Contemporary Korean non-verbal performances, such as `Nanta` and `Tokebi Storm`, are becoming world-renown in spite of language differences and are following the world-wide trend of excluding language from drama. `Nanta` and `Tokebi Storm` both use beat rhythms and not words as their signifiers on stage. Deviating from textual works, they also emphasize dramatic performance and not the transfer of contextual meaning. While drama belongs to the category of literature thanks to the importance of drama, non verbal performances such as `Nanta` and `Tokebi Storm` are now about to create a completely different category from literature. However, since the beat rhythms enable each country`s people, regardless their language, to understand and feel each other`s ideas and emotions more delicately, the beat rhythm is the meta language or the undifferentiated language which surpasses daily language. Thus, the language of non-verbal performances are part of a new field of literature. As the producers of `Nanta` are already aware, `Nanta` did not rise as a world renowned percussion performance just by borrowing its idea from other works such as `Stomp`, the British percussion performance. The efforts to find the Korean historical characteristic in `Nanta` also resulted in creating `Tokebi Storm`. The Korean beat rhythm features antagonism and contradiction overlapping both the physical and spiritual. The reason that `Nanta` was followed by `Tokebi Storm` is that its productivity and source of spirituality are derived from Duduri Tokebi. In order for Korean non verbal performances to achieve a stable standing in the world, we should put more effort into finding out the characteristics of percussion performances and the meaning of rhythm in the Korean context. We also need to investigate carefully not only the Western percussive rhythms but also those of Eastern Asian countries especially China and Japan. The purpose of this study is to examine how Korean Foongmul and the Korean tradition of non verbal performances should be translated into contemporary percussion performance with originality, considering the beauty of the Korean beat without claps.