This panel will explore the work of the Korean Performing Arts Institute of Chicago (KPAC) in integrating Korean percussion traditions (pungmul and samulnori) into U.S. music education through a range of curriculum models and school-based collaborations. The panel brings together multiple practitioners and educators who have introduced Korean percussion in diverse educational contexts. Together, we will highlight the impact of these programs, reflect on challenges, and consider implications for diversifying music education through culturally responsive practice.Grounded in culturally responsive pedagogy and the growing call for diversity in music curricula (Andrews, 2011; McKoy & Lind, 2022), KPAC’s initiatives demonstrate how Korean traditional music can enrich student learning, cultural awareness, and community connections. This work builds on global music pedagogy scholarship (Campbell, 2004) that emphasizes experiencing music across cultures.Over the past several years, KPAC has developed and implemented four curriculum models: (1) after-school programs, which provide accessible entry points for students to explore global music traditions, (2) introduction of Korean percussion within general music classes, supported by Kang and Yoo’s (2016) work on using samulnori in beginner-level classrooms and by Yoo and Kang’s (2018) study with preservice teachers, (3) school-based performance ensembles comparable to jazz band or orchestra, aligning with research on alternative ensembles in U.S. schools (Timmerman, 2023), and (4) a college-level elective course open to all students, including pre-service music educators. Each model is tailored to its context, balancing cultural authenticity with pedagogical accessibility, echoing Lim’s (2023) emphasis on structured pathways for teaching world music traditions.The panel will be structured around case studies from elementary, secondary, and higher education settings, presented by practitioners directly involved in these programs.Dr. Byoung Sug Kim, Executive Director/KPAC, will introduce KPAC’s overall curriculum models and provide context for the organization’s role in bringing Korean percussion into schools. This presentation will outline the rationale for developing multiple curriculum models, and highlight KPAC’s collaborations with schools and community partners.Natasha Thurmon, Elementary Music Specialist/Northside Independent School District, will share a lesson unit from an elementary school general music classroom, where Korean percussion was introduced through hands-on activities and cultural exploration. This aligns with Andrews’ (2011) argument for privileging culture through the inclusion of folk music in elementary classrooms.Jordan Yi, Music Teacher/Metea Valley High School, will discuss the integration of Korean percussion in a high school ensemble program, comparable to jazz band or orchestra. This case illustrates how students engaged with Korean rhythms in an ensemble context, supporting research on the rise of alternative instrumental ensembles (Timmerman, 2023).Suwan Choi, Teaching Artist/KPAC, will present on a college-level elective course, designed for both music majors and non-majors, including pre-service music educators. This case highlights how higher education courses can foster intercultural understanding, expand teacher preparation, and respond to calls for culturally responsive music education (McKoy & Lind, 2022).Across these cases, the panelists will share both impact and challenges. Evidence of impact includes high levels of student engagement and enthusiasm, the promotion of intercultural understanding, and the fostering of collaboration between Korean traditional artists and U.S. classroom teachers. Challenges have included securing and managing instruments, limited rehearsal time, and the lack of curriculum materials tailored to teacher needs.By bringing together multiple perspectives, the panel aims to demonstrate how Korean percussion can be adapted to varied educational contexts while maintaining authenticity. The discussion will highlight lessons learned from KPAC’s experiences, emphasizing the importance of teacher training, authentic cross-cultural collaboration, and the adaptability of traditional music in contemporary classrooms.The panel will conclude with an open discussion inviting the audience to consider how Korean percussion—and other global music traditions—might be introduced in their own teaching contexts. Implications will be drawn for music educators seeking to diversify their curricula, strengthen intercultural competence, and create meaningful opportunities for students to connect with global musical traditions.Keywords: Korean percussion, curriculum models, culturally responsive pedagogy