• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• Proceedings of the Korea Society of Costume Conference
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• 2003.05a
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• pp.22-22
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• 2003

본 논문은 산대놀이가 제의적인 성격과는 달리 숙종 이후부터 흥행을 목적으로 한 순수한 놀이문화로 변모하게 된 과정을 검토하고 광범위한 조선시대 나례와는 달리 17세기 이후 재창출된 문화로서 조선 전·후기의 문화적 특징을 연구하고자 한다. 쇠퇴기인 일제 강점기까지 민간 예능인들이 장시를 중심으로 양반에 대한 풍자 고발 문화를 복식에서 어떻게 형상화하였는지 그 구성상 특징과 상징적 의미를 논하고자 한다. 이 연구를 통해서 과거의 전통극을 현대적 의미로 대중화시킬 수 있다는 가능성을 확인하고 한국복식에서 공연복식의 위치를 규명하고자 한다.

• (The) Research of the performance art and culture
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• no.36
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• pp.585-602
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• 2018

This article examines the academic world of Professor Sa jin-sil. This article is not a detailed and rigorous assessment of Prof. Sa's work. During my directly or indirectly meeting with Prof. Sa jin-sil, the writing was based on my experiences. This is why the theme of "participatory observation records" is attached. I was aware that this writing would become a customary and formal funeral speech. Because I thought Prof. Sa also did not want formal and customary writing. The initiation of the participatory observational records that I describe was the literature study of Prof. Sa. What I am about to say in the title of the table of "Known Performance and to Revalue." There I summarized my thoughts on what Prof. Sa contributed to the research of the literature study on traditional performance and my opinion of the justice of the assessment of her contributions. I have not recommitted again about contributions or achievements that have already been widely recognized. What I noticed here was what was to be revalued. I once again stressed the achievements that were not properly evaluated despite their importance and significance. In the ensuing discussion, I looked at Prof. Sa's entirely different academic side. I call the passage "an unexpected result against prejudice." The subjects covered were Prof. Sa's field-contextual studies. Prof. Sa is often referred to as a dramatical history or a traditional performing arts scholar who studies literature. Such an idea is so common that it is easy to overlook field-contextual research results, not literature-based. But I think this is prejudice. That is why the title of the table of contents has the words 'unexpected' and 'prejudice'. Here I actively emphasized and evaluated Professor Sa's achievements in field-contextual studies.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.39-48
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• 2020

This study examined the type, the structural shapes, and the representation of Sandae, which was the stage for traditional performing arts and constructed for the purpose of imperial processions, ritual ceremonies, banquets, etc. from the Goryeo Dynasty to the Late Joseon Dynasty, and the implications of Seokgasan, which was built in the same era. First, through the history and meaning of Sandae, it was confirmed that Sandae has a homogeneity with Seokgasan, which attempted to imitate the shape of "Mountain" in the outer space. The construction of Sandae was deeply related to the tradition of famous mountains. This is consistent with the fact that 'Famous mountains and lakes" in China was symbolically replicated on the Seokgasan in the front yard of the "Cheongyeongak" in the Goryeo Dynasty. Second, Sandae and Seokgasan differed in their structural shapes, materials, and production methods, but they were used as a stage background for national events by constructing in the shape of the mountain, and appeared in various types. It can be seen that the interest in gardens and art of those days has resulted in various formative expressions of nature through the shape and symbolic meaning of the Sandae that mimics the mountain. Third, it is presumed that the square pond with lotus flowers, which is believed to have been located in the center of the garden of Shin Jaehyo's old house, and the Sugak and Seokgasan adjacent to it were not only elements of the garden, but also functioned as a background for the training and performance stage of Shin Jaehyo's students.

• (The) Research of the performance art and culture
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• no.39
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• pp.223-277
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• 2019

Based on the text reference from the Variety Theatre compiled and performed by the Jiaofang of the Ming Dynasty Palace, the characteristics of Zhongkui performance in the New Year Ceremony was analyzed focusing on the differentiation and diachronic change in aspect between court dance and civilian. In China's folk beliefs, 'Zhongkui' is regarded as a representative spirit of fighting against evil spirits. Relevant rituals and performing arts have been held mainly on New Year's Eve or the Dragon Boat Festival. Although extensive research has been conducted in various fields, the situation of Zhongkui performance was largely unnoticed, only generally addressed in China, even with the given fact that the Ming Dynasty's text reference of miscellaneous court dance was exclusively retained, Therefore, the analysis intends to propose Zhongkui performances of Calendaric Rituals in the aspect of its elements and differentiate the play handed down among people as a specific example. Through the text analysis of miscellaneous court dance, 'Imperial examination' and religious belief was regulated usuriously by a so-called edification expressed as imperial reign ideology extracted to an implementation situation, revealing that this court dance was characterized by a variety of performances including the 'Zhongkui'. The results of the following study intends to provide a positive foundation for not only the field of Chinese studies but also the field of Korean literature, theatre, dance, folklore, religion, anthropology and art.

• (The) Research of the performance art and culture
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• no.32
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• pp.465-488
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• 2016

This paper attempts to read in different ways and to interpret newly on Cheoyongrang mhang-hae-sa in "Sam-guk-yu-sa". Ulsan have held Cheoyong Cultural Festival for 47 times according to "Sam-guk-yu-sa". However, there have been a frequent identity crisis about Cheoyong Cultural Festival because of controversial issue about Cheoyong, This paper interpretate Cheoyongrang mhang-hae-sa newly to overcome these crisis, Cheoyong's dancing and retreating was not the resignation and tolerance, but the treat and warning, as the dance of Namsansin god of Posukjeong, Buk-acksin god of Keumkangryung and Jisin god of Dongryejeon was the warning of Silla's ruination. 'The Mhang' of Mhang-he-sa temple should be interpreted not as 'watch' but 'fifteen days'. Mhang-he means the roads buried in darkness and vanished had become a sea. The name of Shin-bhang-sa temple means Gae-un-po province of Ulsan had become 'the newly purified region' because of the inspection of King Heon-ghang. The main keyword of Cheoyongrang mhang-hae-sa is 'Byuk-sa-jin-gyung'. 'Byuk-sa-jin-gyung' means to repel the impious and pray the pleasure. The purpose of the personal Gut and national Gut, Narae, was also 'Byuk-sa-jin-gyung'. The reinvented bridal room with a fresh life was like the world of Byuk-sa-jin-gyung. The dance of God Sa-bhang was, as well the desperate desire to New Silla. Cheoyong was a shaman with a superior authority who set up the power to foresee to the god of smallpox. The image of Cheoyong at is not the resignation and tolerance, but the foresight and authority. Therefore, the slogan of Cheoyong Cultural Festival, the resignation and tolerance, should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung. Cheoyong Cultural Festival, have been held for 49times, often had identity problems. The identity of Cheoyong have been misinterpreted as the resignation and tolerance. The slogan of Cheoyong Cultural Festival should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.39-49
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• 2018

"Annals of The Joseon Dynasty" is a book recording the Joseon Dynasty's historical facts in an annalistic format. The King's amusement activities through "Annals of The Joseon Dynasty" which were established by the Ye-ak(禮樂) system were analyzed. The results are as follows. The king's amusement activities that were performed during the Joseon Dynasty period could be classified as state banquets, military banquets, and banquets for play. The analysis of the king's amusement activity was divided into five stages. The characteristic of [1 period : King Taejo~Sejo(Yejong)] was dominated the military banquets of the Goryeo Dynasty. Neo-Confucianism is the establishment of political and social turning of the ballast, considerations of military culture, culture, and Hoeryeyeon Jinpungjeong, a cloud of dust and elders banquets such as Giroyeon and Yangnoyeon on the nature of the party. A lasting ordinance was institutionalized[2 period : King Seongjong~Jungjong]. In the chopper and jeongyujaeran, Hong Kyung Rae led a royal amusement activities are stagnant, often produce isolated storage compute in the gloomy situation[3 period : King Injong~Hyeonjong]. Revival period is pride of the amusement activity through the culture of Joseon Dynasty royal culture [4 period : King Sukjong~Jeongjo]. The throne, crashed due to political power is an ebb of royal amusement activities, while also rapidly waning[5 period : King Seonjo~Seonjong]. During the early Joseon Dynasty, hunting took place around the forest area northeast of Hanyang and during King Seongjong's period, it took place closer to the capital city, while in Lord Yeonsan's period, it was expanded to a 39 kilometer radius area from the palace, and banquets such as various forms of entertainment of Cheoyongmu, and Flower-viewing. The Joseon kings who enjoyed hunting were King Sejong, Sejo, Seongjong, Yeonsan, and Jungjong. Most of hunting objects were tigers, bears, deer and roe deer, leopards, boars, their animals and falconry took, and the purpose of the hunting was to perform ancestral rites to the royal ancestry or the royal tombs. Lord Yeonsan's hunting activities had negative effects after King Jungjong the king's hunting activity decreased sharply. However, there were also positive aspects of Lord Yeonsan's Prohibition of cutting woods ect. In conclusion, the expansion of the King's garden(庭:courtyard${\rightarrow}$園:privacy garden${\rightarrow}$苑:king's garden${\rightarrow}$苑?:national hunting park) is evident which starts from formal and informal activities that took place in Oejo, Chijo, and Yeonjo, which went further to the separate and secret gardens, and then even further, thus setting the amusement activity area as a 39 kilometer radius range from Hanyang.

• (The) Research of the performance art and culture
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• no.23
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• pp.281-312
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• 2011

The aim of this study is to examine various life conditions of actors of Joseon periods in unofficial historical stories. Yadam Literature(Korean unofficial historical stories) had been collected Sadaebu(the past Korean nobility and Confucian intelligentsia) among the people that stories had been handed down orally. and they had been wrote them. So Yadam Literature was heterozygous between the folk culture and the ruling class. And it was mixed and adapted legends and folktales, adding literary imagination. had a decisive role to cultivating novel that owed much to prosaic inspiration during A. D. 18~19. Besides, set a high value on excellent novel itself. Yadam Literature had a verisimilitude because it described a contemporary reality as it was founded on freely prosaic inspiration. In those days, so called Suchok and Seunggwangdae had performed Uhee(a comic theatrical performance) in Joseon periods. Suchok was the lowest class of people and Seunggwangdae was performing Buddhist monk in that time. Uhee had performed three kinds of comedies. One satirized and insinuated kings. Other satirized corrupt officials, too. Another had mimic everything. It is famous at that time as a king knew repertoire. Confucian scholars very were fond of Uhee in those ages. Because they favored a criticism of Uhee's satire. They thought that it gave people good lesson or instruction. Heri Bergson said that comic and Humor included lesson. At that time, those thought were universal in the world whether east or west. At any rate, I classify six kinds of types Uhee in Yadam Literature. First, satirizing and accusing corrupt officials. Second, an actor who use a satire in order to appeal secure a government position of his lord to a king. Third, shamans and actors who use a satire in order to appeal sufferings themselves to a king. Forth, actors and performing Buddhist monks that skillfully mimic anything. Fifth, describing actor's extremely miserable life. Sixth, wit and humor of actors. The contents of Uhee were various. Korean traditional actors adeptly dealt with aspects comic of wit, satire, humor, etc. Sometimes they used changeable transition them. By doing that, a great number of people enjoyed fully the sense of freedom. Korean traditional actors were the lowest class of people. They had lived extremely miserable life. But they had been exist as actions, interactions, and relationship in society those days. they were not only open to people, but also might foster community to peoples.