• (The) Research of the performance art and culture
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• no.40
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• pp.307-341
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• 2020

In the past, each villages of ULSAN had their own SUNGHWANGDANGs. Village folks held an annual ritual for a ghost called GOLMAEGI. That ritual, which was a form of festival supervised by the village community, was the opening of seasonal customs. People called the ritual JISINBOPKI. It was a type of NONGAK in which musicals and dramatic factors made a harmony. Usually its lyrics were called 'SUNGJUPURI'or 'JISINBOPKI' song. At that moment, villagers, thumping on the ground with their feet, danced 'DUTBEKI' to awake the sleeping ghost SUNGJUJISIN. After this ritual, the music band started to visit people's house after house around the town playing PUNGMUL NOLI which consisted of SOGO NORUM, JAPSACK NORUM. The whole proceeding of these performances did not have a definite name. Villagers prayed to SUNGJUJISIN for the prevention of bad luck in their home. This study have arranged the type of MAEGUCHIGI, which is a kind of wishing NONGAK, on the basis of two preceding primary documents. And the other is about JISINBOPKI of ULSAN district that was shown in ULSAN YUSA written by a local historian, KIM SUKBO, of ULSAN. The process of arrangement is as follows. At first, considering the implication of this NONGAK, the definite title of it was designated as ULSAN MAEGUCHIGI. And then, it was given its genre and type within NONGAK.

• (The) Research of the performance art and culture
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• no.41
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• pp.321-352
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• 2020

Donghaean Byeolsingut itself reflects the ideals and dreams of seaside life. Imagination and interest in water are fully reflected in Donghaean Byeolsingut as a living in a seaside town. For the beach people, water is the foundation of life and the object of fear. It is the water of life and the water of death. It projects the whole process of life into the imagination created by the world encompassed by the sea. The beach's imagination is an existential insight into the whole process of life and a reflection of existential agony. At Poongeoje, the villagers hope for a specific blessing from God. People are free only when God's retribution comes down. The villagers feel free because of the virtue of the shaman's blessing. Individual trauma is experienced to a certain extent by gaining mental freedom. It can be said that the state of aesthetic pleasure experienced by creating an art work by itself and the nature of aesthetic pleasure experienced through Pungeoje and Byeolsingut are not different. The prototype of Poongeoje is a free spirit, and a religious aesthetic to strengthen the free spirit is the core of the aesthetic.

• (The) Research of the performance art and culture
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• no.41
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• pp.187-218
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• 2020

Ulsan Dutbeki is a local dance handed down by the Ulsan people through custom. This study was discussed on the locality of Ulsan Dutbeki. The method of this study is as follows. First of all, the perception of Dutbeki from the perspective of Ulsan's local characteristic. First, Ulsan Dutbeki is based on the local characteristic of the southeastern coastal area of the Korean peninsula. Second, Dutbeki features local characteristics of Ulsan as a military cultural area. Third, in Dutbeki, there is a local culture of Ulsan which was originated from the village Dongjeol and outdoor performances. Next, the researcher perceived Ulsan Dutbeki which had been handed down through custom and approached its shape. The origins of the shape are, firstly, the speech tone and gestures of Ulsan people. Secondly, folk plays related to worshiping martial arts and military training. Thirdly, the characteristics of the Dutbeki dance in coastal areas of Gyeongsangdo. Fourth, local custom displayed at the village festival of Ulsan. Ulsan is a region of Gyeongsang culture area and has similarity with other localities. However, this study limited its comparisons with regard to Dutbeki that were originated from the local characteristics of other regions. The results of this study recognized Ulsan Dutbeki as a local dance in Ulsan area. In other words, this study perceived Dutbeki, which had been an entertaining component of traditional lifestyle, as an intangible cultural heritage and studied the form in every conceivable way from an artistic point of view.

• Journal of the Korean Society of Food Science and Nutrition
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• v.38 no.12
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• pp.1794-1800
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• 2009

This research was performed to acquire dietitians' attitudes toward events marketing at school foodservice operations in the Busan area. A total of 359 questionnaires were distributed to dietitians employed at school foodservice operations in Busan from July 1 to 31, 2006 (response rate: 93%). All dietitians assessed the importance and performance of event marketing at 3.39/5.00 and 2.78/5.00. The elementary and high school had significantly (p<0.01) higher average scores of performance of event marketing than those of the middle school. The contract managed foodservices had significantly (p<0.01) higher average scores of performance of event marketing than those of the independent managed foodservices. In the Importance-Performance Analysis (IPA), high importance and high performance (B area: doing great) were seasonal event, traditional festival day event, subdivisions of the seasonal event, environment event, school event, the day event and high importance whereas low performance (A area: focus here) was health event. Event marketing increased customer satisfaction and confidence. Therefore, these results suggest that there may be a need to implement special events at school foodservice in order to increase students' satisfaction.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.2
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• pp.39-49
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• 2021

This study was conducted to establish practical goals for the viewing environment and interpretation and delivery system of cultural heritage and to create an viewing environment according to the classification of cultural heritage types, and the conclusions reached are as follows. First, five goals were set based on the international basic principles of the cultural heritage viewing environment and interpretation and delivery system. Second, based on the set goals, cultural heritage was classified into the first type 'disappeared and hidden heritage', the second type 'stuffed memory heritage', and the third type 'living memory heritage'. Third, the directions for creating the viewing environment for each type of cultural heritage were suggested. The first type has to be able to properly convey cultural heritage to visitors through excavation and digital technology. The second type needs a plan to deliver tangible and intangible values by combining various digital technologies with actual cultural heritage. The third type should emphasize the role of local residents in effectively enjoying the tangible and intangible values ??that already exist. Fourth, it proposed comprehensive considerations in the establishment of the cultural heritage viewing environment and interpretation and delivery system. Based on dynamic and sustainable heritage management, cultural heritage viewing should be valuable, satisfying and enjoyable. In addition, local communities should be actively involved, and tourism and conservation activities should be able to benefit the community. Establishment of a viewing environment should protect and strengthen the authenticity of cultural heritage.

• Journal of Digital Convergence
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• v.19 no.7
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• pp.327-340
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• 2021

The purpose of this study aims to empirically verify about the impact of the customer satisfaction on the characteristics factors(presence, empathy, responsiveness, and interaction) on the customer satisfaction of 'Asia Model Festival', which was heldis an as untacted fashion and beauty performance that was successfully conducted in Seoul duringinyear 2020. and tThe regulatory effect of innovation resistance in the relationship of the characteristic factors and the customer satisfaction was also reviewed. The analysis showed that the characteristic factors have a positive effect on customer satisfaction, and the innovation resistance is found to control the relationship between interaction, empathy, and the customer satisfaction of the characteristic factors by the subfactor. By identifying the characteristic factors that affect the customer satisfaction of the un-tacted(Zzero Ccontact) visitors, which are expanding due to COVID-19, and studying the effect of controlling the innovation resistance, this study provides a basis for knowing what un-tacted(Zzero Ccontact) visitors need and what services they want to receive, and it presents practical implications and provides basic data for relevant research.

• 지역과문화
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• v.6 no.2
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• pp.1-23
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• 2019

This study identified cooperative governance status and performance and proposed policy implications for the local tourism association, which participated by a variety of stakeholders. This study is a case study and in-depth interview survey was conducted on the staff, members of the local tourism association and local government officers. As a result of the analysis, the community's desire to foster tourism and the county head's leadership influenced the establishment process. It was analyzed that the interests of participants in the local tourism association and the benefits they expected were varied. Members have been unable to participate in the operation of the association and the mutual exchanges of the members have not been active. The leadership and professionalism of the Secretariat has contributed to stabilizing the organization, and it has been shown that it needs to secure self-sustaining power through its own profit projects in the future. The Goryeong Tourism Association serves as a private local tourism promotion organization, carrying out the successful hosting of the festival and attracting tourists. In the future, however, it is necessary to strengthen cooperative networks, autonomous participation of stakeholders and cooperative coordination of interests in relation to the operation of tourism councils as collaborative governance.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• (The) Research of the performance art and culture
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• no.36
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• pp.441-471
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• 2018

East Coast Gut, Korean shamanism ritual on its east coastal area, is a Gut held in fishing villages alongside Korean east coastal area from Goseong area in Gangwon-Do to Busan area. East Coast Gut is performed in a series mainly by a successor shaman, Korean shaman, who hasn't received any spiritual power from a God, and the implications of this thesis lie in that we look over the learning aspects of Seokchool Kim shaman group among other East Coast Gut successor shaman groups after dividing it into 2 categories, successor shaman and learner shaman and based upon this, we reveal the meaning of the learning aspects of East Coast Gut. For successor shamans, home means the field of education. Since they are little, they chased Gut events performing dance in a series to accumulate onsite experiences. However, in the families of successor shamans that have passed their shaman work down from generation to generation, their descendents didn't inherit shaman work any longer, which changed the way of succession and learning of shaman work. Since 1980's, Gut has been officially acknowledged as a kind of general art embracing songs, dance and music and designated as a cultural asset of the state and each city and province, and at art universities, it was adopted as a required course for its related major, which caused new learner shamans who majored in shamanism to emerge. These learner shamans are taking systematical succession lessons on the performance skills of East Coast Byeolshin Gut at universities, East Coast Byeolshin Gut preservation community, any places where Guts are held and etc.. As changes along time, the successor shamans accepted the learner shamans to pass shaman work down and changes appeared in the notion of towners who accept the performer groups of Gut and Gut itself. Unlike the past, as Gut has been acknowledged as the origin of Korean traditional arts and as the product of compresensive learning on songs, dance and music and it was designated as a national intangible cultural asset, shaman's social status and personal pride and dignity has become very high. As shaman has become positioned as the traditional artist getting both national and international recognition unlike its past image of getting despised, at the site of Gut event or even in the relation with towners, their status and the treatment they get became far different. Even towners, along with shift in shaman groups' generation, take position to acknowledge and accept the addition of new learning elements unlike the past. Even in every town, rather than just insisting on the type or the event purpose of traditional Gut, they think over on the type of festival and the main direction of a variety of Guts with which all of towners can mingle with each other. They are trying to find new meanings in the trend of changing Gut and the adaptation of new generation to this. In our reality of Gut events getting minimalized along with rapid change of times, East Coast Gut is still very actively performed in a series until now compared to Guts in other regions. This is because following the successor shamans who have struggled to preserve the East Coast Gut, the learner shamans are actively inflowing and the series performance groups preserve the origin of Gut and try hard to use Gut as art contents. Besides, the learner shamans systematically organize what they learned on shamanism from the successor shamans and get prepared and try to hand it down to descendents in the closest possible way to preserve its origin. In the future, East Coast Gut will be succeeded by the learner shamans from the last successor shamans to inherit its tradition and develop it to adapt to the times.

• Journal of Digital Convergence
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• v.19 no.11
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• pp.575-583
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• 2021

This study aims to analyze Taekwondo trends according to news articles by year by applying topic modeling. In order to examine the Taekwondo trend through media reports, articles including news articles and Taekwondo specialized media articles were collected through Big Kinds of the Korea Press Foundation. The search period was divided into three sections: before 2000, 2001~2010, and 2011~2020. A total of 12,124 items were selected as research data. For topic analysis, pre-processing was performed, and topic analysis was performed using the LDA algorithm. In this case, python 3 was applied for all analysis. First, as a result of analyzing the topics of media articles by year, 'World' was the most common keyword before 2000. 'South and North Korea' was next common and 'Olympic' was the third commonest topic. From 2001 to 2010, 'World' was the most common topic, followed by 'Association' and 'World Taekwondo'. From 2011 to 2020, 'World', 'Demonstration', and 'Kukkiwon' was the most common topic in that order. Second, as a result of analyzing news articles before 2000 by topic modeling, topics were divided into two categories. Specifically, Topic 1 was selected as 'South-North Korea sports exchange' and Topic 2 was selected as 'Adoption of Olympic demonstration events'. Third, as a result of analyzing news articles from 2001 to 2010 by topic modeling, three topics were selected. Topic 1 was selected as 'Taekwondo Demonstration Performance and Corruption', Topic 2 was selected as 'Muju Taekwondo Park Creation', and Topic 3 was selected as 'World Taekwondo Festival'. Fourth, as a result of analyzing news articles from 2011 to 2020 by topic modeling, three topics were selected. Topic 1 was selected as 'Successful Hosting of the 2018 Pyeongchang Winter Olympics', Topic 2 was selected as 'North-South Korea Taekwondo Joint Demonstration Performance', and Topic 3 was selected as '2017 Muju World Taekwondo Championships'.