• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.10 no.4
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• pp.181-195
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• 2005

To study the effects of aquaculture activity of marine cage fish farms on marine environment, field researches including hydrography, sediment, benthos and trap experiment at the marine cage fish farms(Site A) around estuaries of Tongyeong city were carried out during June $26\~27$, 2003. A simulation using numerical model-DEPOMOD was conducted to predict the solid deposition from fish cage and to assess the probable solid deposition, and the efficiency of environmental management of marine cage fish farms was studied. The marine cage fish farms cultured mainly common sea bass (Lateolabrax japonicus), red seabream (Pagrus major), striped breakperch (Oplegnathus fasciatus) and black rockfish(Sebastes schlegeli), and total amount of cultured fish of the Site A were 23.1MT. The amount of husbandry fish by unit area(and volume) of the fish cage was $43.0kg\;m^{-2}(6.1kg\;m^{-3})$. The daily mean amounts of food fed by unit biomass and cage area were $30.8g\;kg^{-1}day^{-1},\;1.32kg\;m^{-2}day^{-1},$ respectively, at the Site A. The concentration of ORP of the sediment below the center at the Site A was -334.6 mV and the concentrations of AVS, COD, Carbon and Nitrogen were $0.43mg\;g^{-1}dry,\;17.75mg\;g^{-1}dry,\;10.19mg\;g^{-1}dry\;and\;3.49mg\;g^{-1}dry$, respectively. Capitella capitata was dominant benthic species which occupied $57.8\%$ of total species, and the Infaunal Trophical Index(ITI) was marked below 20 within 20 m distance from the edge of the Site A. The result of trap experiment, the solid deposition from the Site A was $34,485g\;m^{-2}yr^{-1}$ at 0 m from the center of the cage and $18,915g\;m^{-2}yr^{-1}$ at 42 m. From a model simulation, it was estimated that using a model simulation, the proportion of unfed food was $40\%$ at the Site A and the annual total amount of solid deposition was 63,401 accounting for $24.4\%$ of the annual total food fed at the Site A. The area solid deposition settled was estimated to be $8,450m^2$, which was about 16 times of the total area of fish cage at the Site A. And concerning ITI and abundance of benthos, the model predicted that sustainable solid flux at the Site A was below $10,000gm^{-2}yr^{-1}$. The percentage of food wasted was main element of solid deposition at the marine cage fish farms, and for minimizing solid deposition it is necessary to increase the efficiency of the food uptake. Based on the result of the model simulation, if the percentage of food wasted decreases to $10\%$ from the current $40\%$, then the solid deposition could decrease to a half. In addition, it was predicted that if farmers use EP pellets as food fed instead of MP and fish trash, solid deposition could decrease by $57\%$. Also this study proposes that the cage facility ratio of the licensed area be decreased to less than $5\%$ to minimize the sediment pollution.

• (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.