Pansori is one of Korea’s most powerful and enduring forms of Intangible Cultural Heritage. A single performance can last anywhere from two to thirteen hours, unfolding like an epic story told through voice and drum. In 2003, UNESCO inscribed Pansori on the Representative List of the Intangible Cultural Heritage of Humanity. This recognition affirmed that Pansori is not just a Korean tradition, but an art form with universal value that speaks to people across cultures. It marked a turning point, helping the world see Pansori not simply as something to preserve from the past, but as a living tradition that continues to evolve today.

At its heart, Pansori is created through the shared energy among the singer, the drummer, and the audience. The singer shapes the story in real time, responding to the atmosphere of the space, while the drummer guides and strengthens the rhythm. The audience listens, reacts, and becomes part of the performance. Even when every word is not fully understood, the emotional flow, dramatic tension, and musical rhythm allow people to connect. In this way, Pansori moves beyond language and nationality, expressing the universal human experiences that lie at the core of Intangible Cultural Heritage.

This is why the presence of Korean Intangible Cultural Heritage in overseas communities matters so much. At The Ohio State University, Korean language and culture have been taught and studied since 1985. Beginning in 1995, Korean Intangible Cultural Heritage became an integral part of campus life. Professor Emeritus Park Chan-eung played a central role in this development. As both a tradition bearer in Pansori and Geomungo sanjo (a traditional Korean instrumental genre performed on the Geomungo, a six-stringed zither) and a scholar of language and oral literature, Professor Park was instrumental in establishing a lasting academic and artistic foundation for Korean Intangible Cultural Heritage at Ohio State.

During Professor Park’s time on the faculty, Korean Intangible Cultural Heritage extended well beyond performance. Courses, workshops, and concerts explored not only how Pansori sounds, but also what its stories mean. Students studied the texts, discovered their literary depth, and then experienced the art form in practice. Classroom learning often culminated in live performances. Watching students bring months of preparation to life on stage was deeply meaningful. In those moments, education and cultural transmission came together in a tangible and lasting way.

Additionally, many of Korea’s most respected master artists made their way to Ohio. These masters of Korean traditional performing arts (including Geomungo sanjo, Pansori, Gobeop, Gayageum, Jultagi, and Gagok) shared their artistry with students and community members through performances, lectures, and workshops. Artists who are rarely seen together even in Korea stood side by side in Ohio. In those moments, the university became more than a place of study and research. It became a living space where Korean Intangible Cultural Heritage was truly felt and shared.

Spring is returning to Ohio in 2026. After slowing during the COVID-19 pandemic, Pansori classes and performances at Ohio State are expected to regain their vitality. Yet this momentum cannot be sustained by individual dedication alone. It requires regularized courses, stable rehearsal spaces, institutional support, and above all people who are willing to lead and carry the tradition forward. The experience accumulated at Ohio State reminds us of the kind of structure and preparation necessary for Korean culture and heritage to thrive internationally. Just as spring returns each year, we hope that the sound of Pansori will once again resonate strongly across Ohio.