• The Journal of the Korea Contents Association
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• v.19 no.1
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• pp.472-483
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• 2019

Why can't we be free from diverse crises threatening our lives in a high-tech future society? Disasters interrupt habitual and institutionalized patterns of behavior and bring about a kind of social shock to make people follow social and individual changes. An interesting fact revealed in the study finding is that the role of disaster management control tower was proper during the Great Flood ofthe Eulchuk Year(1925) and the unified disaster management system facilitated smooth cooperation with relevant authorities. Also, motivating disaster management organizations positively influenced organizational commitment. This implies that if we constantly ask to improve current institutions by introspecting and learning, based on historical records, we may be able to find insights for a safe society of the future.

• (The) Research of the performance art and culture
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• no.36
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• pp.783-837
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• 2018

This study examines the lives and the performances of the people who participated in Songpa Sandae-nori(a korean traditional mask dance drama) before and after the designation as cultural heritage, and reviews the changes and the inheritance patterns of the mask dance which appeared in the lives of the performers. Chapter 2 reviewed previous debates about the derivational theory and the players of Songpa Sandae-nori before the flood in 1925, and discussed on awareness and the characteristics of the performers found through the review. Then the study went on to the inheritance patterns of the drama before the designation, focusing on the figures of Dolmari(a name of village in Songpa, Seoul) players who led the stage after 1925. As a result, the missing part of the activities and the lives of Dolmari performers have been more clearly identified, especially about Lee Beomman, Yeo taesan and Eum Joongeun(the main performers of Songpa Sandae-nori). Chapter 3 is about the inheritance patterns of the cultural heritage after the designation, and Heo Hoyoung was the main focus of the discussion. The researches so far have admitted his great contributions to the designation of cultural asset, although they have not proved how. After investigating various records and combining the testimonies of his students and locals, Heo Ho-young was found that he did not only gave plays of Songpa Sandae-nori but also actively engaged in the field of various traditional arts. Furthermore, jokes, dances, and masks left by him are considered to be evidences to reassess his performances.