• Journal of Legislation Research
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• no.55
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• pp.7-56
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• 2018

This paper deals with the legal meaning and issues of street performances. The key elements in the legal sense of street performances (or artistic performances) are 'public places' and 'artistic activities'. Therefore, as far as belongs to "artistic activities in public places", we can call them in principle as street performances regardless of its level of art, whether they are paid or not, size of performances or genre of artistic activities. Street performances are a way for anyone to freely participate and enjoy art by being performed on open places. In addition, street performances can be seen as more popular and democratic artistic acts than mainstream art culture in that anyone can become street performers. Although street performances are in vogue and becoming a universal cultural phenomenon, they do not appear to be legally organized yet. However, we don't have to strictly regulate street performances on the grounds that they are something different and special. Instead, they should let their street performances be freely performed and enjoyed in accordance with the constitutional law that guarantees the freedom of art or the freedom of artistic expression. Of course, it is necessary to modify the relevant laws on key issues raised regarding street performances. Finally, for street performances to be well established as cultural phenomenon, it should be harmonized that efforts to observe the law and orders by street performers, mature rituals and cultural tolerances of citizens who enjoy street performances, and efforts to realize the purpose of cultural countries and to promote street performances by governments.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.333-334
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• 2017

본 연구는 거리공연 제작과정을 통해서 소울댄스의 발전 방향을 제시하는 데 있다. 실제사례를 통한 연구자의 공연 사례중 음악선정, 장소, 의상, 장비, 작품구성과 안무를 통해 준비를 하였고 결과를 제시하였다. 불특정 다수가 모여 있는 곳에 자유로운 거리 공연을 통하여 발전하는 것이 효율적이라 도출 시켰으며 소셜네트워크의 도움으로 빠르게 확산되어 확산되었다. 반면 주기적인 거리공연과 젊은인 들의 인식의 변화, 예술적 성장을 전국적으로 조사연구가 필요함을 나타났다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.1-17
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• 2021

Social distancing caused a sharp industrial stagnation in the performance industry. Due to the continuous industrial downturn, as well as the livelihoods of many related workers, the outlook for the performance industry has reached a point where it is impossible to foresee the future. As a result of seeking various ways to recover from the continuing industrial stagnation, online concerts drew attention as the most effective alternative. Its development potential was highly evaluated as it could provide a performance culture to consumers while complying with social distancing. This study has value in terms of academic contribution as it slightly suggests a direction for the sustainable development of online performances presented as a breakthrough amid the social and industrial stagnation caused by the pandemic. therefore, this thesis describes the changes in the performance industry due to social distancing, and collects and analyzes examples of online performances by type to illuminate the value of online performances as an industry in the pandemic era and develops them. The possibility was reconsidered and the direction to be taken in the future was suggested. In each type of case, the cases focused on social value did not satisfy the economic value of profit creatiom, and even in the opposite case, if the profit creation was satisfied, the analysis result showed that the social value was not satisfied, and the planning intention of each performance was not satisfied. Accordingly, cases such as satisfying both profit creation and social value were also confirmed. Therefore, the direction for online performances was presented through the improvement of technologies and systems and the commercialization of existing platforms.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.1
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• pp.379-388
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• 2018

This study aims to analyze the causes of conflict between street performing subjects and identify methods to induce their collaboration in promoting a creative city. This study proposes preventive mechanisms after identifying potential problems in performances on the streets of Jeju, which aims to become "the island of culture and art". To this aim, the type and relationship between the subjects of conflict, characters of conflict, solutions, extent and role of tolerance, responses of the subjects, and type of conflict management employed were examined and analyzed. We employed an in-depth interview method involving cases of conflict occurring during street performances in Jeju. were categorized into 6 types. First is conflict resulting from the lack of facilities. Second is conflict caused by non-designated performance venues. Third is conflict due to exclusive ambiance. Fourth is conflict resulting from direct engagement by neighboring residents. Fifth is conflict between residents and police during performances. Sixth is conflict by lack of definite relationship with relevant institutes. To systematically resolve these conflicts, we propose the following management methods: (1) behavioral approach of pretraining through a registration system; (2) establishment of busking zones and allocation after registration; (3) training of facilitators to manage street performances and extended roles; (4) establishment of standards for street performances through the systematic approach of ordinance; (5) training to secure tolerance of residents; and (6) simplification of deliberation process by building a collaborative system among institutes.

• Proceedings of the KAIS Fall Conference
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• 2012.05a
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• pp.82-85
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• 2012

본 연구는 소비자 행동연구에서 최근 높은 관심을 나타내고 있는 체험에 관한 연구로써, 공연이벤트를 경험한 관객의 체험을 통한 공연이벤트 마케팅 방안에 도움이 되고자 실시되었다. 우리나라의 대표적 공연거리인 서울 동숭동 대학로에서 조사된 자료를 토대로 관객특성에 따른 체험의 차이와 공연이 벤트의 체험이 관객의 후속행동에 어떤 영향을 미치는가를 파악하였다. 실증분석 결과 공연이벤트의 체험에 따른 시장세분화 및 표적시장 전략이 가능하며, 공연이벤트의 체험이 관객의 행동에도 유의한 영향을 미치기 때문에 공연이벤트의 체험마케팅을 적극적으로 도입할 필요가 있다. 특히 공연이벤트의 '여가체험'은 중요한 변수로써 공연이 예술의 순수성만을 부각할 것이 아니라, 관객의 여가체험을 극대화하는 방안이 고려되어야 할 것이다.

• (The) Research of the performance art and culture
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• no.35
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• pp.287-338
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• 2017

Gojong' Birth Anniversary Memorial Banquet in the 1910s was forced to be performed differently from the performance style in Joseon Dynasty period that featured a harmonious majestic beauty of etiquette music. The banquet was separated into three different sessions of ceremony, luncheon and performance', which clearly revealed a distinctive pattern of etiquette music. The performance was accompanied by the dinner party or was lightly implemented as part of evening entertainment. With the use of the term entertainment, the performances belonging to this category fell into nothing but something to enjoy, amusement, fun and play. The contents of such performances were not closely woven into the fabric of the entire banquet but were individualized and scattered in a way of putting the performances in a state of flux in line with the circumstances. Therefore, it became increasingly hard to expect a high degree of completion and solid structure of performances. The items of performance included western music, popular vocal music, popular instrumental music, magic, and film, which were not played in traditional court banquet in the presence of Gojong rather than traditional music and dance performed in court. In other words, the court performance could not maintain its traditional heritage but was transformed into a mixture of popular performance and new forms of art. It was driven by the Japanese imperialism toward the atmosphere of entertainment in oblivion of tradition but not toward the external extension of court performances.

• Trans-
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• v.9
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• pp.1-15
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• 2020

The most prominent phenomenon in performing arts in recent is the social sharing of art products. As a result of the city's reinterpretation of each local government, production of performances, activation of performances outside the theater, and performances performed in streets and specific spaces and public spaces deviate from traditional theater-based performance forms through social communication and expansion. Also, it is seen as an effort to expand the delinquency of the act. Furthermore, it can be said that this proves the publicity of contemporary performing arts. I will research the audience and learners through the Opera Estate festival, a recent exhibition in the Balsano del Grappa, Italy, which is based on the site-specific performance form that has been actively conducted several years ago.

• Proceedings of the Korean Society of Computer Information Conference
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• 2022.07a
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• pp.427-428
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• 2022

본 논문에서는 공연 및 행사 정보를 제공하는 챗봇을 설계하고 구현한다. 이 챗봇은 메타데이터를 이용하여 공연 및 행사 정보를 가져오고 Google map API를 활용하여 위치 정보와 최단거리 경로를 제공한다. 또한 Microsoft Azure Database에 사용자가 전화번호를 입력함으로써 데이터를 등록해서 특정 공연 및 행사에 대해 즐겨찾기를 할 수 있고 즐겨찾기 한 항목들을 조회할 수 있는 기능을 제공한다.

• (The) Research of the performance art and culture
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• no.42
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• pp.23-45
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• 2021

In the 1980's, Lee Geun-sam wrote critiques that analyzed North Korea's performing arts and ideology. In the critiques, he posits the following characteristics of North Korea's performing arts. First, the works are designed in such a way to befit the purpose of the authorities' policy. Second, the works embrace political ideology whose purpose concerns class struggle. During the critique process, Lee Geun-sam compares the "freedom" of the performing arts activities in South Korea and the "regulatory" aspect of North Korea's performing arts activities and reveals implicitly the superiority of South Korea's system. In addition, Lee Geun-sam criticizes the political ideology of North Korea's performing arts and objects to viewing the concept of ideology from a Marxist viewpoint. According to Lee Geun-sam, an ideology is explained as an idea system representing an artist's conscious/unconscious worldview. Also, he contends that arts should distance itself from political ideology.

• (The) Research of the performance art and culture
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• no.42
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• pp.183-204
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• 2021

This study analyzed the placement and interactivity of the immersive performance . In the sense of place, it was analyzed that first, walked and followed the living spaces and streets of the victims of the Sewol ferry, and second, through this, the participants induce a transfer experience to become the main character of the performance. In terms of interactivity, participants were able to carry out various forms of participation, and as a result, they analyzed that they had relieved debt consciousness or exerted healing effects. In addition, it was confirmed that they pursued solidarity and sympathy by focusing more on the city 'Ansan' rather than the story of the Sewol ferry. Through these results, it can be seen that has many social functions, a variety of art forms, and is differentiated from other immersive performances. So, it is necessary to consider the continuous holding.