• (The) Research of the performance art and culture
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• no.35
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• pp.93-123
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• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.

• (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.

• The Korean Journal of Franchise Management
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• v.2 no.2
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• pp.45-69
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• 2011

A basic function of packaging is preservability, delivery, subdivision, aesthetic and serviceability on packaging. Originally, the function and necessity of packaging is on preservability, but today it is expending before. then packaging is focusing on sales promotion. Although it is hard to say production itself, it could does when it is made. also, it is important for product to be goods when packaging and its materials are identification on matching each other. The role of packaging design is a core factor that satisfy consumer a various of needs and wants. In the past, the role of food packaging design is just preservability and delivery on product. but then, nawaday it is asked a various role. Not only present products have to get inherency but also have added value. That is, advanced technologies, information, and richness from materials which are diversity for coming a extention of choice. currently, food packaging design shouldn't have stayed on just packaging which cover beautiful. Packaging design is a symbolic sign. It is importance for manager to do R&D, producing, and distribution, also for consumer who use and buy the product whether manager and consumer think package design is a main mediation. This day, food design pay attention to be asking consumer's a number of sensitivity. It is the reason that the package is importance and exist. This article is to examine preservability, delivery, subdivision, aesthetic, serviceability, and environmental orientation in order to develop and show a method and theories to find package design in food industry the reason that why sales promotion and its profit increase. Consequently, draw on the function of package design effects the benefit on product is distribution. Green Design on the food packages by combining recycled and biodegradable food packages for the development of practices and long life to the look of the food package design practices.

• Korean Journal of Ecology and Environment
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• v.57 no.2
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• pp.102-110
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• 2024

This study presents a fine scale distribution of the endangered species, Odontobutis obscura, through field surveys and literature reviews. Using the mark-recapture method, the population size in major habitats was determined. Field surveys conducted on 18 streams in Geoje Island revealed that the O. obscura was only found in the main streams and tributaries of the Sanyang, Gucheon, and Buchun Streams, which are part of the Sanyang Stream watershed. The O. obscura exhibited relative abundances ranging from 0.5% to 35.3% at different locations, with certain spots showing higher relative abundances (18.8% to 35.3%), indicating major habitat areas. A review of six literature studies confirmed the presence of the O. obscura, although there were differences in occurrence status depending on the purpose, scope, and duration of the studies. Combining the results of field and literature surveys, it was found that the O. obscura inhabits the main and tributary streams of the Sanyang, Gucheon, and Buchun Streams, from the upper to lower reaches. Currently, the O. obscura population in the Sanyang Stream watershed maintains a stable habitat, but its limited distribution range suggests potential issues such as genetic diversity deficiency in the long term. The population size of the O. obscura was confirmed at two specific locations, with densities of 0.5 to 1.5 individuals per m². The average movement distance from the release point was 13.1 m, indicating the limited mobility characteristic of ambush predators. Understanding the distribution and population size of endangered species is the first step towards their conservation and protection. Based on this information, further research could significantly contribute to the conservation of the O. obscura.