• 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.

• (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.281-312
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• 2011

The aim of this study is to examine various life conditions of actors of Joseon periods in unofficial historical stories. Yadam Literature(Korean unofficial historical stories) had been collected Sadaebu(the past Korean nobility and Confucian intelligentsia) among the people that stories had been handed down orally. and they had been wrote them. So Yadam Literature was heterozygous between the folk culture and the ruling class. And it was mixed and adapted legends and folktales, adding literary imagination. had a decisive role to cultivating novel that owed much to prosaic inspiration during A. D. 18~19. Besides, set a high value on excellent novel itself. Yadam Literature had a verisimilitude because it described a contemporary reality as it was founded on freely prosaic inspiration. In those days, so called Suchok and Seunggwangdae had performed Uhee(a comic theatrical performance) in Joseon periods. Suchok was the lowest class of people and Seunggwangdae was performing Buddhist monk in that time. Uhee had performed three kinds of comedies. One satirized and insinuated kings. Other satirized corrupt officials, too. Another had mimic everything. It is famous at that time as a king knew repertoire. Confucian scholars very were fond of Uhee in those ages. Because they favored a criticism of Uhee's satire. They thought that it gave people good lesson or instruction. Heri Bergson said that comic and Humor included lesson. At that time, those thought were universal in the world whether east or west. At any rate, I classify six kinds of types Uhee in Yadam Literature. First, satirizing and accusing corrupt officials. Second, an actor who use a satire in order to appeal secure a government position of his lord to a king. Third, shamans and actors who use a satire in order to appeal sufferings themselves to a king. Forth, actors and performing Buddhist monks that skillfully mimic anything. Fifth, describing actor's extremely miserable life. Sixth, wit and humor of actors. The contents of Uhee were various. Korean traditional actors adeptly dealt with aspects comic of wit, satire, humor, etc. Sometimes they used changeable transition them. By doing that, a great number of people enjoyed fully the sense of freedom. Korean traditional actors were the lowest class of people. They had lived extremely miserable life. But they had been exist as actions, interactions, and relationship in society those days. they were not only open to people, but also might foster community to peoples.

• (The) Research of the performance art and culture
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• no.25
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• pp.253-289
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• 2012

Dasiraegi is a traditional funeral rite performance of Jindo located in the South Jeolla Province of South Korea. With its unique stylistic structure including various dances, songs and witty dialogues, and a storyline depicting the birth of a new life in the wake of death, embodying the Buddhism belief that life and death is interconnected; it attracted great interest from performance organizers and performers who were desperately seeking new contents that can be put on stage as a performance. It is needless to say previous research on Dasiraegi had been most valuable in its recreation as it analyzed the performance from a wide range of perspectives. Despite its contributions, the previous researches were mainly academic focusing on: the symbolic meanings of the performance, basic introduction to the components of the performance such as script, lyrics, witty dialogue, appearance (costume and make-up), stage properties, rhythm, dance and etc., lacking accurate representation of the most crucial element of the performance which is sori (song). For this reason, the study analyzes the music of Dasiraegi and presents its musical characteristics along with its scores to provide practical support for performers who are active in the field. Out of all the numbers in Dasiraegi, this study analyzed all of Geosa-nori and Sadang-nori, the funeral dirge (mourning chant) sung as the performers come on stage and Gasangjae-nori, because among the five proceedings of the funeral rite they were the most commonly performed. There are a plethora of performance recordings to choose from, however, this study chose Jindo Dasiraegi, an album released by E&E Media. The album offers high quality recordings of performances, but more importantly, it is easy to obtain and utilize for performers who want to learn the Dasiraegi based on the script provided in this study. The musical analysis discovered a number of interesting findings. Firstly, most of the songs in Dasiraegi use a typical Yukjabaegi-tori which applies the Mi scale frequently containing cut-off (breaking) sounds. Although, Southern Kyoung-tori which applies the Sol scale was used, it was only in limited parts and was musically incomplete. Secondly, there was no musical affinity between Ssitgim-gut and Dasiraegi albeit both are for funeral rites. The fundamental difference in character and function of Ssitgim-gut and Dasiraegi may be the reason behind this lack of affinity, as Ssitgim-gut is sung to guide the deceased to heaven by comforting him/her, whereas, Dasiaregi is sung to reinvigorate the lives of the living. Lastly, traces of musical grammar found in Pansori are present in the earlier part of Dasiraegi. This may be attributed to the master artist (Designee of Important Intangible Cultural Heritage), who was instrumental in the restoration and hand-down of Dasiaregi, and his experience in a Changgeuk company. The performer's experience with Changgeuk may have induced the alterations in Dasiraegi, causing it to deviate from its original form. On the other hand, it expanded the performative bais by enhancing the performance aspect of Dasiraegi allowing it to be utilized as contents for Performing Arts. It would be meaningful to see this study utilized to benefit future performance artists, taking Dasiraegi as their inspiration, which overcomes the loss of death and invigorates the vibrancy of life.

• (The) Research of the performance art and culture
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• no.33
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• pp.243-271
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• 2016

When an aggressive war reached at the climax in 1940, a commemorative event called celebration' was held on a large scale in Japan for 'beginning former 2,600 years. It was performed for the policy that was going to break off the fatigue that was tired for nation dissatisfaction and war for the politics. I considered Urayasu-no-mai Dance played as part of a celebration event in a Shinto shrine of the all over Japan how was created and spread by this article Urayasu-no-mai Dance was created newly and was played in Shinto shrines of the whole country. The Urayasu-no-mai Dance was created based on Gagaku and Miko Mai (shrine maiden's dance) that has been read aloud not to go out of the ancient times. It was created in the situation of the war and spread and was spread. It will be said that Urayasu Dance is a typical example of 'forged traditional'. Urayasu Dance is a tradition made at modern time and remains for an unfortunate inheritance used again by the advertising tool of the national ideology. The Urayasu-no-mai Dance is expanded more now, without enough consideration about the historic procession other words, It played under a strong-arm society atmosphere is placed as new folk performing arts all too soon. In the complicated world situation at the time, Urayasu-no-mai Dance that emphasized a Japanese tradition for the inside and outside were spread. Urayasu-no-mai Dance created in modern times substitutes a traditional shaman dance, and there is even the tendency that ritual performing arts peculiar to each local Shinto shrine is unified to Urayasu-no-mai Dance. Such a movement shows a new aspect of the culture power that social turning to the right in Japan is not unrelated to becoming it. It is a traditional reinvention, or do you forge the tradition? I examined a process of a process and the spread of traditional creation produced consistently.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.1
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• pp.33-52
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• 2022

The History and Culture Park and the Lee Kun-hee Donation Hall will be built in Songhyeon-dong, Seoul. Political games from the Joseon Dynasty to the present greatly influenced the historicity of Songhyeon-dong. However, place analysis was limited to changes in landowners and land uses rather than a historical context. Therefore, this study analyzed the context in which the placeness of Songhyeon-dong changed according to the emergence of cultural hegemony using the perspective of modern cultural geography and comparative history. As a result of the analysis, cultural hegemony in historical transitions, such as Sinocentrism, maritime expansion, civil revolutions, imperialism, nationalism, popular art, and neoliberalism, was found to have created new intellectuals in Bukchon, including Songhyeon-dong, and influenced social systems and spatial policies. In this social relations, the placeness of Songhyeon-dong changed as follows. First, the founding forces of Joseon created pine forests as Bibo Forests to invocate the permanence of the dynasty. In the late Joseon dynasty, it was an era of maritime expansion, and as Joseon's yeonhaeng increased, a garden for the Gyeonghwasejok, who enjoyed the culture of the Qing dynasty, was built. Although pine forests and gardens disappeared due to the development of housing complexes as the population soared during the Japanese colonial era, Cha Gyeong's landscape aesthetics, which harmonized artificial gardens and external nature, are worth reinterpreting in modern times. Second, the wave of modernization created a new school in Bukchon and a boarding house in Songhyeon-dong owned by a pro-Japanese faction. Angukdongcheon-gil, next to Songhyeon-dong, was where thinkers who promoted civil revolution and national self-determination exchanged ideas. Songhyeon-dong, the largest boarding house, served as a residence for students to participate in the March 1st Movement and was the cradle of the resulting culture of student movements. The appearance of the old road is preserved, so it is a significant part of the regeneration of walking in the historic city center, connecting Gwanghwamun-Bukchon-Insadong -Donhwamunro. Third, from the cultural rule of the Government General of Joseon to the Military Government, Songhyeon-dong acted as a passage to western culture with the Joseon Siksan Bank's cultural housing and staff accommodations at the U.S. Embassy. Ancient and contemporary art coexisted in the surrounding area, so the modern and contemporary art market was formed. The Lee Kun-hee Donation Hall is expected to form a cultural belt for citizens with the gallery, Bukchon Hanok Village, the Craft Museum, and the Modern Museum of Art. Discourses and challenges are needed to recreate the place in harmony with the forests, gardens, the street of citizens' birth, history and culture park, the art museum, and the surrounding walking network.