은 전기 8명창들이 개발해놓은 선율형들을 갈고 닦아 판소리사에 길이 남을 아름다운 더늠들을 만들었다. 이러한 결과 판소리는 마침내 궁중에까지 침투하였으며, 많은 소리꾼들이 벼슬을 받기도 하였다. 이 시기에 보다 서민적 취향의 소리인 서편제 소리가 등장하여 큰 흐름을 이루기도 하였으며, 신재효가 소리꾼들을 후원하면서 사설의 개작을 하기도 했고, 전주 대사습이라는 명창의 등용문이 생겨나기도 했다.박유전(朴裕全: 1834~?)은 헌종으로부터 고종 대에 걸쳐 활동한 소리꾼으로 전북 순창 출생이며, 서편제 판소리의 시조이다. 목소리가 절륜하게 고왔다고 하며, 대원군의 총애를 입어 무과 선달의 직첩을 받았다. 〈적벽가〉를 잘했는데, 그의 더늠으로는 〈춘향가〉 중 ‘이별가’와 민요 ‘새타령’이 전한다. 박유전은 말년에 전남 보성군 강산리에서 살면서 정재근을 가르쳤는데, 이 소리는 후에 보성 소리가 되었다. 박유전은 계면조 선율의 정교한 제작으로 유명하여, 이것이 서편제 소리의 특성이 되었다.박만순(朴萬順)은 전북 정읍 고부 출신이다. 후에는 경상도 안의와 운봉에 산 일이 있다고 한다. 주덕기·송흥록에게 배워 동편제 판소리의 수령으로 군림하였다. 대원군의 총애를 받았으며, 그의 더늠은 〈춘향가〉 중 ‘사랑가’와 ‘옥중가’ 〈적벽가〉 중 ‘화용도 패주’ 등이라고 하는데, 『조선 창극사』에는 〈춘향가〉 중 ‘몽유가’가 실려 있다.이날치(李捺致: 1820~1892)의 본명은 경숙(敬淑)이며, ‘날치’는 몸이 하도 날쌔다고 해서 붙은 별명이라고 한다. 전남 담양 출신인데 나중에는 장성에서 살다가 세상을 떴다. 일찍이 남의 집 머슴살이를 하다가 줄타기를 했으며, 다시 박만순의 수종 고수가 되었다가, 고수의 하대에 불만을 품고 소리를 하여 대성한 사람이다. 박유전의 법제를 많이 계승했다고 하지만, 현재 전하는 소리를 보면, 박유전의 계통을 이은 소리보다 훨씬 서편제적인 특성이 강하다. 수리성에 성량이 아주 컸으며, 박유전에게 물려받은 ‘새타령’은 신기에 가깝다는 평을 들었다. 〈춘향가〉와 〈심청가〉를 잘하였으며, 그의 더늠으로는 〈춘향가〉 중 ‘망부사’가 전하고 있다.김세종(金世宗)은 전북 순창 출신이다. 송우룡·박만순과 같은 시대에 활동하였으며, 동파에 속한 대가라고 하는데, 송흥록 계통과는 달라서 별도의 계보로 친다. 신재효에게 지침을 받으며 신재효의 사랑에서 소리 사범 노릇을 했다고 한다. 김세종은 〈춘향가〉를 특히 잘하였으며, 그의 더늠은 ‘천자 뒤풀이’이다. 김세종의 〈춘향가〉는 김찬업을 거쳐 정응민을 통하여 보성 소리로 이어져, 현재 가장 활발하게 불려지는 소리가 되었다.송우룡(宋雨龍)은 송광록의 아들이다. 전남 구례에서 태어났으며, 정통 동편제 소리를 계승하여 박만순과 자웅을 겨루었으나, 성대가 상한 뒤로는 박만순이 독보적인 존재가 되었다고 한다. 그러나 송우룡은 송만갑·유성준·전도성·이선유와 같은 많은 제자들을 양성하여 후에 동편제 판소리가 융성하는 데 결정적으로 기여하였다. 그의 아들인 송만갑이 배운 대로 하지 않는다고 죽이려고까지 했다는 일화를 통해 보면, 송우룡은 매우 보수적인 판소리관을 가졌던 것으로 생각된다. 〈수궁가〉를 잘하였는데, 그의 더늠은 ‘토끼 배 가르는 대목’이다.정창업(丁昌業)은 전남 함평 사람이다. 박유전에게 배웠으나, 박유전 계통과 다른 소리라고 주장하는 사람도 있다. 전주 통인청 대사습에 나갔다가 사설을 잊어버려 망신을 당한 뒤에 한동안 소리를 작파한 일도 있었다고 한다. 〈흥보가〉를 잘하였으며, 그의 더늠으로 〈심청가〉 중 ‘중 내려오는 대목’이 전한다. 엇모리 장단으로 된 이 대목은 신비한 느낌을 잘 표현하고 있다.정춘풍(鄭春風)은 충청도 양반가 출생인 비가비이다. 말년에는 여산에서 살았으며, 동편 소리꾼으로 알려져 있으나, 송흥록·김세종과는 달라 별도의 계보로 친다. 대원군의 총애를 받았으며, 〈적벽가〉를 잘하였는데, 이 〈적벽가〉는 박동진이 계승하여 무형 문화재로 지정되어 있다. 이론에도 뛰어나, “남에 신재효, 북에 정춘풍”이라는 말을 들었다. 그의 더늠은 중국의 소상팔경을 노래한 단가 ‘소상팔경가’이다.김창록(金昌祿)은 전북 무장 출생으로 흥덕에서 80여 세까지 살았다. 동편 소리꾼으로 특히 〈심청가〉에는 당할 사람이 없었다고 한다. 〈춘향가〉 중 ‘팔도 담배가’와 민요 ‘산유화가’를 만들었다. ‘산유화가’는 지금도 전해지지만, ‘팔도 담배가’는 전해지지 않는다. 그의 더늠은 〈심청가〉 중 ‘행선 전야’이다.장자백(張子伯)은 전북 순창 출생으로, 김세종의 소리를 계승하였다. 〈변강쇠타령〉과 〈춘향가〉를 잘하였으며, 그의 더늠으로는 〈춘향가〉 중 ‘이도령이 광한루에서 사면 경치를 감상하는 대목’이 전하고 있다. 이 대목은 우조 중에서도 정악의 가곡성을 닮은 가곡성 우조라는 독특한 창법으로 되어 있다.김찬업(金贊業)은 전북 흥덕 출생으로 명창 김수영의 아들이다. 부친 김수영의 소리를 이어받았으나, 후에 박��순의 문하에서 오래 지침을 받아 한동안 이름을 날리던 중 성대를 상하여 소리를 중단하였다. 그는 〈춘향가〉를 잘하였는데, 이 〈춘향가〉는 김세종의 것으로 정응민을 통하여 보성 소리가 되었다. 더늠은 박만순으로부터 물려받은 〈수궁가〉 중 ‘토끼 화상 그리는 대목’이 남아 있다.이창윤(李昌允)은 전남 영암 사람으로, 이날치의 제자인 만큼 서편제 소리꾼으로 유명하였다. 〈심청가〉를 잘하였는데, 더늠으로 〈심청가〉 중 ‘부친 영결하는 대목’이 전한다. 3. 5명창 시대 이 시기는 19세기말부터 20세기 전반기에 해당된다. 이 시기에 활동했던 사람들 중에서 5명창으로 일컬어지는 사람은 박기홍·김창환·김채만·전도성·송만갑·이동백·김창룡·유성준·정정렬 등이다.이 시기의 판소리는 변화되어가는 환경에서 살아남기 위한 자체 변화를 모색하게 되었는데, 그것은 창극화로 나타났다. 1920년대 이후에는 유성기 보급에 따른 레코드 취입도 성행하게 되어, 판소리는 점점 더 일반 대중의 취향에 의존하게 되었다. 판소리는 대중적 취향과 함께 계면화(슬픈 가락으로의 변화)의 과정을 밟게 된다. 이 시대 또 하나 특기할 만한 일은, 1920년경에 전국 주요 도시에 권번(기생 조합)이 설치되어, 여기서 판소리를 가르치기 시작함으로써 다수의 여자 창자가 배출되었다는 점이다.박기홍(朴基洪)은 전남 나주 출신으로 진주에서 성장하였다. 일찍이 부모를 여의고 고아가 된 그는, 고수였던 아버지와 절친했던 정춘풍을 찾아가 소리를 배웠다. 그는 한쪽 눈이 기형적으로 튀어나왔는데, 대원군이 이를 도려내고는 오수경(색안경)을 주어 쓰고 다녔다고 한다. 가신(歌神)으로 일컬어졌으며, 〈춘향가〉와 〈적벽가〉를 잘하였는데, 더늠으로 〈적벽가〉 중에서 ‘조조 군사 사향가(군사 설움타령)’가 전한다.김창환(金昌煥: 1854~1927)은 나주 출신으로 이날치·박기홍과 이종간이며, 근세 명창 임방울의 외삼촌이다. 정창업의 제자로, 계면조를 중심으로 한 서편제 창법에 뛰어났다. 1903년 우리나라 최초의 서양식 극장인 원각사의 주석을 맡았으며, ‘협률사’라는 전통 예술 공연 단체를 맨 처음 만든 사람이기도 하다. 고종으로부터 의관직을 제수받았다. 〈흥보가〉를 잘하였으며, 더늠으로는 ‘제비 노정기’가 있다. 이 ‘제비 노정기’는 현재 부르는 모든 〈흥보가〉에 들어 있다. 음반을 상당수 남겼다.김채만(金采萬)은 전남 화순 능주 출신인데, 나중에 광주 속골에서 살았기 때문에 속골 명창으로 일컬어졌다. 이날치의 문하에서 공부한 정통 서편제 소리꾼으로, 성대는 좋지 않았으나 기교가 매우 뛰어났다. 〈심청가〉를 잘하였는데, 더늠은 〈심청가〉 중 ‘초앞’ 대목이다.전도성(全道成: 1864~?)은 임실군 관촌면 병암리 출신이며, 고종으로부터 참봉 교지를 받은 어전 명창이다. 부친 전명준과 송우룡에게 배웠으며, 박만순·김세종·이날치에게도 지도를 받았다고 한다. 말년에는 정읍군 태인면에서 살았다. 전도성은 자신의 소리가 함부로 저잣거리에 돌아다녀서는 안 된다고 하여, 창극 운동이나 협률사에도 참여하지 않았고, 레코드 취입도 하지 않았다. 전도성은 판소리사에 관한 해박한 지식으로 『조선 창극사』의 편찬 과정에서 가장 많은 증언을 하였다. 〈흥보가〉와 〈심청가〉를 잘하였는데, 그의 더늠으로는 〈심청가〉 중 ‘범피중류’ 대목이 전한다.송만갑(宋萬甲: 1865~1939)은 송우룡의 아들로 전남 구례 출신이다. 고종으로부터 감찰직을 제수받았으며, 궁내부 별순검이라는 실직을 수행하기도 했다. 송만갑은 자기 가문의 정통 창법을 고집하지 않고 시대의 추세에 따라 많은 개작을 하였는데, 이에 대해 보수적인 사람들은 ‘��속화’라고 비판하기도 했다. 그러나 현재 남아 있는 음반을 통해서 보면 일반적으로 알고 있는 동편제 창법에 가장 근사한 소리를 하고 있다. 철성(鐵聲)으로 전력을 다하여 고음을 구사하며, 대마디 대장단에 소리 끝을 끊어 내는 치열한 창법은 어느 누구도 감히 흉내를 낼 수 없을 정도이다. 그는 또 경조(경드름)를 세련시켜 자신의 장기로 삼았다. 〈흥보가〉〈적벽가〉〈춘향가〉를 잘하였다. 『조선 창극사』에는 그의 더늠이라 하여 ‘농부가’가 실려 있지만, 단가 ‘진국명산’ 〈춘향가〉 중 ‘이별가’ 〈적벽가〉 ‘새타령’ 등이 오히려 송만갑다운 특징을 드러내는 대표적인 소리라 할 것이다.이동백(李東白: 1867~1950)은 충남 서천군 종천면에서 태어났다. 중고제의 명창이었던 김정근, 동편제 소리꾼이었던 김세종, 서편제 소리꾼이었던 이날치에게 배웠다. 이동백은 최고의 미성과 고음을 자랑하는 소리꾼이었다. 〈심청가〉 중 ‘부녀 상봉 대목’ 같은 데서 보여주는 절규하는 창법 또한 일품이다. 이동백은 소리꾼으로서는 가장 높은 관직인 정3품 통정대부의 직첩을 받았다. 〈적벽가〉〈춘향가〉〈심청가〉 등을 잘하였는데, 그의 더늠으로 ‘새타령’이 전한다. 시에론 판 〈춘향가〉, 폴리돌 판 〈적벽가〉, 폴리돌 판 〈심청가〉 외에도 많은 음반이 남아 있다.김창룡(金昌龍: 1872~1935)은 충남 서천 장항 출신으로 중고제 판소리의 시조인 김성옥의 손자이자, 명창 김정근의 아들이다. 어려서부터 아버지인 김정근에게 배웠고, 후에 이날치에게 지도를 받았다. 현재 남아 있는 음반으로 보면 중고제적인 감성에 가장 충실했던 소리꾼으로 생각된다. 그의 더늠은 〈심청가〉 중 ‘꽃타령’ 〈적벽가〉 중 ‘삼고초려 대목’인데, 이들은 모두 현재 부르는 판소리 속에 들어 있다. 콜롬비아 판 〈춘향가〉, 폴리돌 판 〈적벽가〉, 폴리돌 판 〈심청가〉 외에도 많은 음반이 남아 있다.유성준(劉成俊: 1874~1949)은 남원 출신이라고도 하고, 구례 출신이라고도 하나, 활동은 주로 구례·하동·진주 등지에서 하였다. 송만갑과 함께 송우룡에게 배웠고, 송만갑이 죽은 후에 동편 소리의 가장 뛰어난 소리꾼으로 수많은 제자를 길러냈는데, 임방울·정광수·김연수·박초월·강도근 등이 대표적인 제자들이다. 특히 〈적벽가〉와 〈수궁가〉의 경우에는 현재까지도 가장 강력한 전승력을 보이고 있다. 그의 더늠은 〈수궁가〉 중 ‘별주부와 토끼의 상면 대목’이다. 〈적벽가〉 중 ‘자룡 활 쏘는 대목’이 음반으로 남아 있다.정정렬(丁貞烈: 1876~1938)은 전북 익산군 망성면 내촌리 출신이다. 같은 집안인 정창업의 문하에서 수업을 시작했으며, 후에 이날치에게 배웠다. 성대가 약하여 오랜 수련 끝에 40세가 되어서야 이름을 얻기 시작하였다고 한다. 조선성악연구회에서 상무 이사를 맡아 제자를 양성하면서, 많은 창극을 만들어 대성공을 거두었다. 정정렬은 흔히 30년 앞을 내다보고 소리를 했다고 일컬어지는데, 이는 정정렬이 그만큼 미래 지향적인 소리꾼이었음을 뜻하는 것이다. 정정렬은 빅터·오케·폴리돌 등에서 음반을 냈는데, 그 중에서도 폴리돌 판 〈적벽가〉, 폴리돌 판 〈심청가〉, 빅터 판 〈춘향가〉 등은 전집이다. 임방울·김소희·이화중선·박녹주와 함께 빅터에서 낸 〈춘향가〉는 일제 시대 최고의 판소리 명반으로 꼽힌다. 현대 〈춘향가〉는 거의 대부분이 정정렬의 〈춘향가〉에 근간을 두고 있다. 정정렬 판소리의 특징은 극단적인 엇부침의 추구, 계면조 창법의 확대, 성음의 다양한 변화 등 세 가지를 들 수 있다. 정정렬의 더늠은 〈춘향가〉 중 ‘신연맞이 대목’이다. 4. 현대 해방 후의 판소리는 대체로 침체를 면치 못하였다. 판소리가 기반으로 삼고 있던 전통 사회가 해체되고 산업화되면서 판소리가 설자리를 잃게 되었기 때문이다. 그러나 많은 명창이 또한 명멸하였다. 일제 강점기부터 활동했던 김소희(1917~1995), 박초월(1913~1987), 박녹주(1906~1981) 등 여류 명창과, 임방울(1904~1961), 김연수(1907~1974) 등은 한 시대를 대표할 만한 소리꾼들이었다.이들 중에서도 임방울은 천성의 아름다운 목으로 일제 강점기에 ‘쑥대머리’를 불러 최고의 인기를 얻었던 사람으로, 유성준에게 배운 〈적벽가〉와 〈수궁가〉 그리고 〈춘향가〉를 장기로 삼았다.김연수는 조선성악연구회 시절부터 창극 운동에 깊이 관여했던 사람인데, 해방 후에 판소리 다섯 바탕을 새로 짜서 이른바 ‘김연수제 판소리’를 만들었다. 임방울의 소리는 제대로 전승한 사람이 없으나, 김연수의 소리는 많은 제자들에 의해 점점 더 융성하면서 대표적인 현대 판소리로서의 위치를 확고하게 다지고 있다. 사람은 죽으면 이름을 남기고 범은 죽으면 가죽을 남긴다 호랑이가 죽은 다음에 귀한 가죽을 남기듯이 사람은 죽은 다음에 생전에 쌓은 공적으로 명예를 남기게 된다는 뜻으로, 인생에서 가장 중요한 것은 생전에 보람 있는 일을 해놓아 후세에 명예를 떨치는 것임을 비유적으로 이르는 말.

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