• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• The Korean Journal of Archival Studies
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• no.44
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• pp.51-99
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• 2015

The purpose of the archival appraisal has gradually changed from the selection of records to the documentation of the society. In particular, the qualitative and quantitative developments of the current digital technology and web have become the driving force that enables semantic acquisition, rather than physical one. Under these circumstances, the concept of 'documentary heritage' has been re-established internationally, led by UNESCO. Library and Archives Canada (LAC) reflects this trend. LAC has been trying to develop a new appraisal model and an acquisition model at the same time to revive the spirit of total archives, which is the 'Whole-of-society approach'. Features of this approach can be summarized in three main points. First, it is for documentary heritage and the acquisition refers to semantic acquisition, not the physical one. And because the object of management is documentary heritage, the cooperation between documentary heritage institutions has to be a prerequisite condition. Lastly, it cannot only documenting what already happened, it can documenting what is happening in the current society. 'Whole-of-society approach', as an appraisal method, is a way to identify social components based on social theories. The approach, as an acquisition method, is targeting digital recording, which includes 'digitized' heritage and 'born-digital' heritage. And it makes possible to the semantic acquisition of documentary heritage based on the data linking by mapping identified social components as metadata component and establishing them into linked open data. This study pointed out that it is hard to realize documentation of the society based on domestic appraisal system since the purpose is limited to selection. To overcome this limitation, we suggest a guideline applied with 'Whole-of-society approach'.