Chu Chaeyŏn lists concert activities in Seoul involving samulnori in April 2010 in his Masters’ thesis (2010: 90): Nant’a, at the Nant’a Ch’ŏnyong Theatre; Jump at the Cine Core Theatre combining taegwŏndo martial arts; Miso at the Chŏngdong Theatre combining traditional dance; P’an at the SamulNori Hanullim venue, Kwanghwamun Art Hall, featuring p’ansori, t’al ch’um masked dance drama and music inspired by shamanism, all wrapped up in a title evoking performances in the village market places of old; Drawing Show also at the Chŏnyong Theatre with live art; Baby at the B-Boy Theatre with hip hop dancing B-boys; Traditional Salon at Korea House juxtaposing samulnori with traditional music and dance; Sach’um at the Sach’um Theatre featuring dance, ballet and B-boys; Fantastic at the 63 Art Hall on Yŏŭido Island with Korean traditional music and B-boys; and Drumkit at the Myŏngbo Art Hall mixing samulnori with other percussion traditions. The list is both informative and impressive, illustrating the extent to which samulnori has become embedded in Korea’s creative performance culture.