• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.653-666
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• 2019

This study is designed to find out the protection system of intangible cultural property as the current national policy and analyze the foundational problems in order to suggest the future vision in a way of transmitting the traditional cultural heritage to the descendants, based on the policy support for the intangible cultural property under the control of Commission for Ibuk 5-do (5 Northern Provinces of Korean peninsula). The research issue is first, the aging of the holders of the important cultural properties in Ibuk 5-do and the overcoming of the incomplete transmission system. The second issue is the protective policy of the transmission from the national perspective and the justification of the government's financial support. The third issue is the development of cultural contents by using the intangible cultural properties in Ibuk 5-do and the suggestion of the creative development for the resourcing of culture. As for the research methods, reference research and analysis on interview data and data from the related entities was done were analyzed and the results were actively adopted. The research results showed the followings to be required; first, the aged holders of the cultural properties shall be treated well and at the same time, the holders recognized to hold the transmission ability shall be dually designated. Second, the training system for the younger generation to keep the traditional cultural heritage shall be established; Third, the educational program and school education shall be extended so that the importance of the transmission of the intangible traditional cultural properties in Ibuk 5-do (northern 5 provinces of Korea) shall be recognized; Fourth, the recording system shall be constructed and its application system shall be required. In the end, in order for such development methods to be implemented effectively, active government support is desperately required.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.176-183
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• 2011

This paper is intended on providing solutions for overcoming constraints to the transmission of the Important Intangible Cultural Properties related to dance successors. For accommodating this approach, six career dancers, from the Dance Society of the Important Intangible Cultural Properties, were invited as the research participants for this study. The In-Depth Interviews and the classification analysis are used as a way of structuring and understanding my observations about these tasks. These interviews have also been verified by an expert group. In conclusion, this study identifies numerous obstacles which can restrict the transmission of the Important Intangible Cultural Properties are as follows; first, the dance successors are constrained by personal reasons such as physical strength and mutual understanding at home; second, the dance successors are affected by the structural constraint of programs such as required time for the completion of training, efficiency of the training program and the educational environment; third, the dance successors are constrained by personal relations such as the relationship between themselves, or between the dance successors and holders of Important Intangible Cultural Properties. Suggested solutions for overcoming the constraints to training programs are; building small sized training centers throughout the country; making training time realistic for individuals; and making programs to train the dancers as well as making it sociable.

• (The) Research of the performance art and culture
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• no.36
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• pp.289-312
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• 2018

Pansori has been passed down over several generations and over time have undergone continued change in accordance with the times, as well as the skills and ability of the singer. Policies regarding intangible cultural treasures were established to preserve and promote the continuing tradition of art forms including Pansori and thus must spare no effort in supporting and preserving the genre. As such, for proper implementation of the newly legislated law, it is necessary to review the agents who pass down the tradition of Pansori and whether there are any areas that need to be changed in terms of our perception of culture in general. Pansory in the $21^{st}$ century features both contemporary aspects and mass appeal and have undergone many changes in how it is enjoyed. It is our responsibility therefore, to establish how the art and universality of Pansori should be promoted. From this perspective, this study reviewed the evolution of law on intangible cultural treasures, the current status of intangible cultural treasures being passed down with a focus on national treasures and those of Jeonbuk Province to shed light on issues. Diversification is needed in the number of those who carry this intangible cultural treasure, as well as the number of categories. To that end, a survey index or practical ability index must be taken into account for the application and designation of intangible cultural treasures. The study also noted issues of the categories for designation as intangible cultural treasures and discussed directions for improvement. In the case of Pansori, suggestions for improvement were presented for the designation of skilled artists by school, regular surveys and regular application, increased role of artists for increased mass appeal, survey of regional singers, supervision and monitoring of skilled artists and establishment of a manual for the education on how to pass down the art form. In doing so, efforts should be made to make the passing down of Pansori more active and related education more systematic. Since we are in the early years of the law on intangible cultural treasures being implemented, areas of improvement will continue to be identified. It is however certain that the proper support for the art form to be handed down should be done in a way where law and culture are complementary given that Pansori is not just a Korean tradition, but a tradition of mankind.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.34-43
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• 2022

This study compared the characteristics of cultural heritage in China and Vietnam, which have developed in the relationship of mutual geopolitical and cultural influence in history, and the following conclusions were made. First, the definition of cultural heritage in China and Vietnam has similar meanings in both countries. In the case of cultural heritage classification, both countries introduced the legal concept of intangible cultural heritage through UNESCO, and have similarities in terms of intangible cultural heritage. Second, while China has separate laws for managing tangible and intangible cultural heritages, Vietnam integrally manages the two types of cultural heritages under a single law. Vietnam has a slower introduction of the concept of cultural heritage than China, but it shows high integration in terms of system. Third, cultural heritages in both China and Vietnam are graded, which is applied differently depending on the type of heritage. The designation method has a similarity in which the two countries have a vertical structure and pass through steps. By restoring the value of heritage and complementing integrity through such a step-by-step review, balanced development across the country is being sought through tourism to enjoy heritage and create economic effects. Fourth, it was confirmed that the cultural heritage management organization has a central government management agency in both countries, but in China, the authority of local governments is higher than that of Vietnam. In addition, unlike Vietnam, where tangible and intangible cultural heritage are managed by an integrated institution, China had a separate institution in charge of intangible cultural heritage. Fifth, China is establishing a conservation management policy focusing on sustainability that harmonizes the protection and utilization of heritage. Vietnam is making efforts to integrate the contents and spirit of the agreement into laws, programs, and projects related to cultural heritage, especially intangible heritage and economic and social as a whole. However, it is still dependent on the influence of international organizations. Sixth, China and Vietnam are now paying attention to intangible heritage recently introduced, breaking away from the cultural heritage protection policy centered on tangible heritage. In addition, they aim to unite the people through cultural heritage and achieve the nation's unified policy goals. The two countries need to use intangible heritage as an efficient means of preserving local communities or regions. A cultural heritage preservation network should be established for each subject that can integrate the components of intangible heritage into one unit to lay the foundation for the enjoyment of the people. This study has limitations as a research stage comparing the cultural heritage system and preservation management status in China and Vietnam, and the characteristic comparison of cultural heritage policies by type remains a future research task.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.146-165
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• 2016

With the introduction of the system of recognizing masters of craft and performance skills in 1970, the principle of "preserving the original form," which was already in general use, was adopted as a legal principle in the Cultural Heritage Protection Act. While the concept "original form" can be related to tangible elements of heritage through the Act, the intangibility of craft and performance skills does not allow their pinpointing at a particular temporal period or the identification of a particular master from the past as the basis of an original form. Therefore, those craft or performance skills that are available at the point of recognition of relevant masters must serve as the basis of the original form for the intangible heritage concerned. This means that the principle of preserving the original form of intangible heritage has been implemented not based on a fundamental form of materiality, but rather on the craft or performance skills that may be held by a master at the time of his/her recognition as a "temporary original form." This principle has been observed through intangible heritage transmission and education policies for recognized masters and their trainees, contributing to establish an elitist transmission environment in which public were denied to join the education on intangible heritage. Even with policies guided by the principle of preserving the original form, designated craft and performance skills have been transformed contingent upon given social and environmental conditions, thus hindering the preservation of the original form. Despite the intrinsic limitations of the principle of preserving the original form when applied to intangible heritage, this principle has served as a practical guideline for protecting traditional Korean culture from external influences such as modernization and Westernization, and also as an ultimate goal for the safeguarding of intangible heritage, engendering actual policy effects. The Act on the Safeguarding and Promotion of Intangible Cultural Heritage that comes into effect in March 2016 takes the constantly evolving nature of intangible heritage into consideration and resultantly adopts a concept of "essential form" (jeonhyeong) in place of "original form" (wonhyeong). This new concept allows for any transformations that may take place in the environment surrounding the intangible heritage concerned, and is intended to mitigate the rigidity of the concept of "original form." However, it should be noted that "essential form," which is manifested as the unique significance, knowledge, and skills delivered by the intangible heritage concerned, should be maintained according to the guidelines and principles related to heritage conservation. Therefore, the new concept can be understood not as a rupture, but more as a continuum of the concept of "original form."

• (The)Study of the Eastern Classic
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• no.67
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• pp.203-236
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• 2017

The objective of this study is to suggest the transmission direction and tasks of Ssireum, and the conclusions are like below. First, Ssireum has been designated as a national intangible cultural heritage(No.131) in December 2016. Second, in the current status of preservation and spread of Ssireum, there is no system related to the transmission of Ssireum such as cultivation of professional manpower, and facilities, programs, and administration/finance for transmitting Ssireum. Third, based on the "Intangible Cultural Heritage Preservation & Promotion Act", the transmission direction of Ssireum was suggested. (1)The designation of a college to transmit Ssireum would be needed. (2)The Ssireum curriculum should be established. (3) It would be necessary to secure trainees for transmitting Ssireum. (4)The production of teaching materials for transmitting Ssireum would be needed. (5)It would be needed to secure training institutes designated in each region and also teaching personnels for transmitting Ssireum. (6)The research direction for the correct transmission of Ssireum should be set up. Fourth, based on the "Ssireum Promotion Act", the transmission direction of Ssireum was suggested. (1)It is urgent to complement provisions for transmitting Ssireum. (2)For the transmission of Ssireum, instead of the transmission direction of Ssireum as a national intangible cultural heritage in the standardized perspective, it would be necessary to seek for the joint transmission direction between South & North Korea for research & documentation of Ssireum that could be systematized/shared between South & North Korea, development/spread of contents for discovering the original form of Ssireum, and the establishment of a base of transmission system for the preservation/promotion of Ssireum through the academic/institutional exchanges regarding Ssireum between South and North Korea. Moreover, the overall and fundamental transmission measures for the education, transmission, research, record, and informatization of Ssireum, and the cultivation of professional manpower should be established. Fifth, the contents of institutional tasks for Ssireum are like following. (1)The institutional complementation of the "Ssireum Promotion Act" should be done for the domestic/foreign promotion of Ssireum. (2)For the integration of Ssireum organizations, the administrative system should be unified. (3)The standard technical system manual for Ssireum should be produced. (4)The 'Ssireum Transmission Center' should be built for the preservation and systematic transmission of Ssireum. (5)The selection of a college for transmitting Ssireum and the establishment of a system to cultivate Ssireum successors should be done. (6)It would be necessary to establish database(DB) for the use of Ssireum techniques essential for the transmission of Ssireum.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.252-269
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• 2019

Since the inauguration of the Kim Jong-un regime in 2012, the safeguarding and management system of cultural heritage in the Democratic People's Republic of Korea (DPRK) has been changing to a form similar to that of a democratic country's legal system. In addition, the National Authority for the Protection of Cultural Heritage (NAPCH) has continuously recorded and cataloged intangible cultural heritage elements in the DPRK, listing Arirang, kimchi-making, and ssireum on the UNESCO Intangible Cultural Heritage Representative List. In particular, the multinational nomination of ssireum in October 2018 is symbolic in terms of inter-Korean exchanges and cooperation for peace and reconciliation, raising expectations for the further multinational nomination of the two Koreas' intangible cultural heritage. Currently, South Korea lists 20 items on its Representative List of the Intangible Cultural Heritage of Humanity, three of which are shared by various countries with multinational nominations such as falconry, tug-of-war, and ssireum. However, when comparing the process of applying for multinational nomination in the three elements that follow, it is necessary to discuss whether these cases reflect the nature of multinational nomination. In particular, in the case of ssireum, without a working-level consultation between the two Koreas to prepare an application for a multinational nomination, each applied for a single registration; these applications were approved exceptionally as a multinational nomination by the Intergovernmental Committee under the leadership of the Secretary-General of UNESCO, and no bilateral exchanges have taken place until now. This is symbolic, formal, and substantially similar to the individual listings in terms of the spirit of co-listing on the premise of mutual exchange and cooperation. Therefore, the only way to strengthen the effectiveness of the multinational nomination between the two Koreas and to guarantee the spirit of multinational nomination is to request multilateral co-registration, including the two Koreas. For this, the Korean government needs a strategic approach, such as finding elements for multilateral co-listing; accumulating expertise, capabilities, and experience as a leading country in multilateral co-listing; and building cooperative governance with stakeholders. Besides, to reduce the volatility of inter-Korean cultural exchanges and cooperation depending on political situations and the special nature of inter-Korean relations, measures should be taken toward achieving inter-Korean cultural heritage exchanges and cooperation under a multilateral cooperation system using UNESCO, an international organization.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.1-12
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• 2023

After 60 years since the enactment of the cultural property protection act, Korea's national system of protecting what has been valued has been transformed into a 'National Heritage System'. To meet the new system, the classification of national heritage has been re-classified into three categories as cultural heritage, natural heritage, and intangible heritage. In accordance with the sub-classification, acts for cultural heritage act and intangible heritage has been amended and act for natural heritage has been enacted. Act for natural heritage defines natural heritage as natural objects or cultural heritage formed through the interaction between human beings and natural environment. The sub-classification are categorized as follows; animal, plant, geological and natural reserves, natural landscapes, historical-cultural landscapes, and mixed landscapes. It also allows creating traditional landscapes so that traditional way of landscaping can be encouraged and integrated with modern life within historic environment. In line with the new concept of traditional landscaping, existing practices will be also needed to be changed. Traditional landscaping will play a significant role in setting out the new administrative paradigm which focuses on more value preservation. This paper recommends that effective collaboration between government, experts of traditional landscaping, and owners should be established to integrate the new policy in practice.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.22-43
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• 2016

State Ownership of Excavated Cultural Heritage System was originated from the legislations concerning cultural objects during the Japanese colonial period (1910~1945) and was succeeded by the present Buried Cultural Properties Act enacted in 2011. Despite the importance of the system that completes the outcomes of excavations and determines the state-owned cultural properties, the foundation of national heritage, it has been limitedly regarded as administrative area and neglected by the academic scholars or policy researchers. Recently the traditional culture has drawn increasing domestic interest and awareness that the cultural heritage contributes to building cultural identity and vitalizing tourism has led to increasing the demand of a local government's role in management of the state-designated cultural heritage and even fighting for hegemony in securing the cultural objects between the central and local governments. Despite the continuing efforts for improving the selection process of cultural heritage and its management institution, establishment of an advanced objective system has been requested. This paper is intended to suggest the policy direction through demonstrating the problem and assignment caused in the process of implementing the Buried Cultural Properties Act and reviews the State Ownership of Excavated Cultural Heritage System from the legal point of view accordingly. First, I suggest improving the selection process of the state-owned cultural properties. Even though current law states that Administrator of Cultural Heritage Administration reviews the research reports and selects the possible candidates for the state-owned cultural properties almost all the cultural objects listed on the reports are practically selected. In this regard, two possible resolutions can be made; newly establishing a separate process for selecting the state-owned cultural properties after publishing the report or adding the selection process of the state-owned cultural properties during the heritage selection meeting. Either way should contribute to strengthening the impartiality and objectivity of the policy. My second suggestion is improving the operating system of the heritage selection meeting in which the cultural properties to be listed on the reports are determined. Given the present extensive assessment criteria, there is much room for certain experts' subjective opinions. Therefore, in order to enhance the fairness and credibility of the heritage selection meeting, specifying the assessment criteria and advance review of the expert list are necessary. Third, this paper suggests increasing the local government's role in management of the state-owned cultural heritage and diversifying the heritage management institution. Development of a local self-governing system has led to the increased demand for delegating the authority of the state-owned heritage management to the local governments. Along with this, the gradual improvements of public museum management raises the need for expanding the cultural benefits through increasing the local government's role in management of the state-owned heritage. Considering the fact that overall majority of the art collections housed at national or public museums is owned by the central government, developing a variety of heritage contents and vitalizing the heritage tourism are crucial. The true meaning and value of the state-owned cultural heritage hidden at the storage of a museum can be found when they are shared together with the public.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.