Despite the flourishing of pungmul and/or samul nori groups in the United States since the mid-1980s, many groups have struggled to sustain their activities beyond the first several generations of members. For context, pungmul and samul nori musicians in South Korea also face challenges in maintaining long careers (Howard 2016). In the US, different hurdles come into play depending on whether the group is a college group, community arts organization, or performing arts company. Given the limited scope of this chapter, we will focus on community arts organizations and performing arts companies. In terms of conceptualizing sustainability, we consider the five domains of cultural sustainability as developed by Huib Schippers (2016): (1) systems of learning music, (2) musicians and communities, (3) contexts and constructs, (4) regulations and infrastructures, and (5) media and music industry. Although all of these domains are interconnected, we will focus our analysis on the fourth domain because it is one the most critical drivers of sustainability. We will employ the case study approach and examine three organizations: the Korean Youth Cultural Center (KYCC), the Korean Performing Arts Institute of Chicago (KPAC), and JangmiArts, an organization with a focus on Korean adoptees. All three organizations are interesting case studies as they all expanded from community-based beginnings to varying degrees. Given this, we aim to investigate how different groups and/or generations of people of Korean heritage engage with Korean expressive culture to define their diasporic identities and strive to create sustainable artistic communities.