{"schema":"record/v1","id":"art_01M5NP2STPXBKD261H63B5TJRV","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What is a pansori performance made of (who performs, which channels alternate, what the drum cycles are for), as a first orientation before borrowing anything for screen or audio narration?","summary":"Partially verified: the curator re-read none of the cited sources; S4, S1, S2, S3 rest on the producer's pinned reading. Pansori is a solo narrator-singer (sorikkun, also called gwangdae in older usage) telling one long story with a drummer (gosu): the singer alternates sung passages (sori/chang) and spoken passages (aniri) and adds mimetic gesture (ballim), while the drummer supplies rhythmic cycles (jangdan) and shouts of encouragement (chuimsae). One programme page states that the poetic aspect is amplified to signal the shift from spoken to sung passages, and that jangdan are chosen to respond to changing mood or context. Five stories are canonical and each full telling takes hours. The sources read do not spell out that one voice plays every character; they say the singer 'plays the central role' through song, speech and gesture.","status":"active","body":{"text":"Partially verified: the curator re-read none of the cited sources; S4, S1, S2, S3 rest on the producer's pinned reading.\n\nPansori is a solo narrator-singer (sorikkun, also called gwangdae in older usage) telling one long story with a drummer (gosu): the singer alternates sung passages (sori/chang) and spoken passages (aniri) and adds mimetic gesture (ballim), while the drummer supplies rhythmic cycles (jangdan) and shouts of encouragement (chuimsae). One programme page states that the poetic aspect is amplified to signal the shift from spoken to sung passages, and that jangdan are chosen to respond to changing mood or context. Five stories are canonical and each full telling takes hours. The sources read do not spell out that one voice plays every character; they say the singer 'plays the central role' through song, speech and gesture.\n\nCurator qualifications: Partially verified: the curator re-read none of the cited sources; S4, S1, S2, S3 rest on the producer's pinned reading. Curator GET 2026-10-23 of the sources not re-read (mechanical source evidence, not semantic verification): S4: HTTP 200, bytes differ from the producer pin; S1: HTTP 200, bytes equal to the producer pin; S2: HTTP 200, bytes equal to the producer pin; S3: HTTP 200, bytes equal to the producer pin.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://u.osu.edu/kprp/performance-traditions/pansori/","note":"candidate evidence excerpts"},{"url":"https://scholarspace.manoa.hawaii.edu/server/api/core/bitstreams/b7491483-4007-468b-89d8-07bdaf605f6f/content","note":"candidate evidence excerpts"},{"url":"https://mtosmt.org/issues/mto.24.30.4/mto.24.30.4.kim.pdf","note":"candidate evidence excerpts"},{"url":"https://www.ijih.org/volumes/article/838","note":"candidate evidence excerpts"}]},"categories":["T01","T14"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"metadata_checked","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://u.osu.edu/kprp/performance-traditions/pansori/","claim":"Pansori is a solo narrator-singer (sorikkun, also called gwangdae in older usage) telling one long story with a drummer (gosu): the singer alternates sung passages (sori/chang) and spoken passages (aniri) and adds mimetic gesture (ballim), while the drummer supplies rhythmic cycles (jangdan) and shouts of encouragement (chuimsae). One programme page states that the poetic aspect is amplified to signal the shift from spoken to sung passages, and that jangdan are chosen to respond to changing mood or context. Five stories are canonical and each full telling takes hours. 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One programme page states that the poetic aspect is amplified to signal the shift from spoken to sung passages, and that jangdan are chosen to respond to changing mood or context. Five stories are canonical and each full telling takes hours. The sources read do not spell out that one voice plays every character; they say the singer 'plays the central role' through song, speech and gesture.\n\nCurator qualifications: Partially verified: the curator re-read none of the cited sources; S4, S1, S2, S3 rest on the producer's pinned reading. Curator GET 2026-10-23 of the sources not re-read (mechanical source evidence, not semantic verification): S4: HTTP 200, bytes differ from the producer pin; S1: HTTP 200, bytes equal to the producer pin; S2: HTTP 200, bytes equal to the producer pin; S3: HTTP 200, bytes equal to the producer pin.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://u.osu.edu/kprp/performance-traditions/pansori/","note":"candidate evidence excerpts"},{"url":"https://scholarspace.manoa.hawaii.edu/server/api/core/bitstreams/b7491483-4007-468b-89d8-07bdaf605f6f/content","note":"candidate evidence excerpts"},{"url":"https://mtosmt.org/issues/mto.24.30.4/mto.24.30.4.kim.pdf","note":"candidate evidence excerpts"},{"url":"https://www.ijih.org/volumes/article/838","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"What is a pansori performance made of (who performs, which channels alternate, what the drum cycles are for), as a first orientation before borrowing anything for screen or audio narration?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Partially verified: the curator re-read none of the cited sources; S4, S1, S2, S3 rest on the producer's pinned reading. 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