• Animal cells and systems
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• v.3 no.4
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• pp.393-397
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• 1999

Length variations in human mitochondrial DNA (mtDNA) offer useful markers in the study of female aspects of human population history. One such length variation is a 9-bp deletion in the small noncoding segment located between the COII and Iysine tRNA genes (COII/tRNA/$^{Lys}$ intergenic region) which usually contain two tandemly arranged copies of a 9-bp sequence (ccccctcta) in human mtDNA. The mtDNA 9-bp deletion and polymorphic variants of expanded 9-bp repeat motif in the intergenic COII/tRNA$^{Lys}$ region have been found at varying frequencies among different human ethnic groups. We have examined the length variation of the mtDNA COII/tRNA$^{Lys}$ intergenic region from a total of 813 individuals in east Asian populations. The occurrence of the 9-bp deletion was found to be relatively homogeneous in northeast Asian populations (Chinese, 14.2%; Japanese, 14.3%: Koreans, 15.5%), with the exception of Mongolians (5.1%). In contrast, Indonesians (25.0%) and Vietnamese (23.2%) of the southeast Asian populations appeared to have relatively high frequencies of the 9-bp deletion. We identified the existence of a new expanded 9-bp repeat motif which likely resulted from a slipped mispairing insertion of six more cytosines in the intergenic COII$^{Lys}$ region. It was present at low frequencies in the Korean (2/349) and Japanese populations (2/147). Based on the results of this study, the Korean population may reflect a close genetic affinity with the Japanese and Chinese populations than the others surveyed east Asian populations.

• (The) Research of the performance art and culture
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• no.32
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• pp.427-463
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• 2016

This article deals with five main theories about the origin of Yeonwahdae(蓮花臺), a Korean court dance(jeongjae; 呈才) and its transmission process through the age from Chinese Dang(唐) and Song(宋) to Goryo(高麗) and Joseon(朝鮮) in Korea. As a result, it was found that there was a significant difference between Chinese Chaj-u(?枝舞) dance and Korean Yeonwahdae, and furthermore there was an enormous change as it came to Joseon period in the number of performer, costume and music. Therefore, it is seriously necessary to select, restore the main version of Yeonwahdae in each period, and to make an effort to create new version of Yeonwahdae that reflects the spirit and taste of our time. Besides, it is important to inherit the inner spirit of Yeonwahdae as well as its outer appearance. Shortly, the main purpose of Yeonwahdae performance at present should be to reflect the most important, urgent issues of our time thereby to pray the welfare and prosperity of our country.

• (The) Research of the performance art and culture
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• no.43
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• pp.173-202
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• 2021

During the Korean War, China dispatched 'the Anti-US and Pro-Joseon Comfort' group to North Korea 3 times. The purpose of the comfort group was to comfort the Chinese People's Supporting Soldiers and Joseon People's Army fighting the US imperial forces and at the same time, inform them of China's situation to booster their morale. Another purpose was to promote the socialism construction projects in the new China. Namely, China wanted to propagate various heroic achievements of the Chinese soldiers and accuse the US imperialist soldiers and thereby, inspire Chinese people's international sense and patriotism for the new China to mobilize the people for the war and promote the construction of the new China effectively. The comfort group consisted of diverse classes (laborers, farmers, intellectuals, women, students, soldiers, etc.) in various areas such as politics, military, ethnic, society, culture, education, etc. Their activities were conducted in various forms such as consolation, legwork, meeting and performances. Their activities were full of anger and compassion, sacrifice and emotion, battle and romance, impression and comfort. Such emotion was delivered intact to the Chinese people through the comfort group's propaganda activities back home in China. The Anti-US and Pro-Joseon Comfort' group revealed their identity of socialists New China in terms of their organization and their specific performances. Their identity claimed for democracy and equality, internationalism empathizing world peace and solidarity of the proletariats, and patriotism supporting the communists regime. The comfort group played a role in propagating such identity of new China effectively by crossing the border. It was a political and cultural performance that stipulated the political meaning of the Anti-US and Pro-Joseon Chosun Comfort' group

• Journal of the Korean Geographical Society
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• v.37 no.1
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• pp.75-92
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• 2002

The aim of this article is to critically review the PRC's policies related to its minority nationalities with a special emphasis on the identification of minority nationalities(minzuzhibie) and the establishment of minority nationality autonomous regions(minzuzizhiquyu), as a part of national integration Process. In that Process, the intentional application of the criteria on nationality identification, the establishment of minority nationality autonomous regions, the population redistribution policies and the gerrymandering by the government played an important role in the deconstruction of traditional basis of identities and the territorialization of ethnicity. The goals of government have been the redefinition of 'Chinese', the the invention of 'Chinese nationality(zhongguominzu or zhonghuaminzu)'and the unification of its national territory. However, these have led to the unexpected result by creating the new ethnic-territorial identities along with the nationalities identified and the territories defined by the government.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.104-118
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• 2011

The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.4-35
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• 2000

The paddling technique is a Kind of secondary treatments in the process of ceramic forming, which appeared in the Chinese Neolithic Age pottery making. In the case of Korean prehistoric pottery making, it was first introduced together with the kiln firing method from Tongpei region(東北地方) of China in Yan(燕) dynasty occupation period. Korean archaeologists have recognized the adoption of the new technologies as a drastic innovation of ceramic production. And most of them have thought that the diffusion of new techniques, accompanied by the migration of the northern ethnic groups, had been immediately followed by the innovative changes in pottery procdution. However, rejecting the arguments from the simple diffusionist viewpoint, I have first tried to describe the innovation processes in the ceramic production systems as a spatio-temporal process. The paddling technique by the cord-wound paddle, which was first introduced among the various paddles, was associated with the new sort of pottery, round pots fired in low temperature of reducing atmosphere condition. The cord-marked round pots first tried by the indigenous potters in the southern part of Korean were characterized by the relatively low leveled techniques in forming and firing, compared to those of north-east China. The techniques of the round pots were hardly improved in the domestic production system until the appearance of the fully-specialized one. The specialized production system of the round pot, which appeared first in the mid-western region of Korea, showed the diversified paddling techniques and made the noticeable improvements in forming and firing processes.

• Journal of Fashion Business
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• v.7 no.5
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• pp.66-82
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• 2003

China shows body size differences owing to varied climates, economic development, living standards, and ethnic distribution from region to region. That's why some regional research regarding body sizes is necessary for the advancement of clothing goods into China. Here, the materials of the Chinese standard "GB/T 1335-1997 Clothing Sizes" are analyzed to reveal the somatotypes of Chinese adults. Height, chest girth and waist girth were differently noticed in six areas. 1. The distribution rates of four body types (Y, A, B, C) were diverse in six regions. 2. Regional differences were seen as follows: 1) As for the height of male adults, areas 1(Northeast, Hwabuk) and 2(Central Western) were larger than the national mean. Areas 3(Gwangdong, Gwangseo, Bokgeon), 4 (Unnam, Gwiju, Sacheon) and 5(Downstream Jang River) were rather small. 2) As for the height of female adults, areas 1, 2 and 6 (Midstream Jang River) were larger than the national mean. Areas 3 and 4 were smaller than the average. 3) As for the bust girth of male adults, area 1 was the only area that exceeded the national mean. Areas 3 and 4 turned out smaller than the average. 4) As for the bust girth of female adults, areas 1, 2 and 6 exceeded the national average. The other three areas were lower. 5) As to the waist girth of adult males, areas 1 and 2 exceeded the national average. The other four areas were lower. 6) As to the waist girth of adult females, areas 1, 2 and 6 exceeded the national average. Areas 4 and 5 were lower. 7) In the height, bust girth and waist girth of male and female adults, most regions showed differences in means, regional distribution and regional rates.

• The Southeast Asian review
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• v.27 no.2
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• pp.213-243
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• 2017

In the first half of 2016, Indonesian President Joko "Jokowi" Widodo continued his efforts to secure support from major political parties, often benefiting from internal party conflicts. During the tense campaign for the 2017 Jakarta gubernational election, however, blasphemy charges against incumbent "Ahok", an ethnic Chinese and Christian, put Jokowi in trouble. Led by radical Islamic organizations such as Front Pembela Islam (FPI), half a million people filled Jakarta's streets, calling for Ahok's arrest. The resurgence of identity politics questioned the boundaries of the Indonesian nation and its core premises on the relationship between religion and the state. In the realm of foreign policies, the Jokowi administration maintained its tougher stance against illegal fishing in its waters. In spite of Indonesia's clashes with Chinese vessels in the Natuna sea, however, it is unlikely that the tension will escalate uncontrollably, as the Jokowi administration is seeking investment from rich neighbors for building infrastructure, which will be his key legacy for the 2019 presidential election.

• SUVANNABHUMI
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• v.2 no.2
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• pp.1-28
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• 2010

This paper offers a brief introduction to Vietnamese folk paintings. The discussion compares Vietnamese folk paintings with the Korean folk painting tradition. Among the main purposes of this paper is the exploration of directions for future research on Vietnamese folk paintings. Vietnamese folk paintings, although extensively influenced by their Chinese tradition of minjian nianhua (folk New Year pictures), form an independent tradition, reflecting the local lifestyle and religious practices of Vietnam. However, compared to Korea or Japan, China remains the dominant source of influence for Vietnamese folk paintings. They were either created using a combination of painting and woodblock printing techniques, which was also the case with minjian nianhua, or using multicolor woodblock printing techniques. In cities like Hang Chong, the combination of painting and woodblock printing techniques was used mainly, following the customary practice in Yangliuqing in Tianjin, China, in which colors were added to the drawing printed from the woodblock. Meanwhile, folk paintings produced in rural areas such as Dong Ho are wholly color woodblock prints, similar to minjian nianhua from Yangjiabu in Weifang. In Lang Sinh, simple drawings, intended for casual purposes, were also created using the combination of woodblock printing and painting techniques. Folk paintings produced in cities and rural areas were distinct from each other, not just in techniques, but also in terms of style and theme. Vietnamese folk paintings show a certain degree of thematic similarity with Joseon folk paintings. This is mainly due to the fact that the two countries' folk paintings developed and evolved in parallel with their Chinese counterparts, minjian nianhua. Also noteworthy is the fact that Vietnamese folk paintings, while they share the simplicity and candidness of Joseon folk paintings, are at the same time somewhat more decorative than the latter. For best results, future research on Vietnamese folk paintings should be conducted together with research on minjian nianhua. Traditional pigments constitute an important area of research in this field. Attention should be also paid to the religious paintings of ethnic minorities in Vietnam, as they are discovered in the future.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.243-266
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• 2004

This paper is based on fieldwork conducted from July 6, 2003 to July 24 of 2003 among the Tungusgroups Hezhe, Daur, Oloqun, Owenke, and Mongolian in the areas of Heilongjiang and Inner Mongolia Provinces. Recognizing the need for more in-depth study among these groups, the present research shows that the Tungus people are archeologically, historically, and linguistically different from Korean Han ethnic group and challenges the link between Korean and Tungus groups since the Bronze Age. The comparison between the "House Spirit" belief of the Tungus people and Koreans reveals certain commonalities in the "Maru," "Kitchen," and "Samshin Spirit" practices. There are two possible reasons for such commonalities. Historically, the Korean Han ethnic group and the Tungus people were geographically intimate, and contact or transmission between the two groups occurred naturally. Also, immigration of refugees from the fallen Koguryo and Puyo to the Tungus region added another dimension of cultural contact. In contrast to the common features shared between the two groups, there also exists differences between the two groups House Spirit blief. The Korean Han group's "House Spirit" belief is based on the agricultural practices that separates the inside sacred and outside secular world of the houses, whereas the Tungus ethnic group's "House Spirit" belief is based on mobile herding life style with a less distinction between in and outside of house. Additionally, each Korean "House Spirit" has its own distinctive personality, and each spirit is placed and worshipped according to its function. In the Tungus group, all the "House Spirits" are located and worshipped in "malu," and some of the spirits are non-conventional house spirits. Moreover, Korean "House Spirits" form a kinship structure, placing Songju, the highest spirit, at the center. In the Tungus practice, such structure is not found. The tight cohesive family formation among the house spirits in the Korean "House Spirit" belief is also the most distinctive feature in its comparison with Chinese belief. In China, the highest spirit is Jiang Taigong or Qiwu, and the house spirits do not have kinship relations. Korean's Outhouse Spirit and Chowangshin are related to the Han Chinese's counterpart on certain levels? however, their basic structures are different. It is clear that the correlation of "Malu" "Chowangshin" and "Samshin" between Korea and Tungus indicate important role of Tungus cultural elements within Korea's "House Spirit" belief.