• Korean Journal of Social Welfare
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• v.59 no.3
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• pp.5-32
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• 2007

Using a national survey data conducted by the Beautiful Foundation, this study attempts to examine the bilateral relationships between philanthropic effort and social trust and between volunteering effort and social trust by using simultaneous equation model. This study also attempts to examine the socialization effect and intergenerational effect of philanthropy and volunteering in family, school, and community. This study found that both philanthropic effort and volunteering effort have a bilateral relationship with social trust. The bilateral relationship between giving and volunteering and social trust suggests that not only can social trust affect the increase of giving and volunteering but giving and volunteering can also influence social trust. Thus, by strengthening trust and facilitating giving and volunteering, we can construct and promote culture of sharing in our society. On the other hand, in the analysis on individual's educational experience in giving and volunteering during school years and individual's family experience (parental practice) in giving and volunteering during school years, it was found that family experience was statistically significant on philanthropic effort and volunteering effort. The result suggests that considering the validity of intergenerational effect in giving and volunteering, it is strategically vital for our society to facilitate and promote family practice in giving and volunteering throughout diverse programs and social marketing. Although this study has a limitation due to the limitedness of the original data, it made a significant contribution to advancing knowledge on the relationship between giving and volunteering and social trust by using elaborate analysis methods. This study emphasizes the necessity of continuous research; more advanced and systematic study based on a more elaborate model and solid data such panel data should be continued for a better understanding of philanthropic and volunteering behavior that can be an important soil for the development of nonprofit human service organizations. Finally, based on the results of the study, this study discusses research directions and practical implications to deepen and broaden the culture of sharing in Korea.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.42-55
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• 2011

The basic approach of this study was to take the theory of cultural fluctuations to investigate the early modern and modern patterns of the use of ox carts and@ the social and economic appropriateness and cultural significance of ox carts. The study chose a village that was the only place that used ox carts in Bugye-myeon. The findings will help to understand how traditional cultural elements would continue or change according to the natural, geographical, economical, and cultural characteristics of a village. Located in Gaho-2-ri, Bugye-myeon, Gunwi-gun, Gyeongbuk Province, Dongrim Village started to use ox carts during the Japanese rule and replaced the traditional version with an improved one in 1972 when a reservoir was built. Until the 1970s, they used ox carts to carry agricultural products and luggage and to visit the markets in distant Bugye-myeon or Gunwi-eup. In the early 1980s when a cultivator was first introduced into the village, ox carts gradually disappeared in the village and eventually remained as a mere means of transportation. As the younger generations were active in introducing modern means of transportation, a cultivator became the main means of transportation in the village in the 1980s and a truck since the latter half of the 1990s. Despite those changes, however, the elderly in their seventies or older continued to use ox carts. With aged labor and inability to use modern means of transportation, they grew cows and oxen to cultivate the inclined fields and gain easy access to fields distributed in distant locations and continued to ox carts through reform. In Dongrim Village, the heritage of using reformed ox carts is the practice of appropriate technology by the old farmers and a cultural representation of an aged agricultural society. That is, the elderly recognized the appropriateness and practicality of traditional culture and renewed a traditional means of transportation called an ox cart. The phenomenon of the old men and women frequently using ox carts in an agricultural village in the mountain with geographical limitations has settled down as a cultural representation of the elderly in Dongrim Village. The continuing usage of ox carts in Dongrim Village is attributed to the fact that ox carts well suit the natural, geographical, and economic aspects of the village and the cultural inertia of the elderly with the aging of the farmers. Thus it is once again shown that human beings transmit and alter culture according to their overall situations and conditions.

• Korean Association of Arts Management
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• no.51
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• pp.135-166
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• 2019

Recently, the Japan Cultural Agency announced a plan for revitalizing the art market represented by reading museums (advanced art museums) to promote industry through strengthening the sustainability and economics of art museums. Along with these policy announcements, the Japanese cultural system and Bypyeongje are divided into pros and cons, and there has been a heightened opposition, which is now in a state where policy promotion has been temporarily suspended. The opposite reason is that it does not meet the museum's inherent purpose of preservation and lore, and the reason for favoring that commercialism can ruin the art world is that the Japanese art society is other than art museums and museums Also, it consists of non-profit organizations, art festival administration organizations, support staff, volunteers, etc., but because of the high subsidy bias, no real labor costs are paid, which means that it is virtually neglected. Also, there is a vigilance that the art society itself, which reduces its reliance on subsidies in response to social changes, can survive. Seeing that the situation is not much different from Japan, Korea is also actively discussing new establishments of the National Art Bank, performing art appraisal and evaluation functions for revitalizing art works, art loan, art trust, etc. There is. As it is difficult to solve realistic problems with subsidies from the future situation, it is difficult for us to expand investment in culture, and culture and economy are united and linked. You will find a plan to make it operational. In this regard, it is thought that the examination of the cultural and economic agency's strategy, represented by the Japanese advanced art museums, gives us a meaningful suggestion.

• (The) Research of the performance art and culture
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• no.36
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• pp.441-471
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• 2018

East Coast Gut, Korean shamanism ritual on its east coastal area, is a Gut held in fishing villages alongside Korean east coastal area from Goseong area in Gangwon-Do to Busan area. East Coast Gut is performed in a series mainly by a successor shaman, Korean shaman, who hasn't received any spiritual power from a God, and the implications of this thesis lie in that we look over the learning aspects of Seokchool Kim shaman group among other East Coast Gut successor shaman groups after dividing it into 2 categories, successor shaman and learner shaman and based upon this, we reveal the meaning of the learning aspects of East Coast Gut. For successor shamans, home means the field of education. Since they are little, they chased Gut events performing dance in a series to accumulate onsite experiences. However, in the families of successor shamans that have passed their shaman work down from generation to generation, their descendents didn't inherit shaman work any longer, which changed the way of succession and learning of shaman work. Since 1980's, Gut has been officially acknowledged as a kind of general art embracing songs, dance and music and designated as a cultural asset of the state and each city and province, and at art universities, it was adopted as a required course for its related major, which caused new learner shamans who majored in shamanism to emerge. These learner shamans are taking systematical succession lessons on the performance skills of East Coast Byeolshin Gut at universities, East Coast Byeolshin Gut preservation community, any places where Guts are held and etc.. As changes along time, the successor shamans accepted the learner shamans to pass shaman work down and changes appeared in the notion of towners who accept the performer groups of Gut and Gut itself. Unlike the past, as Gut has been acknowledged as the origin of Korean traditional arts and as the product of compresensive learning on songs, dance and music and it was designated as a national intangible cultural asset, shaman's social status and personal pride and dignity has become very high. As shaman has become positioned as the traditional artist getting both national and international recognition unlike its past image of getting despised, at the site of Gut event or even in the relation with towners, their status and the treatment they get became far different. Even towners, along with shift in shaman groups' generation, take position to acknowledge and accept the addition of new learning elements unlike the past. Even in every town, rather than just insisting on the type or the event purpose of traditional Gut, they think over on the type of festival and the main direction of a variety of Guts with which all of towners can mingle with each other. They are trying to find new meanings in the trend of changing Gut and the adaptation of new generation to this. In our reality of Gut events getting minimalized along with rapid change of times, East Coast Gut is still very actively performed in a series until now compared to Guts in other regions. This is because following the successor shamans who have struggled to preserve the East Coast Gut, the learner shamans are actively inflowing and the series performance groups preserve the origin of Gut and try hard to use Gut as art contents. Besides, the learner shamans systematically organize what they learned on shamanism from the successor shamans and get prepared and try to hand it down to descendents in the closest possible way to preserve its origin. In the future, East Coast Gut will be succeeded by the learner shamans from the last successor shamans to inherit its tradition and develop it to adapt to the times.

• (The) Research of the performance art and culture
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• no.40
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• pp.111-136
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• 2020

Agricultural high schools are undergoing a change their name from the mid-1950s to the 2000s. Although it varies slightly depending on the case, it has been changed from 'rural forests' to 'agricultural farms' or 'agricultural industries' and 'life sciences high schools' in turn. In several aricultural high schools had managed Nongak Department(class), it's guarantees the continuity of Korea's traditional folk art. Examples include entertainment and farming in Honam region of Jeonju aricultural high School in North Jeolla Province, Geumsan aricultural high School in South Chungcheong Province, Gimcheon aricultural high School in North Gyeongsang Province. Therefore, the interpretation and significance of studies should follow. This method of Nongak education in modern school institutions is a new phenomenon in the history of Nongak after modern time, the emergence of a whole new pattern of professional entertainment Nongak after paving and Female-Nongak, as well as local traditional folk music. Education here was conducted in such a way that the best performers of the time were invited as guidance teachers among traditional folk artists. Thus, various local and professional music and entertainment were able to be promoted Apart from the social relations of delay, social progress, and economy, the education of farming and music, which consists of teachers and students in public schools, has provided an environment where unlimited freedom is allowed for art forms. In other words, the conditions for a new performance style experiment and creative fusion were met, and the foundation for the development of professional musical performers who had acquired individualized talents from previous generations was laid down in the context of the phenomenon of active stage music and theater performance of outstanding in the culture of Nongak. In other words, the Department of Agriculture and aricultural high school was a very free space compared to other communities' and economic community's agricultural music in social relationships bound by traditional cultural customs. This is why they have created a new style of performance through a new experiment and a different traditional performance repertoire, and their activities have led to a more stylistic expansion from traditional farming. More importantly, the figures who came across Agricultural Nongak department became the main experts of traditional Korean folk music nowdays. Thus, Nongak Department, operated by the Agriculture and Forestry High School, was a space where would give a very important meaning in terms of Nongak history.

• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• (The) Research of the performance art and culture
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• no.38
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• pp.33-69
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• 2019

In this article, I would like to pay attention to the changesofShaman's play as a part of examining the process of changeofDonghaeanbyeolsingut. Currently, Shaman's play can be seeninBaekseok2-ri, Byeonggok-myeon, Yeongdeok-gun, Gugye-ri, Namjeong-myeon and Yeongdeok-gun. Among them, ShamanRitual of Baekseok2-ri is short in cycle and easy to see change. InShaman Ritual of Baekseok2-ri, various Shaman's plays suchasJungdodukjabi(중도둑잡이), Wonnimnori(원님놀이), Talgut(탈굿), Mallori(말놀이), Hotalgut(호탈굿) and Georigut(거리굿) areperformed. Shaman's play carried out in Donghaeanbyeolsingut changesevery time it is carried out. Depending on the degree of change, itcan be classified into passive change and positive change. Whilepassive changes are improvisational, aggressive changes areintentional. Shaman's plays are jungdodukjabi, Mallori, Hotalgut, which are the improvisational changes, and the intentional changesare Wonnimnori, Talgut, Georigut. The biggest change in Shaman's play is the disappearance of the Shaman Ritual. The Shaman Ritual is suspended due to lackofpeople, financial difficulties, religious conflicts or rational accidents. Secondly, the period of separation is shortened or shortened. Thiscauses Shaman's play to be dropped or shrunk to change. InShaman Ritual, changes in Shaman's play are variable andcreative. The change due to the intervention of the spectatorsismainly improvisation. On the other hand, the change bythepreliminary plan of the acquaintance is intentional, and the changeis large. The changing factors of Shaman's play are influenced bythedemands of the times and the recognition of the tradition group. Changes in the traditional environment can be attributed to lackofhuman resources, individualism, changes in the workingenvironment and time constraints. At the same time, givingautonomy to traffickers is a major reason for Shaman's playtochange.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.56-73
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• 2019

This paper aims to establish the technical style of roof tiles by analyzing East Asian roof tile making techniques. It will examine the existing main research data, such as excavation results and the subsequent analysis of the roof tiles' production traces, as well as references and transmitted techniques. Regions are grouped according to technical similarity, then grouped again by artistic styles of pattern and shape and by the technical styles of tools, procedures, and manpower plans. Accordingly, intends to find out whether an understanding of technical style can facilitate an understanding of not only cultural aspects, but also the causality of techniques. Korean, Chinese and Japanese tools were examined, and procedures for making roof tiles were classified into 4 groups. In a superficial way, China, Okinawa, Korea, and Honshu share similar technical traits. Research of procedural details and manpower plans revealed characteristics of each region. As a result, comparisons were made between each region's technical characteristics attempting to investigate their causes. The groups were classified according to their possessing techniques, but it was revealed that East Asia's shared production techniques were based on architectural methodss. The skill of "Pyeon Jeol(Clay Cutting)" classified according to its possessing techniques, turned out to be one such technique. Also, the procedure of technical localization based on the skill of "Ta-nal(Tapping)" showed that the condition of this technique was the power to localize in response to a transfer of techniques. Previous comparison parameters of artifacts would have been a similarity of style originated from exchanges between regions and stylistic characteristics of regions decided by the demander's taste of beauty. This methodology enlarges cultural perception and affords a positive basis of historical facts. However, it suggests the possibility of finding cultural aspects' origins by understanding the technical style and seeing same result in view of "technology culture."

• Journal of Intelligence and Information Systems
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• v.27 no.4
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• pp.23-48
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• 2021

The Korean economy has achieved continuous economic growth for the past several decades thanks to the government's export strategy policy. This increase in exports is playing a leading role in driving Korea's economic growth by improving economic efficiency, creating jobs, and promoting technology development. Traditionally, the main factors affecting Korea's exports can be found from two perspectives: economic factors and industrial structural factors. First, economic factors are related to exchange rates and global economic fluctuations. The impact of the exchange rate on Korea's exports depends on the exchange rate level and exchange rate volatility. Global economic fluctuations affect global import demand, which is an absolute factor influencing Korea's exports. Second, industrial structural factors are unique characteristics that occur depending on industries or products, such as slow international division of labor, increased domestic substitution of certain imported goods by China, and changes in overseas production patterns of major export industries. Looking at the most recent studies related to global exchanges, several literatures show the importance of cultural aspects as well as economic and industrial structural factors. Therefore, this study attempted to develop a forecasting model by considering cultural factors along with economic and industrial structural factors in calculating the import volume of each country from Korea. In particular, this study approaches the influence of cultural factors on imports of Korean products from the perspective of PUSH-PULL framework. The PUSH dimension is a perspective that Korea develops and actively promotes its own brand and can be defined as the degree of interest in each country for Korean brands represented by K-POP, K-FOOD, and K-CULTURE. In addition, the PULL dimension is a perspective centered on the cultural and psychological characteristics of the people of each country. This can be defined as how much they are inclined to accept Korean Flow as each country's cultural code represented by the country's governance system, masculinity, risk avoidance, and short-term/long-term orientation. The unique feature of this study is that the proposed final prediction model can be selected based on Design Principles. The design principles we presented are as follows. 1) A model was developed to reflect interest in Korea and cultural characteristics through newly added data sources. 2) It was designed in a practical and convenient way so that the forecast value can be immediately recalled by inputting changes in economic factors, item code and country code. 3) In order to derive theoretically meaningful results, an algorithm was selected that can interpret the relationship between the input and the target variable. This study can suggest meaningful implications from the technical, economic and policy aspects, and is expected to make a meaningful contribution to the export support strategies of small and medium-sized enterprises by using the import forecasting model.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.128-138
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• 2014

Local festivals quite often give their visitors and local residents a good opportunity to experience the regional culture thoroughly. Also, the festivals empower the cultural pride and communal sociality, and create new jobs improving local economy. In Korea, more than 700 local festivals are held every year. Each festival is organized and operated upon all different purpose and mission. It is unfortunate, however, that many festivals fail to balance between making profits and accomplishing their purpose. Festival's marketing plan and content management should be cohesive, but at the same time, they also should be different depending on the festival's purpose and program. Especially in case of performance natured festivals, the role and function of festival directing should be more weighed on content management. Namhaean Byeolsingut is one of performance natured festivals, in which its archetype or primitive form is well maintained. This study observes the primitive form of NB from the director's viewpoint, and then provides a solid foundation on how those main characteristics of NB could be applied to invigorating local festival directing. The directing suggestions here are motivated by NB's ritual, performative, and play form.