• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.289-312
• /
• 2018

Pansori has been passed down over several generations and over time have undergone continued change in accordance with the times, as well as the skills and ability of the singer. Policies regarding intangible cultural treasures were established to preserve and promote the continuing tradition of art forms including Pansori and thus must spare no effort in supporting and preserving the genre. As such, for proper implementation of the newly legislated law, it is necessary to review the agents who pass down the tradition of Pansori and whether there are any areas that need to be changed in terms of our perception of culture in general. Pansory in the $21^{st}$ century features both contemporary aspects and mass appeal and have undergone many changes in how it is enjoyed. It is our responsibility therefore, to establish how the art and universality of Pansori should be promoted. From this perspective, this study reviewed the evolution of law on intangible cultural treasures, the current status of intangible cultural treasures being passed down with a focus on national treasures and those of Jeonbuk Province to shed light on issues. Diversification is needed in the number of those who carry this intangible cultural treasure, as well as the number of categories. To that end, a survey index or practical ability index must be taken into account for the application and designation of intangible cultural treasures. The study also noted issues of the categories for designation as intangible cultural treasures and discussed directions for improvement. In the case of Pansori, suggestions for improvement were presented for the designation of skilled artists by school, regular surveys and regular application, increased role of artists for increased mass appeal, survey of regional singers, supervision and monitoring of skilled artists and establishment of a manual for the education on how to pass down the art form. In doing so, efforts should be made to make the passing down of Pansori more active and related education more systematic. Since we are in the early years of the law on intangible cultural treasures being implemented, areas of improvement will continue to be identified. It is however certain that the proper support for the art form to be handed down should be done in a way where law and culture are complementary given that Pansori is not just a Korean tradition, but a tradition of mankind.

• Korean Journal of Labor Studies
• /
• v.24 no.2
• /
• pp.95-136
• /
• 2018

As the number of precariats grows, their poor labor rights and working conditions are becoming issues of major concern all over the world but how to represent their interests is still controversial. Basically, the union is the institutional mechanism for representing the labor rights. However, it is difficult for workplaceand enterprise-based unions to fully represent the labor rights of precarious workers. Recently, so-called community unions have emerged in the United States, the United Kingdom, and Japan as independent organizations representing the rights of non-standard workers. Community unions refer to labor unions which organize precarious workers across firms at the regional level. They are known to be suitable for covering the unemployed, job seekers, indirect employment workers, short-term contract workers, and small-firm workers. In South Korea, since the financial crisis in 1997, a dramatic increase in the number of precariats leads to emergence of new types of trade unions such as the Youth Community Union, the Arbeit Workers' Union, the Artist Social Union and the Korea Musician's Union. They have engaged in various activities to guarantee the labor rights of precariats. Recently, researchers have also tried to identify defining characteristics of these new forms of unionism. To expand research on trade unionism in South Korea, this study compares two different types of community unions: the Youth Community Union and the Arbeit Workers' Union. We believe that this attempt can contribute to the research on the alternative labor movement. For this purpose, this study starts with theoretical discussions on community unions, and compares the Youth Community Union with the Arbeit Workers' Union based on the five characteristics of community unionism: membership and organization structure, the recognition struggle, the type or scope of interest, solidarity with other civic organizations, and the repertoire of resistance strategies. Based on this comparative analysis, this study seeks to foresee the possibility of how community unionism will develop in South Korean in the future.

• (The) Research of the performance art and culture
• /
• no.20
• /
• pp.163-204
• /
• 2010

"Nectar of Immortality", also known as Suryukwha, is a painting which is hung on the wall during Suryukjae, a rite to console the spirits residing on both land and water. The Suryukwha at Bonyung Temple in the Ming Dynasty consisted of 139 scrolls depicting separate scenes. In Korea, however, Nectar of Immortality combines all the scenes into one large painting. The lower part of Nectar of Immortality describes pain, disasters, and the frailty of human life in this world. This is intended to inspire people to embrace Buddhism and be delivered from their worldly existence. However, it reflects the social realities of that time as well. The scenes at the bottom of the painting of nomadic troupes of entertainers and their performances are part of this reflection. In this section, various scenes of traditional Korean performance are illustrated, such as double and single tightrope walking, Sotdaetagi (performing atop a pole), Ssangjulbaegi (one form of Sotdaetagi), tumbling, bell juggling, mask dramas, dish spinning, puppet shows, the dance of Sadang, and sword dancing. Among these performances, some, such as Sotdaetagi, Ssangjulbaegi, double tightrope walking, bell juggling and sword dancing (Punggakjaengipae), have since ceased to exist. The troupes of entertainers depicted in Nectar of Immortality are Sadangpae, Namsadangpae, Sotdaejaengipae, Choranipae, Punggakjaenipae, Gutjungpae, and circus troupes. When, after itinerant lives, these entertainers die, they become forlorn wandering spirits with no descendants to perform their memorial services. The entertainers in the performance scenes are the embodiment of souls who are the subjects of salvation through Suryukjae. Among these entertainers, Sotdaejaengipae, Sadangpae, Choranipae, Punggakjaenipae and Gutjungpae no longer exist. In sum, Nectar of Immortality provides insight into the vanished content of numerous historic forms of performance and the activities of nomadic troupes of entertainers.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.187-221
• /
• 2018

The style of performance to contemporary nongak is not fixed in a specific period of time, but in conjunction with the total change in society that has occurred during its long time from traditional society to the modern times. It is important to recognize that the traditional performance art forms that we see and feel today, including nongak, are constantly interacting with the times and are a change in the design that has been shaped in the past. Now, we must get rid of the negative idea that there is some fixed prototype in Nongak. Also, the value and the need for preservation of current Nongak should not be evaluated according to the ' pure genealogy of village descent, ' which was possible only in villages with small population movements long ago. If can get rid of the stereotypes, can greatly expand the view that we read the values of a certain Nongak. Looking away from a few of these traditional fixed perceptions can significantly broaden the view of reading the winning values of some farmers ' songs. In this regard, this report determined the performing style and nature of Changwon's Toichon-noangak through a structural analysis of the Toichon-noangak in contemporary, and discussed the significance of the transmittion of Toichon-noangak. Changwon Toichon Nongak started out as an even-present ritual performance based on the religious nature of the village community and actively exchanged with the economic, social and cultural foundations of the Republic of Korea, which began to accumulate in the modern changes. Generally, the performance style of village Nongak has a combination of characteristics according to the ritual, Dure(collective labor), entertainment, and these three functions. Toichon Nongak is also a village Nongak style and in which of ritual nongak and village entertainment nongak are connected in parallel as one in the big total structure. The origin, background, purpose, and style of towing of Toichon noangak demonstrates that the Toichon noangak is originally ceremonial noangak derived from a prayer style of Dongje. Then, various factors influences are interacting with Toichon noangak within the orbit of modern society, such a style of playing, popular nongak, is believed to have undergone an extended change. Overall, Toichon nongak performance style can be called nongak, which maintains traditional customs and it also has the changed characteristics according to the times of village society.

• Cross-Cultural Studies
• /
• v.52
• /
• pp.133-164
• /
• 2018

This purpose of this paper is to focus on anti-Japanese literature and pro-Japanese literature skills among Korean literary history written in Japan, and to observe the differences between Korean and Japanese perception surrounding anti-Japanese and pro-Japanese literature. Analyzed texts are "Taste Korean Literature" by Saegusa Dosikatsu and "The Footsteps of Modern Literature of Chosun" by Shirakawa Yutaka, the earnest modern Korean literary historians written from the perspective of Japanese writers, and though there's no overall written history of literature, they were seen through with the perspective of Omura Masuo, at the forefront of Japanese researchers in modern and contemporary Korean literature. The main results of the review are as follow: First, In Korean literary history by Japan, the frame "pro-Japanese literature" is clearly embedded. It is clearly distinctive from the aspect of China or North Korea, and though it follows the narration system of South Korean literature, it also forms the breaking (turning) point of anti-Japanese and pro-Japanese literature relative to anti-Japanese and pro-Japanese literature. Second, even if it follows the narration system of South Korean literature, that question was constantly raised on existing Korean academic evaluation of anti-Japanese and pro-Japanese literature, and different interpretations of reading were practiced. For example, Korean academic circles highly regard literature of writers such as Kim, Jong han or Lee, Seok hoon, while Korean academics do not place much importance on Lee, Gwang Soo's pro-Japanese elements that are important. The third point is that generous marks are credited to writers with outstanding Japanese or to Japanese creative writing. As a result, they dissolve internal logic in different pro-Japanese collaborators such as Chang, Hyuk Ju, Kim, Sa Ryang, Lee, Seok hoon, or Kim, Yong Jae by melting the same "Japanese literature" in a cage. The last point is reading different inner thoughts of Kim, Jong-han or Lee, Seok-hoon unlike outspoken pro-Japanese collaborators such as Lee, Gwang soo, Jang, Hyuk Joo or Kim, Yong je. These points require more in-depth analysis, and will be continued in follow-up tasks.

• Korean Journal of Heritage: History & Science
• /
• v.43 no.3
• /
• pp.334-365
• /
• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Korean Journal of Heritage: History & Science
• /
• v.44 no.2
• /
• pp.4-25
• /
• 2011

This study was performed in 2010 to examine the flora and vegetation structure and chemical characteristics of soil in the growing community of Abeliophyllum distichum, located in the Byeonsanbando National Park. This Abeliophyllum distichum community has more individual numbers in Cheongrim-ni and Jungkye-ri, Byeonsan-myeon, and Buan-gun area, which is designated as a Natural Monument (No. 370), and also where the habitat conditions for Abeliophyllum distichum is more favorable. The authors recorded 100 taxa with 45 families, 82 genus, 93 species, 4 varieties, and 3 forms. Among them, species such as Abeliophyllum distichum (critically endangered), Asarum maculatum (near threatened) and Chionanthus retusa (near threatened), which are categorized as rare plants, were recorded. According to the list of Korean endemic plants, 4 taxa, particularly Philadelphus schrenckii, Abeliophyllum distichum, Weigela subsessilis, and Lonicera subsessili, were recorded. The community of Abeliophyllum distichum is located in the northwest slope of Baekcheon watershed and the community is comprised of healthy soil. The community structure was classified into three: the Castanea crenata community, Zelkova serrata community, and Quercus serrata community. The Castanea crenata community is composed of the Cornus walteri, Platycarya strobilacea, Zelkova serrata, Rhamnella frangulioides, arranged in terms of importance percentage. The Zelkova serrata community is composed of Celtis sinensis, Quercus aliena, Styrax japonica, and Acer pseudo-sieboldianum, also according to importance percentage. As for the Quercus serrata community, it is composed of Quercus variabilis, Castanea crenata, and Prunus sargentii, also arranged in terms of importance percentage. The importance percentage of Abeliophyllum distichum is 6.6% in the Castanea crenata community, 5.6% in the Zelkova serrata community and 5.1% in the Quercus serrata community. Moreover, in order of chemical characteristics of soil pH, electrical conductivity, available phosphoric, organic matter, and exchangeable cation (K, Ca, Mg) are analyzed. The No. 3 site was relatively higher than other districts of the same chemical characteristics of soil.

• Korean Journal of Heritage: History & Science
• /
• v.44 no.1
• /
• pp.52-71
• /
• 2011

This study was initiated with the intent to consider the features of Gugokwonlim and to compare Gabsagugok(甲寺九曲) to Yongsangugok(龍山九曲) against the backdrop of Mt. Gyeryong by revealing their nature and confirming the names and exact locations. A literature review, interviews with local people and field studies confirmed that Gabsagugok and Yongsangugok are each composed of 9 seasonal features. The former is made up of Yongyuso(龍遊沼) - Iilcheon(二一川) - Baengnyonggang(白龍岡) - Dalmuntaek(達門澤) - Geumgyeam(金鷄?) - Myeongwoldam(明月潭) - Gyemyeongam(鷄鳴巖) - Yongmunpok(龍門瀑) - Sujeongbong(水晶峰) while the latter is made up of Simyongmun(尋龍門) - Eunnyongdam(隱龍潭) - Waryonggang(臥龍剛) - Yuryongdae(遊龍臺) - Hwangnyongam(黃龍岩) - Hyeollyongso(見龍沼) - Ullyongtaek(雲龍澤) - Biryongchu(飛龍湫) - Sillyongyeon(神龍淵). Both Gabsagugok and Yongsangugok are part of Gugokwonlim built in the valleys of Mt. Gyeryong in the late Joseon Dynasty by Byeoksu Yun Deok-yeong (1927) and Chwieum Gwon Jun-myeon (1932), respectively, with a 5 year difference. Gabsagugok was supposedly designed to reflect an individual taste for the arts and to admire principles of Juyeok (ch. Zhouyi) and the beauty of nature. On the contrary, Yongsangugok appears to be the builder's expression of his longing for independence day, likened to the life of a dragon after receiving the sad news of Japan's annexation of Korea. Such differences show that these two builders had very different intentions from one another. The letters of Gabsagugok have a semi cursive style and were deeply engraved on the rock in a square shape. Consequently they have not been worn away except for those in Yongyuso, the first Gok. In contrast, the letters in Yongsangugok have an antiquated, cursive-Yija style but because they were engraved relatively lightly, serious wear and damage occurred. In terms of location, Gabsagugok was built around Ganseongjang adjacent to the 5th Gok while Yongsangugok was set up around the 5th Gok, Hwangnyongam. Meanwhile, the important motif which forms the background of Gabsagugok seemingly highlights the geographic identity of Mt. Gyeryong using the dragon and the chicken as themes. It also appears to symbolize the principles of Juyeok focusing on Kan of the Eight Trigrams for divination; this requires an in-depth study for confirmation. The main motif and theme of Yongsangugok is the dragon. It infuses the builder's intentions in Sangsinri Valley by communicating with nature through a story of a dragon's life from birth to ascension. It is assumed that he tried to use this story to express his hope for restoring the national spirit and reconstructing the country.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.3
• /
• pp.94-113
• /
• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.

• Korean Journal of Heritage: History & Science
• /
• v.43 no.1
• /
• pp.190-211
• /
• 2010

The purpose of this paper is to provide the preliminary data for maintenance of old trees of natural monuments and establishing protection projects. Accordingly, growth conditions, location circumstances, environment and protection management were analyzed for old trees at 34 sites in Gyeongsangbuk-do. Tree forms, crown, trunk and trees' health, leaves volume were analyzed in survey sites. As the results, the growth of Picrasma quassioides in Songsadong, Andong-si and Catalpa ovata in Hongwon-ri, Cheongsong-gun were not in good condition, along with other old trees of 6 cities (Quercus variabilis in Susan-ri, Uljin-gun, Juniperus chinensis in Hujeong-ri, Uljin-gun, Pyrus ussuriensis in Ssangjeon-ri, Uljin-gun, Salix glandulosa var. pilosa in Deokchon-ri, Cheongdo-gun, Pinus densiflora for. multicaulis in Hwasan-ri, Mungyeong-si, Pinus densiflora in Daeha-ri, Mungyeong-si). Accoding to these results, protection project and consistent monitoring are necessary. The analysis results of growth conditions per location circumstances showed that the old trees in the small spaces with large traffic of people were in bad condition. Therefore, it is necessary to secure sufficient space and soil improvement for such trees. The analysis results of growth conditions per species showed that Zelkova serrata, Quercus spp., Pinus densiflora are in good condition while Salix koreensis and others, i.e. a singular tree, are in poor condition. Thus, relatively smaller individuals and separately situated trees need careful management in their protection. The analysis results of trunk's growth ratio showed that Pinus densiflora, Ginkgo biloba, Zelkova serrata are in good condition whereas Juniperus chinensis, Quercus variabilis, Salix koreensis are not. It is a recent trend that tree surgeries are gradually decreasing; there are a number of damaged trees with no maintenance/management, and several sites requiring mend trunks management and cabling, bracing in protection and management projects. Hence, in the future, local government and management organizations should plan for systematic management and establish a protection plan for the natural monument trees. Also, 12 sites were found to be in need to purchase lands in order to secure the growth spaces, and since most of these areas are available for purchase, it is needed to promote a budget and purchase those areas through persuasion of the owner. These areas seems crucial in order to maximize the effect of conservation efforts and budgets for the preservation and restoration of the old trees.