• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.165-175
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• 2011

The purpose of this research is to investigate the possibility of creating new theatrical contents by performance anthropological approach. Today's traditional performing arts are historically descended and developed in the forms of Ahk, Hee, and Geuk. Among those, Dongrae-yaru is a traditional mask dance, handed down in Dongrae, Pusan and appointed as the 18th intangible cultural asset. Its performance is carried out in the juxtaposition of Ahk, Hee, and Geuk. Korean theatre in the 21st century seems going back to realism after going through post-modern cultural phenomenons. However, the quest for alternative theatre is raised higher than ever. As a part of this strive, this paper asserts the traditional performing arts should be investigated as an alternative and new theatrical form. Among those traditional performing arts, Dongrae-yaru is selected for its well balanced combination of Ahk, Hee, and Geuk. The study examines in depth how each element of Ahk, Hee, and Geuk, they are expressed in forms of folk music, refined dance, jest, satire, wit. Its investigation on the stage adaptation provides the possibility for the new style and codification as the new theatre contents.

• (The) Research of the performance art and culture
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• no.38
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• pp.111-142
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• 2019

Saeteo-gaeulgut-nori(Play) is derived from the fact that the folk song that was played when harvesting in the Shinhori (aka Satter) in Chongdong, Miryang City was associated with the play and played a sacrificial feast at the end of autumn threshing. Saeteo-gaeulgut-nori(Play) consists largely of three chambers. The first one is the entrance gut, 2) the second one is SeonghwangGosa(城隍告祀), 3) the sound of bench threshing(空床 打作), 4) the harvesting chapter 5) the dry grass threshin, 6) the wooden millstone play, and the third one is 7) Pan-gut. Milyang has developed a sense of agriculture to the extent that both the Sangwon play and the Jungwon play are designated as intangible cultural properties. Especially, since the tradition of the House of Representatives is weak nationwide, the status of Milyang Saeteo-gaeulgut-nori(Play) has a very important value. The overall sound of the autumn good play is that the characteristics of Gyeongsang Folk Song are rooted in the structure of the menaritri, It has the characteristics of folk songs well.

• Cross-Cultural Studies
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• v.25
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• pp.421-452
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• 2011

This writing is about an effort to try to preserve and transmit the materials related to Jing-Ju(京劇) who is the Chinese traditional theatrical art. The plan to preserve the materials of performing arts is very important because its collection and preservation about them are much more particular than other genres. China got the great results in this field because of China Jing-Ju Yinpeixiang (中國京劇音配像) project. Jing-Ju Yinpeixiang project is a kind of project to restore and preserve the materials which reproduced Jing-Ju repertoire by inserting the performance method of Yinpeixiang (音配像: put together images to sounds) by later actors and actresses of Jing-Ju in recordings of 1950s to 1960s by remained famous ones. Also, this is the large scale culture project that more than 170 institutions and more than 3000 persons participated in during the total 21 years that it first started in 1985 and was completed in the end of 2006. Thanks to this project, China got to have the almost perfect materials which reproduced live performances to add the images of junior actors and actresses who accurately imitated performances of 115 famous actors and actresses including each type of role, schools and great actors from 1907 to the end of 20th century in their voices. This is the only method to restore the materials in this world and very creative. It's been 15 years since TV broadcasting first showed its fruition to Chinese people. The Chinese government gave the positive judgement on this project and prepared to hold the big event which celebrated itself this year. But very little is known of this process and there is no any study in Korea. This writing tried to clarify what Jing-Ju Yinpeixiang project is, what it has meant to Chinese people and what results it has gotten after it's been 15 years since the first show was on TV.

• Journal of the Korean Society of Food Culture
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• v.4 no.3
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• pp.311-318
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• 1989

우리 민족(民族)의 희노애락(喜怒哀樂)과 함께 흘러온 민속주(民俗酒)는 우리의 문화(文化)와 더불어 발전(發展)되어 왔었다. 그러나 일본(日本)의 지배(支配)를 받게된 이후(以後)에는 대부분의 민속주(民俗酒)는 밀주(密酒)로 규정(規定)되어 주조(酒造)가 금지되어 왔으며 해방후(解放後)에도 한국정부(韓國政府)의 양곡정책(糧穀政策)으로 인하여 특히 1961년(年) 이후(以後)에는 쌀을 사용하는 민속주(民俗酒)는 강력(强力)하게 금지(禁止)되었고 민속주(民俗酒)에 관(關)한 문화(文化)는 거의 자취를 감추게 되어 왔었다. 그런데 다행(多幸)히도 1985년(年)에 문공부(文公部)에서 민속주(民俗酒)의 주조(酒造) 기술(技術)을 가진 많은 기능인(機能人)을 문화재보호(文化財保護)의 차원(次元)에서 발굴(發掘)하였고 그 기능(機能)을 보존(保存) 계승(繼承)하도록 노력하였다. 따라서 정부(政府)에서는 1988년(年) 9월(月) 전통(傳統)과 기술(技術)이 인정(認定)되는 24종(種)이 민속주(民俗酒)를 민간인(民間人)에게 주조(酒造)할 수 있도록 예비(豫備) 가능(可能)한 바 있었다. 그 24종(種)의 민속주(民俗酒) 중(中)에서 한산(韓山) 소곡주(素穀酒), 경주(慶州) 법주(法酒), 천(川) 박시주(朴?酒), 안동(安東) 소주(燒酒), 이리 이강주(梨薑酒)에 관(關)하여 그 유래(由來), 특징(特徵), 전승(傳承)의 근원, 제조현황(製造現況) 그리고 전래(傳來)된 일화(逸話) 등을 조사(調査) 수록(收錄)하였다.

• Journal of the HCI Society of Korea
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• v.12 no.3
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• pp.5-11
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• 2017

Korean traditional dance has cultural value and is human's cultural heritage. But they are in danger which is caused by lack of bearers and public interest. E-Learning of traditional dance using network technology and digital media can be a solution to extinction problem. The aim of this study is to propose the E-Learning courses and systems for learning traditional dance. E-Learning systems were evaluated in accordance with the HCI (Human Computer Interaction) user evaluation. This study contribute to overcoming distance constraints by offering synchronous E-Learning education system of traditional dance as intangible cultural heritage through new media experience.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.170-181
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• 2021

The purpose of this study is to produce the results of the cultural aspects of the Honam region and present the aesthetic specificity of the traditional dances inherited in the Yehyang Honam region. The research method examined the regional characteristics of Honam dance and the form of Lee Mae-bang, Choi Seon, Jang Geum-do, and Cho Gap-nyeo Salpuri dance, and analyzed the authenticity and dance tendencies of Honam dance through the analysis.The work of understanding the background of local culture and creating cultural values through these representative salpuri dances in Honam region is an attempt to reflect on the essential value of the region as an intangible heritage of the region.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.180-195
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• 2024

Community beliefs of the coastal villages in Gochang are cultural activities and rituals manifesting the hopes and spiritual worlds of the locals who live off the sea and tidal mud. Along with their societal functions wishing for peace, maritime safety, and good catches, the values of the Jwajeongdam (How god came to be), Yuraedam (History of worshipping), and Yeongheomdam (Stories of miracles), as living heritage need to be reexamined according to the recent Convention for the Safeguarding of the Intangible Cultural Heritage. The community beliefs of the coastal villages in Gochang, where outstanding universal intangible and tangible values coexist, have been perpetually transmitted in interactions with tidal mud and the ecological environments of the sea. They reinforce the "Outstanding Universal Value" UNESCO mentions and sustainability that connects the past, present, and future. Furthermore, a coastal area is endowed with international accessibility over regionality. Hence the community beliefs are charged with eco-cultural values, which its preservation and promotion should also focus on to provide policies and protection activities. In short, the tidal mud and community beliefs of coastal villages in Gochang, which according to the concept of UNESCO's "mixed heritage," meet the values for natural, cultural, and intangible heritage at the same time, and so must be approached not in the scope of points or lines, but also in surfaces when arranging protection initiatives.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2018.11a
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• pp.191-192
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• 2018

국내 해운회사의 외국인 선원 증가로 의사소통의 어려움, 작업 생산성 감소, 긴급상황 발생 시 대처곤란, 문화적 충돌이 선상폭력으로 이어지는 등 많은 문제점이 발생하고 있다. 또한, 조기하선으로 인한 젊은 층의 관리자급 해기사 부족 및 고령화 가속, 해운선사들의 저임금 외국인선원 선호로 우리나라 해기전승(해기지식의 전달) 단절 초래, IMO 권고에 따른 승선기간의 단축(규격화)으로 육상 타 직종에 비해 상대적으로 낮은 급여, 재승선의 불확실성 및 해기사의 계약직화로 인한 해상직 기피 등으로 인해 해운경쟁력 약화가 두드러지고 있다. 이 연구에서는 우리나라 해운경쟁력 향상을 위한 해결책의 하나로 한국의 우수한 선원 교육 훈련 시스템을 접목한 북한선원 양성체계 구축방안을 고찰하고자 한다.

• (The) Research of the performance art and culture
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• no.43
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• pp.121-143
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• 2021

The Aim of the this paper is to figure out impetus of the Naeseo Traditional Folk art Conservation Association. This Preservation Society derived from Hogaeri farmers' band. Through aging and hollowing out Hogaeri farmers' band got into a period of stagnation. In order to overcome slump villager and people of a township organized a conservation society in 1994. Members restored and directed folk song which from age to age for performance. are designated as cultural asset in 2017. Sutguldeong song is only song in inland area. This song are worthy of notice in . which is consist of various agricultural work songs experienced two changes. Rice-planting songs are characteristic. Especially, Executive playing a central role harden foundation of the Preservation Society. The mainspring of activity is the sense of responsibility. Preservation Society laying emphasis on recruiting new members. Preservation Society is planning to develop curriculum for Jurisdiction elementary and middle school students. This Preservation Society is made up of First generation members and Second generation members. First generation members who are born and bred in Hogaeri have been good friends both in joy and in sorrow Early days of Preservation Society. So, They has a strong family bond. In order to induce membership Members are practicing Nongak, popular folk songs, dancing program. Second generation members are not conversant with a folk song. Nonetheless They have a strong mind on a member line.

• The Critical Review of Religion and Culture
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• no.29
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• pp.101-133
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• 2016

The term 'myth' is modern terminology. It was introduced to the East Asia from late 19th century to early 20th century. Under the rule of Japanese imperialism, some Japanese historians insisted that Dangun(檀君) has no relation with Kochoson(古朝鮮). Some Korean historians have refuted their conjecture. The arguments between Japanese and Korean historians bring about the motives of making the concept of Shinwa(神話) The purpose of this study is to investigate the historical procedures of making myth of Homogeneous Korean as a case study of "teaching religion". For the scholar the historic beginning is to be distinguished from later myths of origins. The scholars, particularly among the historians of China, Japan and Korea take it as the beginning of the history to investigate myths, for the ending parts of narratives are in themselves involved in a social constructs in order to give legitimacy to the story. It is apparent to satisfy for the current social demands of the nation-states building. It is also an act of casting and projecting their national values into the far distant past which is considered to be authentic and authorative. The western term 'myth' had been made up in Japanese historical context in order to build "nation-state concept". In Korea, the myth of homogeneous ethnicity of Koreans had been also reconstructed as modern myth during the late 19th and the early 20th century. We can call it the invention of the tradition accordingly.