• (The) Research of the performance art and culture
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• no.20
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• pp.213-249
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• 2010

Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, "Kyungjanpae", who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.13-25
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• 2021

Hoseonmu belongs to the genre of a composite of song, music, and dance. At that time, there was no widely known record of Hoseonmu in Baekje, but it is clear that it was popular enough to be invited to Changan by Emperor Yang of Sui. The musical instruments, songs, and dances were analyzed through the research method of literature and the content of the Hoseonmu version was established. The setting of the stage for the performance of Baekje instrumental music reveals its characteristics through sabangak from Gigaku in the neighboring countries. The stage for Hoseonmu was set up utilizing the creation of the imperial performance stage in the Baekje instrumental music. In particular, Hoseonmu has two types: heavenly and earthly. The heavenly Hoseonmu can be found on the wall of the Cave No. 220 formed in the Chodang (618-707) era. They include Dongbang Pharmacopoeia jingbian and Western Paradise jingbian. Hoseonmu would have chosen to be the fast-paced spinning dance. Motions for Hoseonmu could be set up through them. Meanwhile, Mimaji's instrumental dance is presented. Six dancers appear in two turns of the performance. Four dancers in front row and other two in the back are dressed up as hunters, wearing goblin masks, and holding flowering plum tree branches in their right hands. Through this, the movements and costumes of Hoseonmu are reproduced in more detail. Various sectors of education, theater, dance, and tourism in the Hoseonmu contents of Baekje instrumental music contributed to the Korean Wave.

• International Journal of Computer Science & Network Security
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• v.23 no.8
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• pp.101-106
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• 2023

In this busy world actually stress is continuously grow up in research and monitoring social websites. The social interaction is a process by which people act and react in relation with each other like play, fight, dance we can find social interactions. In this we find social structure means maintain the relationships among peoples and group of peoples. Its a limit and depends on its behavior. Because relationships established on expectations of every one involve depending on social network. There is lot of difference between emotional pain and physical pain. When you feel stress on physical body we all feel with tensions, stress on physical consequences, physical effects on our health. When we work on social network websites, developments or any research related information retrieving etc. our brain is going into stress. Actually by social network interactions like watching movies, online shopping, online marketing, online business here we observe sentiment analysis of movie reviews and feedback of customers either positive/negative. In movies there we can observe peoples reaction with each other it depends on actions in film like fights, dances, dialogues, content. Here we can analysis of stress on brain different actions of movie reviews. All these movie review analysis and stress on brain can calculated by machine learning techniques. Actually in target oriented business, the persons who are working in marketing always their brain in stress condition their emotional conditions are different at different times. In this paper how does brain deal with stress management. In software industries when developers are work at home, connected with clients in online work they gone under stress. And their emotional levels and stress levels always changes regarding work communication. In this paper we represent emotional intelligence with stress based analysis using machine learning techniques in social networks. It is ability of the person to be aware on your own emotions or feeling as well as feelings or emotions of the others use this awareness to manage self and your relationships. social interactions is not only about you its about every one can interacting and their expectations too. It about maintaining performance. Performance is sociological understanding how people can interact and a key to know analysis of social interactions. It is always to maintain successful interactions and inline expectations. That is to satisfy the audience. So people careful to control all of these and maintain impression management.

• 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.

• (The) Research of the performance art and culture
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• no.19
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• pp.317-346
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• 2009

Soongeuimyo is a shrine which has Liu Bei 劉備 as the main ceremonial figure and also Guan Yu 關羽 and Zhang Fai 張飛 as ceremonial figures as well as 8 others such as Zhege Liang, Zhao Yun, Ma Chao, Huang Zhong, Uang Bo, Zhou Zhang, Zhao Ru, and Guan Ping. Since one of the ceremonial figures is Guan Yu, it has been considered and discussed as a Guanwangmyo 關王廟. It is also witnessed by the terms called the East, South, or North tomb that were the existing Guanwangmyo, or even 'West' tomb 西廟. Of course, the relationship between Guanwangmyo and Soongeuimyo cannot be excluded because they both have Guan Yu. However, Soongeuimyo is different from Guanwangmyo in some aspects. Soongeuimyo was of a higher grade than Guanwangmyo in the quality of the ceremonial figures, and it had a completely different music and dances 악무, in which it included court music(雅樂), orchestra for court music(雅樂樂懸), and Yugilmu 六佾舞. Since the first enshrinement ritual in April 27, 1904, the period of Soongeuimyo Jerye was performed for only 4 years until the close in July, 1908, which made it less known. Furthermore, because Japanese Governor General used Soongeuimyo land as orphanages and schools for the blind and the dumb, the tomb areas were completely destroyed and the space to recall memories of Soongeuimyo was lost. However, Soongeuimyo Jerye was one of the country's important ceremonies conducted as Joong Sa 中祀 with complete assessment of traditional music and dance for Jerye. Also, as a Jerye that Go Jong 高宗 designed as a strong soldier policy after his coronation as an emperor to enhance Dae Han empire's military power, it has much significance as Dae Han empire's last national ceremony newly created besides Hwangu Jerye 圜丘祭 after his coronation.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• (The) Research of the performance art and culture
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• no.20
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• pp.339-367
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• 2010

Despite that it is relatively difficult to compare the movements in eastern and western dancing, this study approached hand-foot coordination movements, which involve lifting both an arm and a leg to stand on one foot, from a figurative point of view. In ballet, arabesque, developpe, and attitude were recognized as the example hand-foot coordination movements, and in Korean Dance, Oesawi, Gyeopsawi, and Meongseokmari of Mask Dance were classified into the hand-foot coordination movements. The figurative characteristics of these dances were approached from the aspects of racial traits, philosophies of dancing, and forms of movements. The following summarizes the findings about hand-foot coordination movements of this study. First, in relation to human physiology, eastern and western races have different traits. The forms of dancing have developed differently according to the builds and figures of dancers. Ballet is an elegant form of dancing using long legs and arms and its arabesque, developpe, and attitude movements emphasize stretching the body for an elegant and beautiful presentation. On the other hand, Korea was an agricultural society and lived closer to the land. As its people developed petite figures, its dancing movements, especially the hand-foot coordination movements, involved 'twisting' and 'walking down and up.' Second, despite that the hand-foot coordination movements are identical for east and west, ballet aims at the heaven and Korean Dance aims at the land according to the differences in the views of nature. Although the principle of hand-foot coordination movements is about aiming at the land, western philosophies and aesthetics pursue the heaven. Third, in ballet, the focus of beauty is the presentation of beautiful movements. Therefore, the hand-foot coordination movements precisely control the position and angle of arms and legs for the perfect balance of the body. On the other hand, the hand-foot coordination movements of Korean Dance are mostly rooted from natural daily movements and movements that enhance the efficiency of labor. Therefore, it is considered beautiful techniques even if the body looks rather unbalanced.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.169-178
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• 2021

The Korean girl group "Kara" has suffered the trilemma of its de facto failure to debut, the crisis of team breakup, and the CEO crisis of the agency. But the group has made an outstanding achievement in the history of Korean pop music after overcoming all odds. Their success strategy has never been disclosed by insiders involved in Kara's total music projects. This study has been carried out in the analysis of the strategy to provide academic implications and to honor the contribution of the late CEO Ho-yeon Lee and Kara's key member Ha-ra Gu. Therefore, between Nov. and Dec. 2020, we conducted in-depth interviews with managers, composers, stylists and Ha-ra Gu(Only in 2019, before her death) who took part in the project. The research model is set up by combining Porter's Competitive Advantage Strategy and the music value chain model into categories of "Product Innovation Differentiation (PD)" (producing, album production, performance activities) and "Marketing Differentiation (MD)" (market targeting, image specialization, promotion and communication). The analysis showed that the PD focused on complete rediscovered harmonization and revalued members' personality and sincerity with peppy songs and dainty dances as well as emission of "bright energy" which caused healing effects instead of mimicking other star singers recklessly. In terms of MD, they selected Japan's 10-20s as their main market, increasing intimacy with fans and media with the image of cute+pretty+classy+sexy. The result suggests that Poter's differentiation can function as a meaningful strategy frame in the fostering, hit, and revival of idol groups. In addition, it reaffirmed that spontaneous and passionate activities of early-stage or celebrity fan may serve as a valid catalyst for realizing differentiation, as Kara's caller of Japanese actor Gekidan Hitori caused a strong "priming effect" that drove Kara's unexpected wonderful success in Japan.

• (The) Research of the performance art and culture
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• no.42
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• pp.233-256
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• 2021

The purpose of this article is to understand the characteristics and meanings of the Hwanghae-do Gutchum, or shamanic ritual dance. First, the characteristics of the Hwanghae-do Gutchum are summarized as follows. The regular dances that appear in all pieces of Gutgeori or the tune of Gut of the Hwanghae-do Gutchum feature Geosangchum, followed by domu and heojeonmu in the sequential order. The accompaniment rhythms are Geosang rhythm, Chum rhythm, and Yeonpung rhythm. The dance featuring mugu, or shaman implements held on shaman's hand as part of the Hwanghae-do Gutchum, which symbolizes the characteristics of deities, is the same as domu aligned with the dance rhythm and the whirling dance aligned with the Yeonpung rhythm. The name of mugu, mubok (shaman clothing) and/or deities may be used as the name of Gutchum but there is no originality of Gutchum. The Beokgu Chum and Samhyeon Chum as part of the Hwanghae-do Gutchum use Beockgu Jangdan and Samhyeon Jangdan, which deserves to have their originality acknowledged. Hwanghae-do Gutchum is closely related to the rhythm. The harmony of janggu player and a female shaman is essential in practicing the Hwanghae-do Gut. If a janggu player fails to perform to properly support the gut practice of a female shaman, the shaman is not able to proceed with a smooth practice and causes confusion. On the other hand, if the gut performance of a female shaman fails to catch up with the performance of janggu, the gut becomes plain and simple at best. Janggu is the single most important element that determines the success or failure of the Hwanghae-do Gutchum. A female shaman takes the harmony and collaboration with a janggu player so seriously that she is willing to reschedule the practice of gut if its schedule does not match that of the janggu player. The Hwanghae-do Gutchum is largely dependent on gyeolrye. However, the difference between the chum and the rhythm caused by gyeolrye has disappeared due to the intangible cultural assets. That is, designating an intangible cultural asset has resulted in eliminating all distinctive characteristics of Hwanghae-do Gutchum. With the distinction of gyeolrye becoming vague, they have lost interest in the genealogy of gut they have learned. It is no longer gyeolrye but the intangible cultural property system that serves as an important factor to distinguish chums.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.