This paper proposes an integrative approach to teaching Korean as a foreign language by repositioning pansori (판소리, pansori) as a central pedagogical resource. Drawing on two canonical passages—Chuwol Manjeong (추월만정, chuwol manjeong) from Simcheongga and the ‘Thoughts of Parents’ section of Gunsa-seorum Taryeong (군사설움타령, Gunsa-seorum Taryeong) from Jeokbyeokga, brought to renewed attention through the 2024 drama Jeongnyeon-i (정년이, Jeongnyeon-i)—the study proposes classroom modules targeting pronunciation, prosody, Sino-Korean vocabulary, phonological rules, and discourse pragmatics. The theoretical foundation rests on Patel’s (2011) OPERA hypothesis: five conditions—Precision, Repetition, Emotion, Attention, Overlap—under which musical training transfers to language acquisition; pansori satisfies all five within a single performance setting. The paper further argues that chuimsae (추임새, chuimsae) models the listener-oriented interactional grammar of Korean.