• (The) Research of the performance art and culture
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• no.39
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• pp.133-165
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• 2019

This paper tried an approach of oral literature as the research subject of Soeburi song in Ulsan. First, UlsanSoeburi song is meaningful as materials collected in Ulsan such as Hansil, Dodoekgol, Dudong and Byeongueong. In addition, it is related to regional identity as song native to Ulsan, which has prototype and archetype. And it shows that Ulsan is the city as well as hometown of Soeburi(meaning ' iron manufacture'). The characteristics of lyrics are different between Hansil Soeburi song and Dodeokgol Soeburi song. Jeiman Choi is considered as a good oral literature poet, because he is a performer who is faithful in official structural principal and in original lyrics(archetype) of Soeburi song. Therefore, SoeburiBulmei song of Jeiman Choi signifies aesthetic meaning, having lyrics which make to feel labor's purity and sacred and melody which overcomes labor's difficulty through united action. On the other hand, SoeburiBulmei song of Dalo Kim in Doseokgol shows that he is a extemporaneous performer even though he performs based on official structural principal. In this paper, transmission and changes of UlsanSoeburi song are divided into basic type, frequent shift type and overall type. 'Basic type' originates from Jeiman Choi's Soeburi song in Hansil. 'Frequent shift type' was created by combining SoeburiBulmei song of Dalo Kim in Doseokgol and SoeburiGeumjul song in Ulsan. 'Overall type' is current Soeburi song, which was created by adding Bulmei song for lulling a baby in Byeongueong near Dalcheon region and Seoknyanggan(smithy) Bulmei song. UlsanSoeburi song is being passed down continuously, strengthening the identity as a representative folk song in Ulsan through endless process of transmission and changes.

• (The) Research of the performance art and culture
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• no.22
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• pp.157-183
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• 2011

This study is to find out the legitimacy and features of Honam Choreography via Lee Mae-bang and Han Jin-ok, two of the masters, and to seek better and more creative ways to pass it down in view of regional particularities. The study looks into the traditional choreography's multi-conceptuality that is derived from various forms of art and lends it its identity with the original notion rooted in Buddhist dancing. Despite the local cultural traits of the Honam area, the fact that Lee Mae-bang is more feminine and Han Jin-ok more masculine shows the two's worlds of dancing have been created from different perspectives, though they are quite common in their roots and locales. The particularities of passing down traditional choreography are given a thought in this study with the distinction and identity taken into account. Also, it will give an opportunity to discuss the importance of localism as aesthetic consciousness and communica tion channel. In any case, there is no doubt that local difference and communica tion make a very important source of culture when we look into the originality of the choreography.

• The Journal of the Korea Contents Association
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• v.15 no.9
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• pp.29-36
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• 2015

This study aims to examine the problems that transmissions of an intangible cultural heritage in Korea may be cut off because of the public indifference, low demand for it and lack of government funding and seek ways to revitalize an intangible cultural heritage by increasing citizens' awareness of it and demand for it. According to recent studies, many holders of important intangible cultural properties have a difficulty doing because government funding is not enough to make their living and people who want to learn and pass on traditional skills keep decreasing. Many experts say that governments need to increase citizens' awareness of an intangible cultural heritage and demand for it in the long run to solve this problem, but governments focus on improving condition of holders rather than that. On this account, this study criticizes the government's policy and surveys citizens' awareness of an intangible cultural heritage and demand for it and suggests a plan of revitalizing an intangible cultural heritage.

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

• KOMUNHWA
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• no.49
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• pp.151-170
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• 1996

• Sijohaknonchong
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• v.24
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• pp.47-85
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• 2006

One of the famous Korean verses, Sijo 'In hemp clothes in winter(삼동에 베옷 입고)' is in thirty kinds of anthologies and ten kinds of Chinese writings. The major point in literary transmission of this work was the writer. The writer of this verse is Cho Sik(조식) in most anthologies. The writer of this work is recorded as Kil Jae(길재), Kim In-hoo(김인후), Kim Eung-jung(김응정), Lee Mong-gyu(이몽규) or Kim Ryung(김령) in Chinese writings. These people were famous for their studies and virtue, but they did not take office and retired from the world until they die. They were faithful to their principles serving their kings, though the country had wanted them to take a position in the government. Even though they did not in government service, they left some anecdotes and stories of lamentation after hearing their king's death. Because these stories and anecdotes can be easily connected with 'In hemp clothes in winter' which is about mourning over death of a king, they were known as the writer of this poem. Especially, their offsprings, juniors and followers often wrote these people as the writer of this work to represent their honor. Throughout the studies of several literary documents, this poem is written by Kim Eung-Jung, who lived in Kangjin(강진) in Jeonla province(전라도) and did not take office in all his life. He made this poem when he had heard the King Myoungjong(명종)'s death. Various transmission of literary documents with the records about 'In hemp clothes in winter' have a significance that can show the aspects of noble men's acceptance and transmission of Sijo.

• The Journal of Korean Philosophical History
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• no.39
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• pp.143-168
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• 2013

The purpose of this paper is to study the succession and method of five-masters of southern school in transmitting the internal alchemy in Taoism which is established by Zhang Bo-duan. In history, the internal alchemy is divided into a few schools but all of them are under the umbrella of Zhang Bo-duan's alchemy. The five master's method has been consistent from Zhang Bo-duan to Seok Tae to Seol Do Gwang based on three reasons. First, they lived long while practicing the method. Second, they learned the method from their direct master secretly. Third, they kept practicing the individual method while staying in the secular world rather than in a religious body. I limit three of them Zhang Bo-Dan, Seok Tae, Seol Do Gwang as figures who practiced the pure internal alchemy. Thus I argue that the method stayed only for 200 years, arising from the late Dang Dynasty and disappearing in 1911, when Seol Do-Gwang was dead. This method can be instructed only to the appropriate figure, and the specific steps of method are taught through the oral instruction so that this method cannot be wide spread. Based on the fact that the time of practicing method is quite long and it needs intensive and constant efforts, it is difficult for a mundane person to practice and cope with the training. Jin Nam and Baek Ok Seom are believed that they belonged to the school of Shin So. Baek Ok Seom is regarded as a figure that made efforts to unite the school of Wei and the internal alchemy. However, he made lots of fabrication and discrepancy. Thus I state that Jin Nam and Baek Ok Seom need to be out in the succession and method of five masters of southern school in Taoism. Their changed method in quality needs to be organized in a new genealogy.

• KAPE Magazine
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• s.254
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• pp.4-6
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• 2017

축산물품질평가원에서는 축산물등급판정업무와 축산물등급에 대한 제도 및 작업장 관리, 운영 등을 담당하는 축평원의 핵심부서인 평가관리처가 있다. 현재 닭 계란 오리 등급판정 운용 및 개선기준 발굴과 기준보완에 대한 사항, 자체품질평가사 양성교육에 대한 사항 등을 담당하는 평가사업본부의 주무차장인 전승엽 차장을 kape인(人) 이야기에 소개하고자 한다.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2022.11a
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• pp.123-125
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• 2022

외항상선 해기사 수급차질 현황을 진단하고 현 상황 지속 시 해기단절 상황을 추정한 후 해기전승을 위하여 향후 10년간 외항상선해기사 연평균 7,500명 유지, 1항·기사와 2항·기사 이직률 30% 감소, 선·기장과 3항·기사 이직률 10% 감소 및 승무경력단절 해기사 복귀 인원 연 80명의 목표를 제시한 후 이를 달성하기 위한 추진전략 및 추진과제를 제시하였다.

• 식품문화 한맛한얼
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• v.1 no.1
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• pp.13-15
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• 2008