• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• (The) Research of the performance art and culture
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• no.23
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• pp.347-368
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• 2011

This article is a review of the composition pattern of Suryukjae, which is one of the Buddhist ceremonies, and a consideration of the performance process. As one of the ceremonies leading the dead to heaven performed in the Buddhist circle, Suryukjae had been performed in Buddhist temples nationwide, but currently, it remains only in several Buddhist temples. Suryukjae is composed as follows. First, the early part of Suryukjae is a stage of preparing Suryukjae and ensuring legitimacy; thus, it has no detailed Jaecha except for Gwanyok. It is made up of Onghoge and Dage, has no Somun, and is centered on Yojabbara. The middle part of Suryukjae is a part in which Suryukjae is performed on a full-scale, which wishes the achievement of the goal of Suryukjae. It is made up of Geobul, Dage, and Somun, and is centered on Sadaranibara. Furthermore, this part delineates the flow of the Jaecha concerned as it contains detailed Jaecha. Meanwhile, in the middle part of Suryukjae, there is only detailed Jaecha called Sajadanman Bongsong (sending off), and the rest parts including Orodan, upper part, middle part, and lower part, in which there is no detailed Jaecha called Bongsong. The fact that there is no Bongsong in this part means all Bongsong is made in Heuihyang Bongsong, which is the last Jaecha. This implies that Saja, which is enshrined in Sajadan, is the essence of the achievement of the goal of Suryukjae. Only when there is Saja, Muju, Yuju, and Gohon (the meaning of all spirits) can be led to heaven. Also, from a rough perspective, this part is connected to other Chundojae (ceremony for sending off the dead to heaven) in Korea. There is a geori(Jaecha) that calls in Saja also in Jinogigut (exorcism) of Seoul. Then, although various gods from the otherworld are coming in in succession, to which Saja enters clearly shows a process in that Saja returns to the next world with the dead through . Just as demonstrates a process in that Saja returns to the next world with the dead in Jinogigut, also in Suryukjae, Saja needs to return to the next world with Gohon; therefore, at least Sajadan has detailed Jaecha called Bongsong. That is, this means that although Suryukjae of Buddhism is different from other Chundojae in terms of the composition of Jaecha, its notion about Saja is the same.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.329-337
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• 2019

It is true that many tales delivered in an 'Story-telling' auditorium or theater have not so much exquisite and refined forms as distorted and deteriorated ones. Furthermore, when false interpretations of tale-performers added into the category of the texts of tales, the problems can be made worse. In case of oral folk tales, there can be discordance between the standpoint of a tale-performer and the contents of a tale. This thesis is directly aimed at pointing out the 'Behavior Economics' problems concerned with the reading and interpretation of tales through investigating the missing parts of a text in reading tales. Man's rationality is meant to be confined to bounded rationality. Instead of making best choices, bounded rationality leads consumers to make a decision which they think suffices themselves to the point requiring no more consideration on the given item. It is the very Heuristic that does work in the process of this simplified decision making process. Heuristic utilizes established empirical notion and specific information, and that's why there can be cognitive 'Biases' sometimes leading to inaccurate judgment. As Oral Literature is basically based on heavy guesswork and perceptual biases of general public, it is imperative to contemplate oral literature in the framework of Heuristic of behavior economics. This thesis deals with thinking types and behavioral patterns of the general public in the perspective of heuristic by examining 'Story-tellings' on the basis of personal or public memory. In addition, heuristic involves how to deal with significant but intangible content such as the errors of oral story teller, the deviations of the story, and responses of the audience.

• Korean Journal of Culture and Arts Education Studies
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• v.9 no.3
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• pp.45-61
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• 2014

Recently, there is a discussion about culture theory in the area of traffic safety regulation. It has the view that the subject of criticism, etc. by drivers' regulation interpretation, awareness about the danger of regulation violation and nonacceptance of regulation can be changed according to the way drivers' cultural bias was formed. According to the culture theory, fundamental views of the world in particular social relations surrounding individuals, world view or cosmology, are formed and the world view makes an effect on individual behavior and attitude. In this context, cultural cognition and cultural learning theory which are suggested in Christoph Wulf's study on historical-cultural anthropology provide new approach toward this phenomenon. According to his insistence, core mechanisms which can explain cultural cognition and cultural learning are systematized by five things; physical characteristic, mimesis, performance theory, rite and image. The purpose of this research is to investigate the changes by the way Korean people cognize traffic regulations culturally and experiences of traffic regulation violation through the analytic frame of Christoph Wulf's five core mechanisms. To achieve it, cognition of traffic culture was analyzed by analytical phenomenology for drivers who had been educated due to their violation of traffic regulations. Value, lifestyle and practicing methods which are pursued by people work in sociocultural context rather than are influenced by cognitive structure of individuals.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.10-20
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• 2020

This study aims to analyze the developed characteristics of the knowledge and information of gardens through garden or flowering plant books compiled in the 15th and 19th centuries of Joseon Dynasty. Diachronically analysis of the garden or flowering plant books classified the characteristics in which knowledge and information about gardens are developed by the period, and looked at the factors. The results are as follows; First, the relationship between the authors who compiled the garden or flowering plant books had similar characteristics to the genealogy of Realist School of Confucianism(實學) in the Joseon Dynasty. Kang, Hee-An's practical features influenced later realist school of confucianism scholars. Lee, Su-Gwang has accumulated knowledge of the garden through his experience of traveling the diplomatic envoy to China. Since then, Hong Man-sun's ideology has been related to Charles, a member of the Southerners. Seo Yu-gu was also able to accept Realist School of Confucianism in an integrated way through the Jungnong school's theory and interaction with the Jungsang school. Ryu, Jung-Lim's relationship with the Jungnong school emerged as he added to the 『Jeungbosanrimgyeongje(增補山林經濟)』. Second, the 『Yanghwasorok(養花小錄)』, 『Jibongyuseol(芝峯類說)』 「Hwuimok(卉木)」, 『Hangjeongrok(閑情錄)』, 『Sanrimgyeongje(山林經濟)』 「Yanghwa(養花)」, 『Jeungbosanrimgyeongje(增補山林經濟)』 「Yanghwa(養花)」, 『Hwaamsurok(花庵隨錄)』 and 『Imwongyeongjeji(林園經濟志)』 「Yewonji(藝畹志)」 contain garden plant characteristics, cultivation methods, and management methods. The 『Imwongyeongjeji(林園經濟志)』 「Seomyongji(贍用志)」, 「Iunji(怡雲志)」, 「Sangtaekji(相宅志)」 contain details on the location selection of gardens, the layout of facilities, how to create them and materials. The description of these garden or flowering plant books was found to be the most common introduction with 55 percent, followed by methodologies(42.8%), the Lichi Theory(理氣論, 15.5%), the classification(12.4%), and the convention(1.9%). Third, based on the importance of knowledge and information on gardens, the garden or flowering plant books related to the period were classified as early period, including 『Yanghwasorok(養花小錄)』, 『Jibongyuseol(芝峯類說)』 which were compiled before the 17th century. The 18th-century compiled 『Sanrimgyeongje(山林經濟)』 and 『Jeungbosanrimgyeongje(增補山林經濟)』 were classified as middle period, and the 19th-century compilation of 『Imwongyeongjeji(林園經濟志)』 was classified as late period. The garden or flowering plant books were cited the contents of ancient Chinese books, the author's experiences and opinions contained in the preceding period in later garden books. And the reinforcement of garden knowledge was made to reflect the agricultural technology and expertise developed at the time of writing. Fourth, based on analysis of the development and acceptance of knowledge information in garden by period, In the early period was dealing with floriculture as a way to explore the logic of things. Later, in the 18th century, a vast influx of garden knowledge information came from China. Among scholars, they secured justification for garden creation as part of various knowledge-seeking activities, which expanded their expertise in gardens. In response to the trend of gardening in the 19th century, professional books were written based on knowledge and information on gardens that were collected in the past, and systems were established such as the collection and management of garden plants, construction methods, enjoying methods, and self-realization.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• (The) Research of the performance art and culture
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• no.36
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• pp.505-530
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• 2018

The purpose of this study is to examine the meaning of learning methods for education to transmit the items designated as intangible cultural heritages focusing on Seoul-gut. Recently, as the Act on the Preservation and Promotion of Intangible Cultural Heritages was promulgated, 'the archetype' instead of 'the prototype' has become highlighted as a crucial axis for transmission. Although there are some controversies over the definition of the archetype among scholars, it is now possible for transmitters to make use of transformations rather freely being freed from strict orientation to the prototype to follow some fixed frame. Examining learning methods used in education to transmit mudang-gut, one of the items designated as intangible cultural heritages, however, this author has found that the prototype is still emphasized or in the center of learning instead. Presenting learning methods employed for Hwanghaedopyeongsansonoreum-gut of a national intangible cultural heritage, Namijanggunsadang-gut of Seoul Special City's intangible cultural heritage, and Bonghwasandodang-gut as examples, this researcher intends to reveal the reality. In the recent situation that education centering around academies is being widely spread to transmit mudang-gut, setting forth the designation of some of the items as intangible cultural heritages, they are publishing articles on newspaper as an advertisement to encourage learning about mudang-gut. Responding to the advertisement, there are more and more shamans intending to learn mudang-gut coming to the society for preserving items designated as intangible cultural heritages. They can, of course, perform mudang-gut on their own but come to learn it as there is no fixed or definite system for it. Even though the concept of the archetype was introduced, as now it is possible to learn the fixed frame through learning about the prototype regarding the item of mudang-gut as an intangible cultural heritage, those involved in shamanism are coming to it more and more. As transmitting the prototype rather deteriorated the liveliness of gut, those involved in shamanism are coming to it to learn about gut thinking that it is where they can learn the basic frame and also acquire more detailed knowledge about shamanism. Therefore, it is needed for the item of mudang-gut designated as an intangible cultural heritage to accept the aspects of change and develop new methods of education to transmit intangible cultural heritages.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• (The) Research of the performance art and culture
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• no.23
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• pp.63-103
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• 2011

This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.