• Korean Journal of Childcare and Education
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• v.10 no.5
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• pp.273-298
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• 2014

The purpose of the study was to examine the image types of the traditional child rearing by mothers with infancy and early childhood through Q-methodology. To conduct that, Q-group was first formed from mothers who raised their child in traditional way after their brainstorming about the method and interviewing them. Based on the subject's shared statements, Q-standard was made with 40 subjects. The 40 subjects were asked to grade each statement from one to nine and then their responses were analyzed by QUANL program. The image types were classified into 4 groups. There were 'Type 1: Relationship-oriented parenting through harmony' 'Type 2: Archetypal Parenting based on the Korean traditional values,' 'Type 3: Practice-oriented Parenting to respect life,' and 'Type 4: Attachment Parenting modern variants necessary.' This study serves as a momentum to see the impact of traditional child rearing on modern child upbringing by examining mother's viewpoints on traditional child rearing.

• (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.

• (The) Research of the performance art and culture
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• no.41
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• pp.285-320
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• 2020

This study aims to examine the processes of changes of the two main roles, Sangjwa(the young Buddist monk) chum and Omjung(the monk with a boil on his face) chum, performed in Yangju Byeolsandae Nori, on the basis of Chumsawi (dance-movement). Above all, having studied many artistic remains performed by Jo jong sun, Jung han gyu, Park jun seup, Kim sung tae from 1929 to 1942, two main roles, in which Geodeureum chum is now an essential part in almost all performances, were then played only in Kkaekki chum to Taryong Jangdan without performances of Geodeureum chum. In case of Sangjwa chum, players had performed ad libitum and without restraint only on the basis of five sorts of Kkaekki chum's movements. In Omjung chum, witty remarks along with the drama had become more important factors than dances. Let alone two main roles, other parts then also showed no big changes in dance performance. Performers just tried to maintain its slender existence within stifling atmosphere because of oppressions and restraints during the Japanese imperialism. After the restoration of independence in 1945, Kim sung tae and his disciples made a great effort on the restoration of Talnori. During the Korean war, many players also endeavored to keep a good track of Talnori, teaching and training their young followers. Especially performers such as Park jun seup, Park sang hwan, Kim sung tae, and Lee jang sun put much more efforts on restoring Talnori. From that time, Geodeureum chum began to appear in two main roles' performances. In Sangjwa's performances, Byeogsa ritual dance, which was performed to Taryong Jangdan, changed into performances to Yeombul Jangdan, and Kkaekki chum -originally slow and ritual dance, became very fast and active one. Geodeureum chum, called Yongteulim, was added in Omjung chum, so that dance had more important role in performance. Even at this time, dance movements were not clearly and completely organized and arranged, because Geodeureum chum's performance was not clearly defined as orderly dance movements but was regarded as just a movement. After Geodeureum chum being designated as a cultural treasure, Lee byeong kwon took over the task from Park sang hwan, Sangjwa chum's performer, so Geodeureum chum became much more well organzied, arranged and orderly. Geodeureum chum played by Sangjwa had almost the same order of scenes and movements as Geodeureum chum played by Yeonnip. Based on this performance, the order of dances and movements was consistently arranged and settled. Following Park jun seup's performances, Jangsam was more widely applied and used in Omjung chum than ever before, so Omjung chum became much more organized and arranged. Well-arranged Omjung chum had also almost the same dances and movements as Nojang chum's. Yeonnip and Nojang's performances were not directly and intentionally studied and applied to two main roles in Yangju Byeolsandae Nori. Players seemed to borrow those parts naturally through many times of performances. Through their persistent efforts, Jangdan and dance movements have more clearly and completely been organized, establied, and improved through many years' performances. And dance movement can be performed exactly to Jangdan, so we have more complete and orderly types of dance movements. Thanks to many performers' efforts, Sangjwa chum has been established as one that only top performer can play, and Omjung chum has become an integral part in Yangju Byeolsandae Nori.

• Journal of Gifted/Talented Education
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• v.23 no.6
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• pp.919-945
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• 2013

Exploring the conceptions of giftedness in arts is very important as the essential prerequisite to identification of giftedness and organizing the curriculum for the gifted in arts. So I have explored the conceptions of giftedness in western music, korean traditional arts(music, theatricals, dance) and ballet based on the results of various studies and cases. The three fields of performing arts mentioned above are operating in the present fields on gifted education in Korea. As the result of this study, I have converged three or four factors on main psychological constructs of giftedness in arts. The giftedness in western and korean traditional music is composed of three sub-factors: high ability in relevant domain, high creativity in general and specific areas, and high motivation including task commitment. However, the giftedness in traditional theatricals, dance, and ballet consists four sub-factors: the physical condition, high ability in relevant domain, high creativity in a specific area, and high motivation including task commitment. The internal characteristics of the gifted in arts mentioned above can be maximized through supporting external conditions like social environments including family and school, and crucial opportunity to meet the teacher who affects the development of giftedness.

• (The) Research of the performance art and culture
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• no.32
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• pp.371-397
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• 2016

The function of the Duhak nongak(農樂) in Jecheon consist of Ceremony, Labor, and Entertainment. Before the commemorative rites for village god village people beat a small gong. This is a evidence of the drive away evil spirits in New Year's Eve of the lunar year. Before harden house site village peoples beat musical instrument noisily. In order to press hard the god of the earth they play musical instrument. Musical instrument not a simple musical instrument, but a purify and wish tool. When weeding a rice paddy Durae organized in Sangpung village. Durae are less effective than communal sharing of labor in weeding effect. Nonetheless, Nongak carried out core function in Durae. In order to participate Nonngak concours, peoples made a Pangut. From independence to 1970s people combine traditional nongak and Pangut. Since then village people played Pangut. From 1990s Pangut was played by Duhak Nonngak Preservation Association. Through the participation Nonngak concours, Duhak nongak was regrouped. Finally this nongak prepared Taeguk-jin, Snail-jin, Cross-jin, Sabang-jin, Sanggyeonrae Bans anggyeonrae-jin, Palbang-jin, Rope making and individual play. Duhak Nonngak promptly met the needs of the times. So, they could play Pangut. The feature of the Duhak Nonngak is that active cognition, highly skilled musician a patron and scouting a competent leader.

• (The) Research of the performance art and culture
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• no.34
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• pp.73-109
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• 2017

This article studies Hur Gyu's Wanpan-Changgeuk Heungbojeon (1982) and Heungboga (1984), with a specific focus on the dramaturgy of Changgeuk and its meaning as transformed from Pansori Heungboga. The dramaturgy of Wanpan-Changgeuk Heungbojeon and Heungboga served to express criticism toward selling oneself. Beyond their former classical theme of brotherly affection, these productions elicited sorrow at the sight of poverty through a dramaturgy integrating modern theatricality with the Korean dramatic style. The theme of grief for poverty in these Changgeuk plays simultaneously aroused spectators' sympathy and critical thinking about economic aspects. Moreover, the Korean drama style and humor were not used simply as a tool but to exhilarate an emotional response to a life of coexistence. This paper found that Hur Gyu's Wanpan-Changgeuk Heungbojeon and Heungboga recreated a new Changgeuk dramaturgy based on the director's integration of western thinking and Korean traditional culture on stage. Through this, Hur Gyu tried to expand spectators' sympathy and to achieve artistic and popular success. Thus, these value of Hur Gyu's Wanpan-Changgeuk lay not only in its long running-time, but in its dramaturgy of integrating thinking for his Minjokgeuk (nationalist theater).

• Journal of the Korean Society of Food Science and Nutrition
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• v.45 no.7
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• pp.1035-1040
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• 2016

This study investigated the prevalence of foodborne pathogens and the bacterial community of traditional Doenjang collected from a longevity area in Korea as well as the antagonistic effect of traditional Doenjang isolates against Bacillus cereus to estimate the microbiological safety of traditional Doenjang. Aerobic bacteria showed $10^6{\sim}10^9CFU/g$, whereas coliform bacteria was not detected. Foodborne pathogens were not detected except B. cereus, which was detected in seven samples out of 10 Doenjang samples. A total of 327 isolates were identified from traditional Doenjang. The isolates consisted of Bacillus subtilis 155 (47.4%), Bacillus licheniformis 68 (20.8%), Bacillus amyloliquefaciens 46 (14.1%), and Bacillus pumilus 18 (5.5%). Antagonistic effect against B. cereus was detected in 20 (6.1%) of 327 isolates, which consisted of B. subtilis (12 strains), B. amyloliquefaciens (5 strains), and B. licheniformis (3 strains). The inhibitory zone for the antagonistic effect was 9.0~12.0 mm in diameter. Although a small amount of traditional Doenjang was tested in this study, these results indicated that the potential risk of B. cereus in traditional Doenjang is lower than generally presumed. It is necessary to monitor the antagonistic effect of traditional Doenjang isolates against B. cereus.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1971-1980
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• 2008

The purpose of this study is to explore the meaning and depth of traditional knitwears, and to develop knitwear designs by using Aran motif, one of major motifs of traditional knitwears and on the basis of the 'continuance' theory of Henri Bergson and Jill Deleuze. Connectivity, the sense of space and deconstructive fluidity-basic concepts of the continuance theory-are felt in such forms as pleats, origami, and air pumping systems, blob and twisting used in the modem fashion. The motif of Aran knitwear which has a long historical tradition can be reinterpreted in terms of those concepts of the continuance theory. In this study, we designed five pieces of knitwear while applying cable motif, an important motif of Aran knitwear, and the concepts of the continuance theory to them. This study will make a contribution to the designing of knit wears through reinterpretation of a traditional motif in terms of a modem philosophical thought.

• (The) Research of the performance art and culture
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• no.23
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• pp.281-312
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• 2011

The aim of this study is to examine various life conditions of actors of Joseon periods in unofficial historical stories. Yadam Literature(Korean unofficial historical stories) had been collected Sadaebu(the past Korean nobility and Confucian intelligentsia) among the people that stories had been handed down orally. and they had been wrote them. So Yadam Literature was heterozygous between the folk culture and the ruling class. And it was mixed and adapted legends and folktales, adding literary imagination. had a decisive role to cultivating novel that owed much to prosaic inspiration during A. D. 18~19. Besides, set a high value on excellent novel itself. Yadam Literature had a verisimilitude because it described a contemporary reality as it was founded on freely prosaic inspiration. In those days, so called Suchok and Seunggwangdae had performed Uhee(a comic theatrical performance) in Joseon periods. Suchok was the lowest class of people and Seunggwangdae was performing Buddhist monk in that time. Uhee had performed three kinds of comedies. One satirized and insinuated kings. Other satirized corrupt officials, too. Another had mimic everything. It is famous at that time as a king knew repertoire. Confucian scholars very were fond of Uhee in those ages. Because they favored a criticism of Uhee's satire. They thought that it gave people good lesson or instruction. Heri Bergson said that comic and Humor included lesson. At that time, those thought were universal in the world whether east or west. At any rate, I classify six kinds of types Uhee in Yadam Literature. First, satirizing and accusing corrupt officials. Second, an actor who use a satire in order to appeal secure a government position of his lord to a king. Third, shamans and actors who use a satire in order to appeal sufferings themselves to a king. Forth, actors and performing Buddhist monks that skillfully mimic anything. Fifth, describing actor's extremely miserable life. Sixth, wit and humor of actors. The contents of Uhee were various. Korean traditional actors adeptly dealt with aspects comic of wit, satire, humor, etc. Sometimes they used changeable transition them. By doing that, a great number of people enjoyed fully the sense of freedom. Korean traditional actors were the lowest class of people. They had lived extremely miserable life. But they had been exist as actions, interactions, and relationship in society those days. they were not only open to people, but also might foster community to peoples.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.99-112
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• 2011

The purpose of this research is to study India's traditional embroidery method, Mirror Work, and to evaluate the examples of contemporary costumes as well as the applications of art to clothing that have been influenced by this technique, in order to expand its usage for creation of a new fashion image. Research in the literature and application of works related to Mirror Work have demonstrated: First of all, as a traditional embroidery method that represents the folk art of India, Mirror Work displays unique methods used in different regions and the way that various methods and materials were combined by the use of mirrors, beads, and $appliqu{\acute{e}}$. Secondly, it was found that the presentation of Mirror Work in the $pr{\hat{e}}t$-a-porte collection is based on a traditional embroidery method using both developed materials and adapted methods to express traditional reproducibility, geometric simplicity, and aesthetic characteristics of complex decorations. Thirdly, new plasticity for art to wear clothing can be created through various methods aside from embroidery, for example by a technique of wrapping crochet laces and tapes around the mirror for decorative purposes. Based on these results it can be inferred that, from the perspective of multiple forms for decorations, Mirror Work shares multiple forms of personal aesthetic goals through the mirror's unique quality for expression and enhanced images of artistic decorative art. Also, the introduction of traditional materials and methods for today's folk art and traditional costumes can be the subject of unique aesthetic characteristics based on different perspectives of the recreation of tradition. Finally, it can further create a new plasticity within the globalization phenomena.