• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.157-164
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• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• Cross-Cultural Studies
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• v.50
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• pp.197-224
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• 2018

Korea's Kimjang and Japan's Washoku were listed in the UNESCO's Intangible Cultural Heritage of Humanity in 2013. Kimjang and Washoku not only have the meaning of a long tradition or national representative food. Additionally, UNESCO admitted the value of Kimjang and Washoku that allows members of society to share together and strengthen their solidarity through the use of it. And the identity of each nation is well represented in the Kimjang and Washoku effort. The Kimjang is managed by the Intangible Cultural Properties Department of the Cultural Heritage Administration. Likewise, the Washoku is managed by the Department of Washokusitsu of Japan's Agriculture Ministry. In regards to festivals, they are the most representative of Kimjang's contents in Korea. Kimjang can participate with a consensus of all people and must do it before the coming winter months. In this way, it is very suitable for the presentation of a festival. And there are many festivals related to Washoku in Japan, mainly manifested with local specialties. We have seen that Japan has many kinds of festivals, which encourages it to be called and known as the country of festivals. And Washoku is being fostered as the core content of the 'Cool Japan Strategy' because it has become world-renowned since it was listed as an intangible cultural heritage.

• Review of Culture and Economy
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• v.21 no.1
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• pp.21-61
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• 2018

Most of the Korean performing arts markets are not only small but also show their limitations in terms of their role as a platform for the promotion of performing arts and future growth prospects. This study started from the perception that the domestic performing arts markets need the cooperation between the markets in order to overcome the current situation and become the representative performing arts markets of Asia. To do this, we conducted surveys and in-depth interviews on market collaborations with domestic performing arts officials such as PAMS, Jeju Haevichi Art Festival and G-FAFE. For successful inter-market collaboration, the first is to change ideas and thinking about collaborations, second, to select programs suitable for direct supervision and collaboration based on evaluation of comparative advantage, and third, to establish and operate the 'Performing Arts Market Collaboration Promotion Committee(tentative name)'. And the fourth, starting from the sharing of the network that is most required at this stage, it is necessary to develop the sharing of manpower and places through mutual financial support or sharing between the central government, the metropolitan municipalities.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.86-99
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• 2016

This study was for analyzing the external environment and internal space structure and improving the way of use efficiency in waterfront through the Dragon boat festival to utilize waterfront actively. Through from the four target area, Hongkong, Busan, Incheon and Daejeon, this study was for an importance and satisfaction analysis for users about the element effect on the waterfront use efficiency and the contribution to cultural contents revitalization of waterfront by giving basic data. The result is as follows. First, in the importance analysis about 12 items, modern cultural infra around the waterfront was ranked highest, 8.26 and waterfront landscape, square & openspaces, convenience facilities, transport, green area, quality of viewing space, historic resources, pedestrian, suitability of width, wave, depth, water quality, berth & mooring were ranked in descending order. Second, waterfront landscape was interpreted by rather the external environmental impact according to city size than the matter of spatial structure in target area and judged as an important factor effect on site selection for waterfront. In the analysis of waterfront landscape, the reason of the high satisfaction about domestic target area was that riverside parks were recently made considering their waterfront activities. Viewing space was major infra where people could experience the pleasant waterfront and watch dynamic water leisure sports like Dragon boat three dimensionally and was thought to be improved for the use efficiency. Third, tourism resources were very important element that affect the use efficiency of waterfront, so waterfront users react sensitively to modern tourism resources rather than to historic resources. This meant that tourism infrastructure for shopping and leisure of the young affected the use efficiency of waterfront, so Hongkong and Busan were in a better position in terms of using waterfront that was near the tourism infrastructure. Fourth, in the analysis of traffic accessibility, both Hongkong and Busan were high evaluated in terms of excellent traffic accessibility by subway. Daejeon was low rated in terms of the satisfaction of use efficiency, because of the relative lower place awareness compared with transportation infrastructure. In Hongkong, waterfront was connected with downtown and in Busan, housing complex and shopping centers were located in the place for users in an easily accessible on foot, so the satisfaction was high-pitched. Finally, in the importance of water surface width and the analysis of satisfaction, except Incheon, all the three were over 200m in width of water surface and this meant the surface width above certain level was interpreted to interrupt the concentration of enjoying the water leisure sports. In the analysis of surface condition such as water quality, water depth and wave, through a survey, Busan had a problem with water quality and Gapcheon in Daejeon had a problem with optimal water depth by the festival participants.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.307-323
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• 2007

One of the distinguishing features of late Jeosun s Hanshi (poem in Chinese) is the numerous creation of Yeonjachyung Keesokshi (serial poem on folklore) which describes the folk manner and folk way of life in detail. Keesokshi s subject matter is the folklike in general including local features, geography, climate, local production, humanity, social conducts, and daily labor for living as well. By its material characteristics, Keesokshi reflects detailed life conditions of the society members in each levels, and represents the local customs as well as the folk emotions. Among the several kinds of Keesokshis, a Sesi Keesokshi focuses only in reciting the folk customs on each seasonal festival days, and the great numbers of such serial poems appear during the latter part of the Jeosun Dynasty. Its overall background is the transition of artistic trend which came after many social changes such as expansion of realism, uprising national consciousness, shaken status system, and the rising of 'Jeosun si motives in the Hansi history. Moreover, each writers various experiences and their interests in the reality and critical minds of common people contributed a crucial roll in creation of Sesi Keesokshi. 178 of the 584 remaining serial Sesi Keesokshi are written particularly about the folk customs in The Grand Full Moon Festival (the first full moon of a year by the lunar calendar). These Hanshis widely reflect the common ways of living by directly accepting the seasonal folk customs as the subject matters. Especially, close to the reality, these poems positively express the people's simple vigorous lives and create unrestrained lively image by describing the joys and sorrows of the folk ewistence along with their craving. Also, it is notable to have customs such as 'Shil-Ssa-Um' and 'No-gu-ban-kong-yang' as subjects for its rarity in other literatures.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.554-565
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• 2018

This study is to think a new arena of collective play culture at the university campus festival for digital generation used to be individually consuming play in cyberspace. While cyberia is virtual cultural space by providing gigantic platforms in which producers and consumers meet, this space has characterized as individuality and disembodiment, that is why recalling the collective play culture at the off-line. This article is to examine the characteristics and meaning of the recent campus festivals during the history of Korean college festivals, and to analyze proposals of play-contents applied by various theories. The 2016-7' proposals include several kind of board game and experimental theatre sublimed philosophical reflection, which shows a kind of attempt to escape from the cultural industrial logic, however they are characterized by Ilinx(drinking culture) and Alea(board game) emphasized more than Agon, and Mimicry combined with paidia rule strongly. Under the neoliberalism, college students' gloomy reality is represented emasculating of the structure of competitions in the context of an unreal world and Mimicry of experience stay in front of the limen before entering the embodiment.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.1-12
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• 2019

Based on the capabilities of smartphone cameras which have developed rapidly in recent decades, coupled with and the global market penetration rate, it will study the possibility of various international exchanges through smartphone filmmaking. This aims to achieve a civilian-oriented cultural exchange, instead of simply providing capital-oriented exchanges and film production education. The Smartphone Film Workshop was held as an auxiliary event of the Korea-Vietnam Film Festival, which ran from November 17 to 22, 2017. The three-day workshop, which took place within the festival period, drew attention for its international collaboration project between Korean film directors and Vietnamese film students. The researcher conducted practical-based research while participating as a mentor at this workshop. A step-by-step approach to the entire process of production and post-production was administered, including workshop team composition, scenario, and pre-production in Korea such as shooting equipment, schedule, completion of local works, and screening. Through an analysis of exchange cases at international workshops, we will use trial and error as ways to improve and consider the results of cultural exchanges and the effects of future expectations. Taking this empirical case study into account, we anticipate more active international exchanges through the smartphone workshops.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.271-306
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• 2007

One of the distinguishing features of late Jeosun's Hanshi (poem in Chinese) is the numerous creation of Yeonjachyung Keesokshi (serial poem on folklore) which describes the folk manner and folk way of life in detail. Keesokshi's subject matter is the folklike in general including local features, geography, climate, local production, humanity, social conducts, and daily labor for living as well. By its material characteristics, Keesokshi reflects detailed life conditions of the society members in each levels, and represents the local customs as well as the folk emotions. Among the several kinds of Keesokshis, a Sesi Keesokshi focuses only in reciting the folk customs on each seasonal festival days, and the great numbers of such serial poems appear during the latter part of the Jeosun Dynasty. Its overall background is the transition of artistic trend which came after many social changes such as expansion of realism, uprising national consciousness, shaken status system, and the rising of 'Jeosunsi' motives in the Hansi history. Moreover, each writer's various experiences and their interests in the reality and critical minds of common people contributed a crucial roll in creation of Sesi Keesokshi. 178 of the 584 remaining serial Sesi Keesokshi are written particularly about the folk customs in The Grand Full Moon Festival (the first full moon of a year by the lunar calendar). These Hanshis widely reflect the common ways of living by directly accepting the seasonal folk customs as the subject matters. Especially, close to the reality, these poems positively express the people's simple vigorous lives and create unrestrained lively image by describing the joys and sorrows of the folk existence along with their craving. Also, it is notable to have customs such as 'Shil-Ssa-Um' and 'No-gu-ban-kong-yang' as subjects for its rarity in other literatures.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.89-96
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• 2018

JejuHaenyeo(women diver) culture has been designated as UNESCO Intangible Cultural Heritage of Humanity(ICH) in 2016. However, the number of new Haenyeo is decreasing due to the hardships and difficulties of Haenyeo job, and the aging factor of Haenyeo is threatening the cultural preservation and inheritance. The study aims to analyze JejuHaenyeo's awareness on self, community and UNESCO ICH designation. The study further aims to check any significant difference in Haenyeo's self-awareness per age group to conclude an effective strategy for permanence of Haenyeo culture. 228 JejuHaenyeo were interviewed at "The 10th JejuHaenyeo World Festival" around the Jeju Haenyeo Museum in Gujwa-eup, Jeju-si. The test result shows the difference per age group on awareness on self and UNESCO ICH designation status. The younger the generation of Haenyeo it gets, the awareness on self and UNESCO ICH designation status of Haenyeo gets lowerer. Without an immediate improvement to supplement JejuHaenyeo's awareness on self and UNESCO ICH designation status, preservation and inheritance of JejuHaenyeo culture may not be an easy task in the future.

• Korean Institute of Interior Design Journal
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• v.26 no.3
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• pp.55-62
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• 2017

As recently too many local museums have been built in the whole country, most of them cannot attract enough spectators. In order to resolve this problem, it is needed for local museums to differentiate their spaces and programs related to their exhibition. Thus, the purpose of this study was to analyze the characteristics of spaces and programs of local museums from the perspective of spatial marketing to activate them, and contribute to development of local cultures. This study targeted historical public museums located in Seoul and Incheon. Through preceding research, an analysis frame was established based on the keywords related to spatial marketing, and then the characteristics of spaces and programs of local museums were analyzed based on the frame. The study results are as follows. 1) Access convenience refers to openness that public museums located in Seoul and Incheon can embrace accessible locations, points of interest, and convenient facilities easily recognized by pedestrians. 2) Symbolic formativeness is to express symbolic historical contents in the museum lobby or exhibition to show the identity of local museums. 3) Visibility is needed for direct guidance signs or spaces to let spectators know directions and locations. 4) Public concern is for spectators and local residents to participate in local museums to share and utilize their partial spaces. 5) Interactivity is to induce activation of local museums by utilizing experience exhibition contents and having spectators directly contact exhibits. 6) Interest is related to cultural festival programs of exhibition to arouse spectators' and local residents' curiosity. 7) Participation is to activate spaces and spectators by providing educational programs. 8) Usefulness is to induce spectators' interest in local museums by providing historical, social, and cultural information. These results are expected to be used as baseline data to suggest a new direction for activation of local museums from the perspective of spatial marketing.