• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.60-77
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• 2020

An assumption can be made that, as a start point for the recognition and utilization of cultural heritage, the "choice" of such would reflect the cultural ideology of the ruling power at that time. This has finally been proved by the case of Korea in the 20th century. First, in the late Korean Empire (1901-1910), the prevailing cultural ideology had been inherited from the Joseon Dynasty. The main objects that the Joseon Dynasty tried to protect were royal tombs and archives. During this time, an investigation by the Japanese into Korean historic sites began in earnest. Stung by this, enlightened intellectuals attempted to recognize them as constituting independent cultural heritage, but these attempts failed to be institutionalized. During the 1910-1945 Japanese occupation, the Japanese led investigations to institutionalize Korean cultural heritage, which formed the beginning of the current cultural heritage management system. At that time, the historical investigation, designation, protection, and enhancement activities led by the Japanese Government-General of Korea not only rationalized their colonial occupation of Korea but also illustrated their colonial perspective. Korean nationalists processed the campaign for the love of historical remains on an enlightening level, but they had their limits in that the campaign had been based on the outcome of research planned by the Japanese. During the 1945-2000 period following liberation from Japan, cultural heritage restoration projects took places that were based on nationalist ideology. People intended to consolidate the regime's legitimacy through these projects, and the enactment of the 'Cultural Heritage Charter' in 1997 represented an ideology in itself that stretched beyond a means of promoting nationalist ideology. During the past 20 centuries, cultural heritage content changed depending on the whims of those with political power. Such choices reflected the cultural ideology that the powers at any given time held with regard to cultural heritage. In the background of this cultural heritage choice mechanism, there have been working trade-off relationships formed between terminology and society, as well as the ideological characteristics of collective memories. The ruling party has tried to implant their ideology on their subjects, and we could consider that it wanted to achieve this by being involved in collective memories related to traditional culture, so called-choice, and utilization of cultural heritage.

• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.1-37
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• 2023

This essay seeks to answer the question of how best to understand Korean new religious movements (KNRMs). KNRMs have the characteristics of folk religion, ethno-religion, or popular religion. KNRMs are products of the national consciousness promoted by Korean society during the Late Joseon Dynasty at the turning point of modern Yi-Jing Studies. From the perspective of social evolutionary theory of developmental history, during that period, Joseon (Korea), like China, was faced with a double-edged sword consisting of the strength of tradition and the upheaval of modernity. If the strength of tradition depended on the Yi-Jing Studies to promote national enlightenment toward anti-imperialist aims, then it was equally the case that modernity depended on the sense of urgency to guide the people to secure livelihoods and edification regarding anti-feudalism. In this essay, the KNRMs that appeared during this transition period of Yi-Jing Studies will be a significant focus, and the worldview of Daesoon Thought will be the main focus. As one of the central topics, intensive discussion will be dedicated to the issue of the nature of pre-experientialism (先驗主義) which characterized the Great Opening (開闢). The principles of Daesoon Thought have a religious dimension of realistic awareness that guides the people's lives and edifies them. The process of the Great Opening aims to secure an ontological clock that tracks the Great Itineration of the world toward Daesoon Truth. This in turn as a process establishes the epistemological world of the Reordering Works of Heaven and Earth (天地公事) and reaches the axiological boundary of the future world. The links among the Three Realms is characterized by a pre-experientialist line that experiences the space-time nature of the universe as the Great Opening of the Later World (後天) within the framework of Heaven and Earth. Throughout this course, humans look to enjoy the infinite vitality of the universe from within their own finite vitality. Therefore, Daesoon Thought can overcome perceived reality through pre-experientialist channels such as the Great Opening of the Later World and aim for a state of self-awareness such as the Earthly Paradise. This is an attempt to participate and practice in the actual world rather than pursuing a world of transcendental ideas, and therefore, it tends to be proactive in the world rather than exhibit a passive tendency to be worldliness. In conclusion, the truth of Daesoon Thought, which is characterized by the Great Opening of the Later World, contains a future-oriented outlook that longs for a Nextopia full of hope and promise rather than idealistic fancy towards a Utopia or well-founded dread and disdain towards Dystopia.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

• (The)Study of the Eastern Classic
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• no.37
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• pp.7-31
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• 2009

The word, 'Naturalization(向化)' is an unfamiliar term for us; however, to us as citizens who live in a multicultural society, it is a word worthy of hearty appreciation even once. At the present Korean dictionary, it has been defined as the word related to those terms such as Enlightenment(敎化) which are used to explicate the governance through a virtue of moral excellence(德治主義) of Confucianism, and the word, 'Hyanghwa(向化)' itself has already included the meaning of Enlightenment(敎化). On many occasions, people who were dubbed the converts or the naturalized citizens(向化人) emigrated to Chosun because there were such substantial reasons as economic and political advantages, rather than living in a society for reasons to the governance through a virtue of moral excellence(德治主義). Therefore, to understand the converts or the Naturalized citizens(向化人) correctly, it shall be required to examine the cause which is the governance through a virtue of moral excellence together with the true realities which are economic and political advantages. The word, such as Hwangjoin(皇朝人) should be considered in order to understand the meaning of 'Naturalization(向化)'. Hwangjoin(皇朝人) were those displaced people who had been forced to leave the fallen Ming Dynasty, and they will be contrasted with the converts or Naturalized citizens(向化人) that were mainly composed of the Northern tribes or Japanese. Actually, Naturalized citizens(向化人) and Hwangjoin(皇朝人) had all emigrated to Chosun because of changes in international affairs, meanwhile, however, they were treated differently for the reason that they were 'Hwai'(華夷). If we dub Chosun 'Self'(我), Naturalized citizens(向化人) and Hwangjoin(皇朝人) are equally called as 'The Other persons'(他者). Can we say that Chosun had established the right relationship with Other persons(他者)? Judging from the facts that there was occurrence of convert or naturalization for the other persons, dubbed Naturalized citizens(向化人) and that there was another occurrence of emigrants, called Hwangjoin(皇朝人), it is evident that the Relationships between the two had not rightly established. Also, the names so called Naturalized citizens(向化人) and Hwangjoin(皇朝人) were not given according to the preference of the other person, but provided by Chosun one-sidedly. The reasons for occurrence of convert or naturalization for the other persons, dubbed Naturalized citizens(向化人) and for occurrence of other emigrants, called Hwangjoin(皇朝人) were ideology such as 'Hwai'(華夷). It is thought that the Relationships between 'Self'(我) and 'The Other Person'(他者) can be established only after excluding ideology.

• Archives of design research
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• v.17 no.2
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• pp.43-54
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• 2004

The appreciation of cultural properties related with what the aspects of society was is mandatory to understand our culture correctly. To make over all cultural properties to our descendants without breakage or damage is our natural duty and national obligation. On the contrary, inhabitants in the preserved area should be restricted and controlled by the cultural property law. The conflict between the inhabitants in the preserved area and the government raises economical problems and damages all the time. Especially it is time to discuss to mediate between them and solve the problems. This feasible study is a proposal to settle them up through renovating abolished school in the preserve area to the museum and a case to preserve the cultual properties as well as habitant's assets in that area.

• The Korean Journal of Archival Studies
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• no.14
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• pp.53-89
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• 2006

The historical value of the official documents of the Government General of Choson preserved as permanent archived documents has long been recognized. However, the fact that only parts of the overall documents were preserved and that the contents of the existing documents is not uniform, results in many problems regarding the evaluation and usage of such documents as archives. This study attempts to appraise a series of archival documents related to urban district planning compiled during the colonial era. Although limited in terms of its applicability to the development of an evaluation method for the official documents of the Government General of Choson as a whole, by evaluating the value of these documents based on the background of the documents produced during the Government General of Choson's implementation of its colonial policy, this study provides an important indicator of how such documents should be used in the future. On the other hand, the assessment of historical records such as the official documents of the Government General of Choson which have already been designated and preserved as permanent archived documents should not be perceived as an attempt to dispose of the relevant documents. With regard to the appraisal of historical archives, it is necessary to consider measures to link such documents with existing databases or information contents in order to heighten access to and usage of the relevant documents in the future.

• The Journal of Korean Philosophical History
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• no.39
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• pp.85-114
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• 2013

Traditional values refer to one's attitudes or perspectives developed by negotiating with oneself, others, society, world, nature and universe, which include thoughts on what is right, desirable, and what is dos and don'ts. The purpose of this study was to investigate values which Korean people traditionally emphasized, and their changes by epochal situation focused on the Choson Era. Also, this study intended to assist in finding values and meaning which should be passed down and manifested in contemporary society based on the study results. In this context, I select some positive values in the background of the Joseon dynasty. As traditional values or ethics in Korea destroyed and distorted going through the period of Japanese colonialism, all the existing social culture and traditional culture were denied, which resulted in vanishing common value which led community for several hundred years. The loss of common value caused community destruction and collapse, and made Korean people seek to survival, success and advancement in life as suffering from severe conflict of values. Experience of hollow state of mind caused by historical and cultural severance left distorted and degenerated values to Korea people, which made them pursue false values without realizing true meaning of traditional values. The true meaning of traditional values should be universal no matter how society changes, and could be milestone to contemporary people wandering aimlessly. Realizing and reconsidering the meaning of traditional values to found comtemporary values of Korean people by reflecting on history can produce significant results beyond age-old debate about East or West, and tradition or modernity.

• (The)Study of the Eastern Classic
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• no.59
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• pp.325-357
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• 2015

Max Weber claimed that the clans as a self-sufficient community in traditional China had limited market development. His statement can be applied to the lineage groups of $Chos{\breve{o}}n$ dynasty, however, it also could be criticized as an example of oversimplifying clans. Starting from this question, in this article, I examined the lineage movement of the P'ap'yong Yun's Nojongp'a branch. Through this research, I tried to investigate the reality of the lineage group communities of $Chos{\breve{o}}n$. My issues are following. First, the Nojongp'a clan promoted the solidarity movement of their lineage in the name of practicing human morality, which belonged to their family learning. Second, the Nojongp'a clan made preparations for their own 'righteous rice fields and grains', through which they tried to establish the base structure for the clan activities. This, however, had its own limitations in aiding the starved suffering from famines and did not last long. Third, the lineage could not function as a community for living that was actively involved in the reproduction of life, and was not an exclusive self-sufficient community, either.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.243-253
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• 2019

Geyonggi-geommu have developed based on the long history of Korean sword dance. Han Sung-joon, the great master of modern music and dance of Korea during the Japanese colonial period, collected and reconstructed folk dances that had disappeared or were cut off due to the policy to obliterate Korean culture through Chosun Music Dance Research Society. Since then, it has been passed down to Kang Sun-young and Kim Geun-hee that has designated as the Intangible Cultural Property No. 53. of Geyonggi-do in 2011. This study focuses on highlighting the uniqueness of Geyonggi-geommu for proper modeling and transmission of Geyonggi-geommu with historical significance so as to understand and preserve the Intangible Cultural Heritage. This study examines the transmission system of Geyonggi-geommu, followed by Kang Sun-young and Kim Geun-hee, originated by the master Han Sung-Joon of Geyonggi-geommu. Geyonggi-geommu has its uniqueness of using the pure Korean dance terminology established by the holder Kim Geun-hee at the time of designation of intangible cultural properties in Gyeonggi-do. The unique features of Geyonggi-geommu are performed and transmitted in two forms, Daemu(Group dance) and Holchum(Solo dance) which are not currently found in other regions. This is meaningful to passed down according to the original form of Geommu(Sword dance). In particular, the Holchum(Solo dance) is a form of artistic dance, showing the beauty of the sword dance during the Chosun Dynasty. In short, Gyeonggi-geommu can be described as an artistic dance with a soft and strong temperament considering its unique features.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.117-167
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• 2019

The aim of this article is to illuminate the Park Yeol(朴烈)·Kaneko Humiko(金子文子) Case from the perspective of performance, by analyzing newspapers published in Colonial Korea. The Park Yeol·Kaneko Humiko Case include the High Treason Incident(大逆事件) case and the mysterious photo(怪寫眞) case that occurred in Tokyo in Imperial Japan from 1923 to 1926. Even though Park Yeol·Kaneko Humiko were individually imprisoned during this period, they proceeded to act shrewdly and preposterously as performers. First, they made the trial itself into an astonishing case by donning traditional Korean clothes and insisting on using the Korean language in Japanese Imperial Court. Second, they caused the judge in charge to accidentally take the so-called 'mysterious photo,' which later led to the collapse of the Japanese cabinet. The newspapers published in Colonial Korea served as unique stage on which Park Yeol and Kaneko Humiko performed. The newspaper articles reported on the public trials as if it were a drama, describing their clothes, look, and dialogue in public court. The news about them was published not as it occurred but in a plotted sequence because of a press ban, consequentially building suspense among readers. Meanwhile, the Korean newspaper editorials pointed out the injustice of the High Treason Incident, breaking down the Japanese judge's opinion. The Park Yeol·Kaneko Humiko Case was a social drama that revealed the disharmony that led to the breakdown of Taisho Democracy and imprinting national resistance in Japan as well as in Korea.