• Journal of Families and Better Life
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• v.32 no.3
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• pp.115-135
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• 2014

The purpose of this study was to develop a "Family Play Therapy Program" using puppets to decrease attachment problems for families with children having attachment problems and to examine its effectiveness. The participants were an experimental group of 16 individuals(8 children with attachment problems whose ages ranged from 4 to 5 and 8 mothers) and a control group of 16 individuals (8 children with attachment problems whose ages ranged from 4 to 5 and 8 mothers). The experimental group was treated through the Family Play Therapy Program, which involved the use of puppets and was held for twelve sessions twice a week. The changes in the participants were measured in order to examine the effects of the program. The researcher measured children's emotional and behavioral expression(TBP), the mothers' sense of self(Self-Differentiation Scale), personal relationships(ECR-R), and the perception of family functions(ICPS-FFS) both before and after the FPT program and compared their differences. The MIM Rating Scale and Marschak Behavior Rating Scale were administered to examine the interactions between mothers and children, and 1:1 interviews were also conducted. The data thus gathered were used for non-parametric analysis(Mann-Whitney U test and Wilcoxon rank sum test)using SPSS WIN 17.0. The results of this study were as follows: First, the program had a positive effect on children's emotional expression. After the problem were over, negative emotional and behavioral expression in the experimental group decreased. Second, the program had a positive effect on mothers' self-differentiation and personal relationships. Third, the program had a positive effect on changes in the interaction behaviors between the mother and child. Fourth, the program had a partially positive effect on the responses from their group developmental stages, especially on the subscale of both a program for the reinforcement of mothers' emotions and family play program utilizing puppets.

• Korean Journal of Child Studies
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• v.33 no.1
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• pp.93-109
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• 2012

The purpose of this study is to explore how children aged four, in institutional care, perceive and express basic emotions, such as happiness, sadness, anger, surprise, through a role play program using dolls. This study selected two children who were both aged four years old and are currently in child institutional care. The children were observed during six role play trials using dolls and were questioned after the trials. The results were : 1) The children aged four in institutional care best perceived and expressed the emotion of happiness. 2) The children aged four in institutional care were able to positively change their feelings of sadness and expressive behavior through the intimate relationships they formed with the researcher. 3) The children aged four in institutional care expressed the emotion of anger throughout the entire role play using dolls and were positively changed the instructions and coaching given by the researcher. 4) The children aged four in institutional care had the most difficulty in expressing the emotion of surprise. The results of this study could be used as basic data for creating a program intended to help children aged four in institutional care develop their emotions.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.78-91
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• 2022

The importance of emotional intelligence education in the development of children's augmented reality education content is overlooked. Therefore, in-depth research is needed to develop children's emotional intelligence. This study was conducted through theoretical consideration and case analysis. The proposal of this paper is that the augmented reality type for children aged 2 to 7 is suitable for indoor activities with marking recognition technology. To promote an understanding of emotions, a large screen is selected, and emoticon dolls or emoticon books are recommended for learning content. Children aged 7 to 11 are suitable for indoor activities of non-marker recognition technology, and can induce emotional control and emotional recognition through active manipulation. For the learning content, "3D art teaching content" and "Online Classic Musical" are recommended. Children after the age of 11 are suitable for non-marker recognition technology outdoor activities and improve each element of emotional intelligence through interaction with nature and society. For the learning content, 'Forest Play Activity through Art' and 'EQ Theater Play' are recommended. Through this paper, we intend to promote the development of children's augmented reality emotional intelligence education.

• Journal of Music and Human Behavior
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• v.9 no.2
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• pp.53-67
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• 2012

Improvisational music therapy is known to promote social engagement in children with autism. This study investigated salient features that characterize the engagement of the child with autism and the therapist in improvisational music therapy. Through video analysis of the children's behavior, this study sets out to investigate what engages children with autism into mutual play with the therapist in improvisational music therapy by measuring the shared musical elements between the child and the therapist during musical synchronicity episodes and the children's choice of instruments. A repeated measures, a crossover design was employed in two different conditions (n = 10). Children were randomly assigned into two groups; group 1 participated music therapy first, followed by play therapy second. Group 2 followed the reverse order. Specific target behaviors were analyzed in the selected sessions 1, 4, 8 and 12. As expected, improvisational music therapy produced markedly more and longer events of musical synchronicity in children with autism than the play sessions with toys (p < .001). Rhythm and dynamic appeared to be the two most salient elements during musical synchronicity events between the child and the therapist. Observational findings confirmed that horns and whistles were the most frequently selected instruments in music therapy, whereas a dollhouse set was in play therapy by children with autism. The clinical implications and the details of these findings are discussed further.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.14 no.1
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• pp.103-111
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• 2003

Objectives：BPI was developed for assessing young children's perceptions. Using an interactive techniques for interviewing children, the BPI blends structured and clinical interviewing technique. Present study was to evaluate the reliability, validity and the clinical utility of Berkeley Puppet Interview(BPI) for young children aged 4 to 7. Methods：Subjects consisted of 37 children(boy20, girl 17) between the age of 4 and 7 who visited the child-psychiatry outpatient division of children's hospital in Seoul and Chungju. The measures used in this study BPI-S(symptomatology) and BPI-PC(parent-child relationship). BPI was translated into Korean by three clinical psychologists. To examine the reliability, Chonbach's alpha were calculated and to examine the validity, correlation coefficients were calculated on BPI-S & K-CBCL. Results：BPI-PC's Cronbach's alpha was 0.86 and BPI-S's Cronbach's alpha was 0.74. Correlation between the internalizing scale of BPI-S and that of K-CBCL was 0.477 and correlation between the internalizing scale of BPI-S and the externalizing scale of K-CBCL was -0.431, suggesting the validity of BPI-S. Conclusion：These results show that BPI-S & BPI-PC may be useful tool for young children's diagnostic interview.

• Korean Journal of Culture and Social Issue
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• v.22 no.4
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• pp.523-541
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• 2016

Both the child's and defendant's testimonies play crucial roles in the court's ruling of a child abuse case. Thus, empirical studies examining a child's truthful report, that is, disclosure, of his or her experience and recantation of the disclosure have manifold practical implications. The objective of the present study was to examine how easily a child recants his or her testimony after witnessing and disclosing an adult engaging in a small mistake. Furthermore, this study examined whether the child's age and emotional support from his or her caregiver predict the recantation of the child's testimony. Children of age 5-8 years played with dolls with the experimenter and witnessed the experimenter breaking the doll mask. The experimenter asked the children to keep it a secret. Then the children had the first memory interview, during which the interviewer induced the child to disclose the incident. Based on the treatment conditions, some children were provided supportive feedback while other received unsupportive feedback from their primary caregivers (mother) regarding the disclosure, then were interviewed for the second time. First, the author of this study examined whether the children would recant their disclosure (whether they would deny the incident after telling the truth of about what happened to the doll), and also examined the features of the child's voluntary reports, that is, the degree of their honesty. The findings of the experiment indicated that there were age-specific differences in the frequency of recantation, meaning that older children (8-9-year-olds) showed a stronger tendency to maintain their recantation in the second interview than relatively younger children (6-7-year-olds). Furthermore, children who received supportive responses from their mothers regarding the disclosure demonstrated more honest reports compared to those who received unsupportive responses from their mothers. The findings of this study assist the understanding of the effects of social-motivational factors on the process of children disclosing the truth when voluntarily recalling a negative incident that they had experienced and provide practical implications in legal aspects.

• Journal of Korean Society of Environmental Engineers
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• v.36 no.2
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• pp.127-138
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• 2014

As increasing concerns about potential risks and hazards in children's products, the laws and regulations for heavy metals and phthalate retardants contained in the children's products have been reinforced in many countries. Especially, in Korea, environment and health laws and regulations for children's products was declared in 2009. This study was researched in terms of contents and migration of phthalates and heavy metals in 124 children's products sold in the Korean market. The results for contents of heavy metals showed that 123 products contained different 14 heavy metals depending on kinds of products. As the results of migration by sucking, the heavy metals in the products such as black, plastic dolls, wood toys, and bottom mat for swimming were transferred into extraction solution. Ba, Cu, Zn, and Sn were transferred from most of these products into the extraction solution and Co, Ni and Pb were additionally transferred into several products. As the results of migration through a skin, while Ba, Cu, and Zn were transferred from most products containing the heavy metals, as for accessories, Cr, Ba, Ni, Zn, and Cu were migrated. The results of contents of phthalates presented that 21 products contained DBP, DEHP and DINP. Only 2 products showed the migration of DEHP by sucking. DEHP in most products were transferred and DBP for 2 products and DINP for 7 products were migrated.

• (The) Research of the performance art and culture
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• no.18
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• pp.5-46
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• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.