• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.257-290
• /
• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.

• Korean Journal of Heritage: History & Science
• /
• v.33
• /
• pp.308-336
• /
• 2000

Bridge - Treading was a flok festival that was held on the night of the 1st full moon of the lunar new years. Men and women, both young and old, took pan in it in the belief that crossing a bridge, or bridges, back and forth, the same number of times as the number of years they were old, on this night would prevent all types of leg and foot ailments from occurring throughout the coming year. The practice was carried on mainly around the Seoul central region of Korea. Though it has now largely disappeared, it has been reatores in the Yeoju area. According to the Korean almanac and other chronicles, it was once practiced throughout the land. It is in the preserved was brige-treading festival of yeoju, however, that both the original form, transmission, and function are clarified and brought to light. In this regard, when compares to similar festivals of other region such as Songpa and Kwacheon, it is found that of Yeojo has a special characteristic. Accompanied by folksongs, music, and dance, this was not a religions festival in the strict sense, but rather an annual custom filled with mirth and merriment that formed an integral part of Korean folk culture.

• (The) Research of the performance art and culture
• /
• no.38
• /
• pp.111-142
• /
• 2019

Saeteo-gaeulgut-nori(Play) is derived from the fact that the folk song that was played when harvesting in the Shinhori (aka Satter) in Chongdong, Miryang City was associated with the play and played a sacrificial feast at the end of autumn threshing. Saeteo-gaeulgut-nori(Play) consists largely of three chambers. The first one is the entrance gut, 2) the second one is SeonghwangGosa(城隍告祀), 3) the sound of bench threshing(空床 打作), 4) the harvesting chapter 5) the dry grass threshin, 6) the wooden millstone play, and the third one is 7) Pan-gut. Milyang has developed a sense of agriculture to the extent that both the Sangwon play and the Jungwon play are designated as intangible cultural properties. Especially, since the tradition of the House of Representatives is weak nationwide, the status of Milyang Saeteo-gaeulgut-nori(Play) has a very important value. The overall sound of the autumn good play is that the characteristics of Gyeongsang Folk Song are rooted in the structure of the menaritri, It has the characteristics of folk songs well.

• (The) Research of the performance art and culture
• /
• no.33
• /
• pp.273-301
• /
• 2016

In this paper, it is entraining surface and the historical flow of Japanese flying acrobatic, look and lore situation up to now, as compared to this, restore our Sotte riding, trying to provide a clue of hatching in order to reproduce. In particular, the tricks to raise the rod into the body is sublimated to the big festivals of the region, focused on Akita Kanto festival was devised by one of Japan's northeastern 3 major festivals. As a typical traditional performance festival with a history of more than 200 years, the same manner as was sublimated as a professional performing arts and folk arts, actively protect the traditional performing arts, and lore, this representative of the regional festival It has a great meaning in that it was successful. That the order to act strongly cooperation of the public and private sectors to be highlighted on the whole surface of the strong act is acrobatic nature to the main content of the festival, of course the identity recovery of the region, also serves as a proud representative of the region it is also very significant. Want is greater place to suggest to researchers who want to take over the pulse of the tradition correctly restore the future Sotte ride.

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.289-312
• /
• 2018

Pansori has been passed down over several generations and over time have undergone continued change in accordance with the times, as well as the skills and ability of the singer. Policies regarding intangible cultural treasures were established to preserve and promote the continuing tradition of art forms including Pansori and thus must spare no effort in supporting and preserving the genre. As such, for proper implementation of the newly legislated law, it is necessary to review the agents who pass down the tradition of Pansori and whether there are any areas that need to be changed in terms of our perception of culture in general. Pansory in the $21^{st}$ century features both contemporary aspects and mass appeal and have undergone many changes in how it is enjoyed. It is our responsibility therefore, to establish how the art and universality of Pansori should be promoted. From this perspective, this study reviewed the evolution of law on intangible cultural treasures, the current status of intangible cultural treasures being passed down with a focus on national treasures and those of Jeonbuk Province to shed light on issues. Diversification is needed in the number of those who carry this intangible cultural treasure, as well as the number of categories. To that end, a survey index or practical ability index must be taken into account for the application and designation of intangible cultural treasures. The study also noted issues of the categories for designation as intangible cultural treasures and discussed directions for improvement. In the case of Pansori, suggestions for improvement were presented for the designation of skilled artists by school, regular surveys and regular application, increased role of artists for increased mass appeal, survey of regional singers, supervision and monitoring of skilled artists and establishment of a manual for the education on how to pass down the art form. In doing so, efforts should be made to make the passing down of Pansori more active and related education more systematic. Since we are in the early years of the law on intangible cultural treasures being implemented, areas of improvement will continue to be identified. It is however certain that the proper support for the art form to be handed down should be done in a way where law and culture are complementary given that Pansori is not just a Korean tradition, but a tradition of mankind.

• Journal of Korean Classical Literature and Education
• /
• no.33
• /
• pp.5-44
• /
• 2016

This study focuses on Ko woo-young (1939-2005), a Korean representative cartoonist. I analyzed his work Nolbudyeon (1988), which is a retelling of Heungbu and Nolbu, a traditional Korean story. I consider Ko woo-young a creative observer who has popularized his perspective in modern society. His work is a good example of how a traditional folktale can be made relevant in modern society. I used three methods of adaptation to differentiate Nolbudyeon from Heungbu story: construction of events, characterizing, and space-time background. First, to aid character development, Nolbudyeon includes a prologue that focuses on conflicts between brothers with different personalities. At the same time, the ambiguous ending could be a response to Heungbu story, which has a didactic theme. Second, I found that the new characters, Nolsun and Yeonsaengwon, enhanced the differences between Heungbu and Nolbu by playing the role of mediators. Also, in Nolbudyeon, both Heungbu and Nolbu had positive as well as negative elements, in contrast with the original story's traditional point of view on good and evil. Finally, by exploring the space-time of Nolbudyeon, we can see that its world is combined with the contemporary world. In other words, Nolbu and Heungbu, though outwardly traditional, have a modern outlook. Therefore, readers can recognize that Nolbudyeon is a metaphor for modern life rather than just an old story.

• Journal of Korean Classical Literature and Education
• /
• no.38
• /
• pp.37-63
• /
• 2018

The purpose of this study is to determine in the minor characters in alternative versions of Pansori stories. Because, unlike the variations in the main characters, the changes in the minor characters seemed to clearly reveal the specific reasons to the enjoyers of Pansori literature. Bangja in Chunhyang-jeon serves as a narrator by providing information about characters and events, and enlivens the text by satirizing and ridiculing the feudalism class. He appears in certain narrative unit of Chunhyang-jeon and further expands in the order of encounter unit, farewell unit, and reunion unit. At the encounter unit, he helps the bachelor Lee and Chunhyang meet And in the farewell unit, he urges their separation and goes to Han Yang with his master Lee. At the reunion unit, Chunhyang's letter is delivered to the bachelor Lee. The following can be seen from the information above discussion. First of all, the 'Bangja' acquires the better occupation of stories. The enjoyers have changed that he regards as a important figure. Next, in Chunhyang-jeon, the expansion of the role of the Bangja was done in the direction of converging the few characters such as Mabu, Tongin, and the farmer. Especially, the increase of his proportion in the Pansori works can be related to the expansion of the theatricality. Finally, Bangja's frequency increases in the direction of the whole narrative, but it can not be seen as an increase that his role or function has increased. Because his function as a guide expands, but his function as a critic has diminished.

• Proceedings of the Korean Vacuum Society Conference
• /
• 2013.02a
• /
• pp.617-617
• /
• 2013

최근 그래핀 연구와 더불어 2차원 구조의 나노소재에 대한 관심이 급증하면서 육각형의 질화붕소(hexagonal boron nitride; h-BN) 박막(nanosheet) [1]이나 붕소 탄화질화물(boron caronitride; BCN) 박막 [2,3]과 같은 2차원 구조체에 대한 연구가 활발히 진행되고 있다. 그 중 BCN은 반금속(semimetal)인 흑연(graphite)과 절연체인 h-BN이 결합된 박막으로 원소의 구성 비율에 따라 전기적 특성을 제어할 수 있다는 장점이 있다. 따라서 다양한 나노소자로의 응용을 위한 연구가 활발히 진행되고 있다. 본 연구에서는 폴리스틸렌(polystyrene, PS)과 보레인 암모니아(borane ammonia)를 고체 소스로 이용하여 열화학기상증착법으로 BCN 박막을 SiO2 기판 위에 직접 합성하였다. SEM과 AFM 관측을 통해 합성된 BCN 박막의 두께가 약 10 nm이며, RMS roughness가 0.5~2.6 nm로 매우 낮은 것을 확인하였다. 합성과정에서 PS의 양을 조절하여 BCN 박막의 탄소의 밀도를 성공적으로 제어하였으며, 이에 따라 전기적인 특성이 제어되는 양상을 확인하였다. 또한 합성온도 변화에 따른 BCN 박막의 전기적인 특성이 제어되는 양상을 확인하였다. 추가적으로 같은 방법을 이용하여 BCN 박막을 Cu 위에서 합성하여 SiO2 기판위에 전사하였다. 합성된 BCN 박막의 구조적 특징과 화학적 조성 및 결합 상태를 투과전자현미경(transmission electron microscopy), X-선 광전자 분광법(X-ray photoelectron spectroscopy), 라만 분광법(Raman spectroscopy)을 통해 조사하였고, 이온성 용액법(ionic liquid) [4]을 이용하여 전계효과 특성을 측정하였다.

• Proceedings of the Korean Vacuum Society Conference
• /
• 2013.08a
• /
• pp.255-255
• /
• 2013

최근 그래핀 연구와 더불어 2차원 구조의 나노소재에 대한 관심이 급증하면서 육각형의 질화붕소(hexagonal boron nitride; h-BN) 박막(nanosheet)이나 붕소 탄화질화물(boron caronitride; BCN) 박막과 같은 2차원 구조체에 대한 연구가 활발히 진행되고 있다. 그 중 BCN은 반금속(semimetal)인 흑연(graphite)과 절연체인 h-BN이 결합된 박막으로 원소의 구성 비율에 따라 전기적 특성을 제어할 수 있다는 장점이 있다. 따라서 다양한 나노소자로의 응용을 위한 연구가 활발히 진행되고 있다. 본 연구에서는 폴리스틸렌(polystyrene, PS)과 보레인 암모니아(borane ammonia)를 고체 소스로 이용하여 열화학 기상증착법을 이용하여 BCN 박막를 SiO2 기판 위에 직접 합성하였다. SEM과 AFM 관측을 통해 합성된 BCN 박막을 확인하였으며, RMS roughness가 0.5~2.6 nm로 매우 낮은 것을 확인하였다. 합성과정에서 PS의 양을 조절하여 BCN 박막의 탄소의 밀도를 성공적으로 제어하였으며, 이에 따라 전기적인 특성이 제어되는 양상을 확인하였다. 또한 합성온도 변화에 따른 BCN 박막의 전기적인 특성이 제어되는 양상을 확인하였다. 추가적으로 같은 방법을 이용하여 BCN 박막을 Ni 위에서 합성하여 SiO2 기판위에 전사 하였다. 합성된 BCN 박막의 구조적 특징과 화학적 조성 및 결합 상태를 투과전자현미경(transmission electron microscopy), X-선 광전자 분광법(X-ray photoelectron spectroscopy)을 통해 조사하였다.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.405-439
• /
• 2017

In this article, I suggest issues and tasks in transmission of Gyeonggi Province folk songs after thorough study of designation of Gyeonggi Province folk songs as intangible cultural asset, reproduction and transmission. Intangible cultural assets are classified into seasonal playing and songs. Originally, category or extension of folk songs is above mere songs and it also embraces personal lives as well as village communities. Intangible assets of folk songs are folk art, group events and non-stage events at the same time based on tradition, history, uniqueness, characters of field value. Gyeonggi Province has 9 intangible assets now because of the revocation of several assets (All Gyeonggi Province, Hwasung, Gwacheon) within five years after initial designation of 13 assets in 1998. They are mostly distributed in the north Gyeonggi region where is close to the DMZ and delay in development seems to have enabled the preservation. Most of the intangible cultural assets are farming songs and weeding which show characteristics of Gyeonggi Province. Most of the designees are who performed excavation, recovery, excluding a few cases without designees on designation, and almost all the designee passed away. Number of cases have been revoked because transmission was not completed or some cases were transmitted to groups rather than specific designees. Subscription concert, the biggest and most representative event, is performed once a year with all of the 9 intangible cultural assets in the original complete forms of the designation. Intangible cultural assets are classified into seasonal playing and songs. In general, current performance of the intangible cultural assets and folk songs are same as the originally designated forms and are not in varied forms other than folk songs like songs for rice-planting and weeding. Funeral songs are transmitted in Yangju and Yangpyeong. In terms of the operation, preservation societies having training centers have been performing more constant activities for preservation including lecture, performance and transmission. Members are quite aged and the societies are suffering from lack of support fund for reproduction and transmission. Problems in reproduction and tasks for the transmission I would like to suggest are like followings. First, preservation and value of the cultural assets. Second, new understanding of designation and revocation of the intangible cultural assets. Third, record of performance and sound source. Fourth, liaison with local communities. Fifth, organization of professional resources and establishment of systematic support and management.