Korea has a rich history of children’s songs, which range from simple playground tunes to songs which carry deeper meaning. Some of the latter are known as tongyo that are an expression of the desire to give a voice to Korean children. During the Japanese occupation in the early twentieth century, citizens of Korea were denied their national identity and forced to acculturate to the Japanese Empire, which led Korean children to experience a loss of their culture, nation, and language (Chŏng, I., 1975). Two seminal activists in Korea, Yun Kugyong and Chong Sunch’ol, recognized the innate and intrinsic qualities of singing in human activities that “can play a significant role in identity construction, including musical, social, ethnic, racial, and cultural identities” (Ilari et al., 2013, p.205) and wrote tongyo to give Korean children “songs of their own” (Chŏng, S., 1923, p.6). Tongyo are a profound representation of Korean children’s music that encapsulates national cultural memory, simultaneously expressing their shared traumatic history and longing for lost Korean identity. The purpose of this demonstration as a Korean-American music educator is to use the principles of Culturally Sustaining Pedagogy and share a traditional Korean children’s song, providing context and suggestions for including tongyo in elementary-level music learning environments.Known to be one of the first original compositions of tongyo during the colonial period, Pandal [반달: Half Moon] was composed by Yun Kugyoung in 1923 (Hwang & Zur, 2022). I grew up singing this song with my friends during my elementary school years in Seoul, South Korea. This song was seldom sung alone, but almost always with a partner as a clapping game. The origin of Pandal’s clapping game is unclear, however, the similarities between Pandal’s clapping patterns and Japanese-style singing games known as Sei, Sei, Sei cannot be ignored. Pandal’s gentle oscillations and the lilt of the compound meter (Hwang & Zur, 2022) are well embodied in the clapping game. The demonstration will be presented in a standing concentric circle formation, facing a partner. Due to the nature of a clapping game, pairs will cooperate to learn the clapping patterns and synchronize the movements that involve clapping in a variety of ways with their partner. The accompanying tongyo, Pandal, will be sung by myself, the presenter, in Korean while participants will later be invited to learn to sing the song in a neutral syllable “lu” with the presenter.