• 방재와보험
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• s.118
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• pp.60-65
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• 2007

이 세상이 어떻게 생겨났을까 하는 의문은 인간이라면 누구나 한번쯤 가져보는 생각일 것이다. 때문에 태초에 이 세상이 처음 생겨나는 과정을 설명하는 신화가 각 민족별로 다양하게 전승되고 있는데, 그것이 곧 창세신화이다. 창세신화는 흔히 하늘과 땅이 분리되는 데서 시작하여 오늘날의 모습처럼 세상이 정돈되어 가는 과정을 성명하게 되는데, 이런 가운데 문화의 기원을 밝히는 것으로 흔히 나타나는 것이 불의 기원이다.

• (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.

• 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 Korean Journal of Archival Studies
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• no.56
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• pp.147-182
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• 2018

Intangible cultural heritage is formless. It's of importance to preserve heritage in line with society drastically being transformed. It's passed down by human being. It is, on the other hand, impossible to preserve intangible cultural heritage solely based on memory, for it's changed in succession. Thus, it be archived to pass down. This study investigated on the state of affair related with Intangible cultural heritage documentations, examined the shortages thereupon. Furthermore, Training center should be in charge of documentation for a solution. This will provide an opportunity to overcome the limitations attributed to the top-down documentation system by central administrative organ, to open up the possibility of viewpoint of different successors, organizations. In addition to that, Intangible cultural heritage documents should be of different aspects of community history. Features of Intangible cultural heritages, which are convergent to the Regionality, tendency of variation, transmission, can be magnified when documentating. Finally, Training center is going to play a major role being vitalised. The record management of intangible cultural heritage, institutions and policies about Intangible cultural heritage have been highly complicated since National Intangible Heritage Center opened and the law on Intangible cultural heritage enacted with its recognition attracted. Therewith this study wishes to see a cornerstone of records on intangible cultural heritage by laying stress on training center in which educations and pass-down of intangible cultural heritage are lively achieved.

• (The) Research of the performance art and culture
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• no.19
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• pp.281-315
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• 2009

Korean traditional music has been a process art which has been changed and re-created by musicians to mirror the musical aesthetics of contemporary people. Form court music, which has tried to keep the "authentic" form as much as possible, to folk music, which is closely associated to the people's life style, traditional music has expressed the life of the Korean people. From the early 20th century, traditional music faced a totally new music culture due to the Japanese annexation and rapid westernization. A new music network was established by modern theater and broadcast system. Many gayageum (12-stringed zither) masters were able to develop their own music in this new music culture. Female musicians came to exist because of a new music education system, called gwonbeon (school for female entertainers). Due to the rapid westernization, traditional music was becoming 'extinct'. The government's new system of Intangible Cultural Heritage tried to preserve traditional culture. Traditional music came to revive but became fossilized in order to preserve the 'archetype'. The so-called Living Human Treasures took power and became a social problem. The modern school education system was one of major factors for promotion of traditional music. However, it became one of main reasons for musicians to lose their musical creativity. Today, many performers and composers try to make a new composition and renovated musical instruments to suit the contemporary musical aesthetics.

• Korean Journal of Heritage: History & Science
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• v.30
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• pp.80-93
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• 1997

• (The) Research of the performance art and culture
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• no.39
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• pp.197-222
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• 2019

In the paper, this study will be explored in the migration of the mask dance Eunyeul Talchum from North Korea to South Korea after the national division took place. During and after the Korean War, refugees from the Hwanghae province settled in the Republic of Korea who were performers of the three Korean mask dances: Bongsan Talchum, Kangryeong Talchum and Eunyeul Talchum. All of these mask dances are denoted as South Korea's National Intangible Properties under the Cultural Property Protection Law (1962.) However, Eunyeul Talchum is the only asset among these three that settled in Incheon, instead of the capital, Seoul. The purpose of this research is to examine the process of restoring and the idea of transmitting Eunyeul Talchum in Incheon after the division of Korea. As opposed to Bongsan Talchum and Gangryeong Talchum, which are recognized as major socio-ethnic groups, Eunyeul Talchum belongs to a minority. Because not only Eunyeul Talchum is the last Mask Dance which has been nominated as an Intangible asset among the other Hwanghae Talchum but also, most people in the preservation association are comprised of the second-generation refugees from Hwanghae province. During three months of research, the researcher observed the performances and the educational communicating Eunyeul Talchum's cultural legacy. This study included several research methods: open interview, examination of relevant documents, and live performances. Particularly, the researcher conducted interviews with the Human Cultural Property and musicians (including professional/scholarly to lay/untrained) in the Preservation Association. In conclusion, Eunyeul Talchum preservation association is not as preeminent as other Korean mask dances, it has been transmitted by performers from Hwanghae province with its unique masks and instrumental accompaniment. These performers and educators dedication to maintaining Eunyeul Talchum's attributes contribute largely to the Preservation Association's successful settlement in Incheon. Thus, the researcher examines which idea formed to subsist the Eunyeul Talchum preservation association.

• The Korean Publising Journal, Monthly
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• s.228
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• pp.28-29
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• 1998

세권의 저서에는 우리 소설의 위상을 재확인하려는 노력이 보인다. 가정소설의 변별성을 추적한 책과 '송사'라는 모티브에 집중시켜 소설을 다룬 연구성과, 명승들의 서사적 전승을 기술한 책등은 각기 의미를 지닌다.

• Korean Journal of Heritage: History & Science
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• v.15
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• pp.1-8
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• 1982

• (The) Research of the performance art and culture
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• no.32
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• pp.7-30
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• 2016

The inter­relationship of Korea southeast region community related to a mask dramas in depth. The Folk mask dramas are, for traditional community members to live well and enjoy cultural practices in society. Even if a mask drama would be performed in the 21st century, it would be the one of traditional society. It shows the life of traditional society and proposes the issue of traditional society. The thing is handed down well with technology of a mask drama assigned as intangible cultural asset. The Korea southeast region, Kyongsang Provinces, or Yeongnam area has been handed down several kind of mask dramas. These are Byeolsingut Talnori with religious, the Ogwangdae of wandering play team, the Ogwangdae of local residents, and the Dulnorum of local residents. The mask dramas of Korea southeast region are specified as intangible cultural asset, many traditional mask play were restored. The restoring is imitation. These things are difficult to assigned as the intangible cultural asset. But though it is the imitation of the mask dramas, it is culture phenomenon. So we need to make the fostering system.