• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.329-337
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• 2019

It is true that many tales delivered in an 'Story-telling' auditorium or theater have not so much exquisite and refined forms as distorted and deteriorated ones. Furthermore, when false interpretations of tale-performers added into the category of the texts of tales, the problems can be made worse. In case of oral folk tales, there can be discordance between the standpoint of a tale-performer and the contents of a tale. This thesis is directly aimed at pointing out the 'Behavior Economics' problems concerned with the reading and interpretation of tales through investigating the missing parts of a text in reading tales. Man's rationality is meant to be confined to bounded rationality. Instead of making best choices, bounded rationality leads consumers to make a decision which they think suffices themselves to the point requiring no more consideration on the given item. It is the very Heuristic that does work in the process of this simplified decision making process. Heuristic utilizes established empirical notion and specific information, and that's why there can be cognitive 'Biases' sometimes leading to inaccurate judgment. As Oral Literature is basically based on heavy guesswork and perceptual biases of general public, it is imperative to contemplate oral literature in the framework of Heuristic of behavior economics. This thesis deals with thinking types and behavioral patterns of the general public in the perspective of heuristic by examining 'Story-tellings' on the basis of personal or public memory. In addition, heuristic involves how to deal with significant but intangible content such as the errors of oral story teller, the deviations of the story, and responses of the audience.

• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.809-814
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• 2023

Currently, there is a lack of research that directly applies and integrates science and technology in the field of dance and translates it into creative work. In this study, the researcher applied motion capture to creative dance performance 'Youth' and described the process of incorporating motion capture into scenes for the performance. The research method involved utilizing practice-based research, which derives new knowledge and meaning from creative outcomes through the analysis of phenomena and experiences generated on-site. The creative ballet performance "<Youth>" consists of a total of 4 scenes, and the motion-captured video in these scenes serves as the highlight moments. It visually represents the image of a past ballerina while embodying the meaning of a scene that is both the 'past me' and the 'dream of the present.' The use of motion capture enhances the visual representation of the scenes and plays a role in increasing the audience's immersion. The dance field needs to become familiar with collaborating with scientific and technological advancements like motion capture to digitize intangible assets. It is essential to engage in experimental endeavors and continue training for such collaborations. Furthermore, through collaboration, the ongoing research should extend the scope of movement through digitized processes, performances, and performance records. This will continually confer value and meaning to the field of dance

• Journal of the Korean Applied Science and Technology
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• v.41 no.3
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• pp.666-672
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• 2024

Shadow puppetry (皮影戏) is a traditional Chinese folk art that was inscribed in 2011 as an Intangible Cultural Heritage of Humanity by UNESCO. This study focuses on analyzing the character sculptures, colors, and patterns recorded in professional books from Shanxi Province in northern China. The findings indicate that Shanxi shadow puppetry can be categorized into two types. The 'Xiaoyi' in northern Shanxi mainly features characters from the story of 'The Investiture of the Gods' (封神演义) and is characterized by the use of both intaglio and relief carving, dark colors, and a paper screen background. The 'Houma' shadow puppetry in southern Shanxi is influenced by the traditional Shanxi opera 'Jinju' (晋剧) and features four roles: Sheng (生), Dan (旦), Jing (净), and Chou (丑), using a mesh screen background. Shadow puppetry represents costumes, beliefs, lifestyles, social status, social systems, and Confucian culture from the Song, Ming, and Qing dynasties, utilizing both intaglio and relief elements, and traditional five-element colors(五行色). This study aims to understand the characteristics of the modeling art in Shanxi shadow puppetry, and to maintain the traditional craft features while adding innovative elements from animation and film, thereby promoting and preserving the traditional values of shadow puppetry culture for children and youth.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.110-139
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• 2020

Reclamation is the act of creating new lands by constructing dikes in offshore tidal flats to utilize them for various purposes, including the establishment of farmland to secure food for an increasing population. Based on the fact that reclamation has resulted in drastic changes in the environmental, economic, social, and cultural aspects of land expansion and development, population movement, and the formation of cities since ancient times, I reviewed the value of reclamation sites and addressed the issue of how to preserve and utilize them. "Reclamation culture" refers collectively to the recognition and concept system, behavior styles, and cultural products created by changes in the environment, and the tangible, intangible, and natural heritage generated directly and indirectly by reclamation is defined as "reclamation cultural heritage". It shows that the historical background of reclamation accords with prevailing trends, and that the reclamation sites possess cultural heritage value due to their historical, academic, and scarce characteristics. Numerous reclamation cultural heritage sites at the Gwangwhal and Gyehwa dikes are on the verge of being destroyed, with their original function having ended after the construction of Saemangeum Sea Wall. I propose measures to preserve these under the principle that utilization is based on the basic premise of conservation. First of all, modern and contemporary reclamation sites must necessarily be designated and managed as registered cultural properties, local cultural heritage, future heritage, and agricultural heritage. In particular, as it has been confirmed that reclamation sites created after the Goryeo and Joseon dynasties and the 1950s have not been designated as cultural heritage sites. It is necessary to review the characteristics and values of such reclamation sites through a full survey of national reclamation data. Effective and sustainable utilization of reclamation cultural heritage, which has not been acknowledged in the past due to its close relationship with our lives, is necessary to search for hidden stories found within that heritage, to organize governance for the efficient use of reclamation resources, and to build a museum to collect and display the history and culture of the reclaimed areas. Finally, through links with countries with experience in reclamation, we will be able to cope jointly with international issues such as those pertaining to society, culture, and environment, and would be able to implement various projects to further the advancement of human beings.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.22-43
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• 2016

State Ownership of Excavated Cultural Heritage System was originated from the legislations concerning cultural objects during the Japanese colonial period (1910~1945) and was succeeded by the present Buried Cultural Properties Act enacted in 2011. Despite the importance of the system that completes the outcomes of excavations and determines the state-owned cultural properties, the foundation of national heritage, it has been limitedly regarded as administrative area and neglected by the academic scholars or policy researchers. Recently the traditional culture has drawn increasing domestic interest and awareness that the cultural heritage contributes to building cultural identity and vitalizing tourism has led to increasing the demand of a local government's role in management of the state-designated cultural heritage and even fighting for hegemony in securing the cultural objects between the central and local governments. Despite the continuing efforts for improving the selection process of cultural heritage and its management institution, establishment of an advanced objective system has been requested. This paper is intended to suggest the policy direction through demonstrating the problem and assignment caused in the process of implementing the Buried Cultural Properties Act and reviews the State Ownership of Excavated Cultural Heritage System from the legal point of view accordingly. First, I suggest improving the selection process of the state-owned cultural properties. Even though current law states that Administrator of Cultural Heritage Administration reviews the research reports and selects the possible candidates for the state-owned cultural properties almost all the cultural objects listed on the reports are practically selected. In this regard, two possible resolutions can be made; newly establishing a separate process for selecting the state-owned cultural properties after publishing the report or adding the selection process of the state-owned cultural properties during the heritage selection meeting. Either way should contribute to strengthening the impartiality and objectivity of the policy. My second suggestion is improving the operating system of the heritage selection meeting in which the cultural properties to be listed on the reports are determined. Given the present extensive assessment criteria, there is much room for certain experts' subjective opinions. Therefore, in order to enhance the fairness and credibility of the heritage selection meeting, specifying the assessment criteria and advance review of the expert list are necessary. Third, this paper suggests increasing the local government's role in management of the state-owned cultural heritage and diversifying the heritage management institution. Development of a local self-governing system has led to the increased demand for delegating the authority of the state-owned heritage management to the local governments. Along with this, the gradual improvements of public museum management raises the need for expanding the cultural benefits through increasing the local government's role in management of the state-owned heritage. Considering the fact that overall majority of the art collections housed at national or public museums is owned by the central government, developing a variety of heritage contents and vitalizing the heritage tourism are crucial. The true meaning and value of the state-owned cultural heritage hidden at the storage of a museum can be found when they are shared together with the public.

• (The) Research of the performance art and culture
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• no.40
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• pp.193-222
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• 2020

In this study, the development of traditional contents is to be enabled to succeed the values of the heritage on the song sang during dry-field farming of Bongpyeong Memil-dorikkaejil-sori. In addition, the identity on the heritage of songs sang during farming were diagnosed, and their value in context with the history and the value as the community for succession are emphasized as the value of cultural asset to expand the discussion up to the level of traditional cultural industry works. In the Bongpyeong Memil-dorikkaejil-sori, the intrinsic artistic value, the excellence of value as the educational experience, factor for overcoming the extinction of farming songs, and the promotion direction of the storytelling on buckwheat were provided. This is breaking from the formalization and being old-fashioned on the Bongpyeong Memil-dorikkaejil-sori to focus on the symbolization of the agricultural heritage in the modern context, habituating and spreading the gene of slash-and-burn field (hwajeon or budaeki). In terms of methodology on awareness, historicity or creativity, alternative method on the folk songs in labor was provided by having critical mind on the Bongpyeong Memil-dorikkaejil-sori and buckwheat songs. By reviewing the field contextualization of designating the intangible cultural asset, suggestions were made on activating the succession, and even the method of symbolic registration on the heritage of buckwheat farming was mentioned. Heritage on agricultural culture that can represent Pyeongchang and Gangwon must be discovered to be made into a brand. In addition, the uniqueness in the Madang 'Song Madaengi Traditional Music' must be found to apply as the brand on the point in which the people around the world can have consensus for utilization. As the farming song, rediscovery of the Bongpyeong Memil-dorikkaejil-sori is required to create the sustainable status as the multi-purpose cultural contents and provide the network of professionals for activating the folk songs to enable the opportunity of qualitative substantiality and spread instead of quantitative growth. In addition, festivals for each region, especially the festival for Pyeongchang area must be utilized centrally on the development of farming songs to organize the storytelling actively.

• Journal of Distribution Science
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• v.13 no.2
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• pp.55-62
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• 2015

Purpose - This study aims to investigate the success factors pertaining to K-POPs from an analysis of the internal business environment. Much research has investigated Korean Moves or how to popularize them. The research mainly focused on aspects of Korean Moves. However, few studies have attempted to examine Korean Moves or K-POPs from a managerial viewpoint. The current research tries to investigate the success factors of K-POP from strategic perspectives, specifically utilizing internal resource based view perspectives. It differentiates itself by looking at the competitiveness of K-POP from the internal resources. Research design, data, and methodology - In the entertainment industry, where creativity is heavily stressed, competitiveness is often regarded within the organization as a form of intangible asset, knowledge, or technology that is often related with the organization's personnel. Some research has tried to reveal the competitiveness of K-POP using Porter's competitiveness of nations framework. Others utilize the adapted model of Porter's structure. However, these models only look at the outside environment, and not inside a firm's resource, knowledge, or capabilities. This research utilizes the VRIO model to examine the internal resources and capabilities of K-POP producers. The model measures whether a firm's internal resources and capabilities are valuable, rare, difficult to imitate by competitors, or organizable. The research covered businesses whose yearly revenue exceeds $10 Million in music planning and recording in South Korea. There were only thirteen such companies (one percent of the total population). Of these, companies for whom 20 percent or more of the sales revenue comes from the abroad are targeted. Only seven are selected and these participated in the research. In order to find a firm's internal resources, we conducted qualitative research methodology. Their business names and persons who participated in this research are not revealed due to case sensitive issues. Instead, we use unrelated initials for their names and their statements. Results - From the in-depth interview with top-tier K-POP producers and managers, the current research tried to identify resources and capabilities that helped to strengthen their competitiveness. These resources and capabilities are sought from the scope of the VRIO model, which looks at the internal resources and capabilities from the scope of value, rarity, imitability, and organization. Interviews with the top tier producers and managers reveal the internal success factors of K-POPs. We conclude that these resources and capabilities are from internally accumulated producing know-how, unique managing (training) system, and outstanding all-round entertainment capabilities of the performers. Conclusions - These results indicate that the core resources and capabilities of K-POP are robust. It will take a significant amount of time and money to imitate for followers, because these resources and capabilities are the result of time investment and are embedded into producers' and performers' know-how. Taking Luo (2000)'s argument, K-POP is in the second stage of the globalization process, which is configuring and allocation resource capabilities to a global scope.

• Archives of design research
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• v.14 no.3
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• pp.177-186
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• 2001

Modern times is called the age of image. It means that our society's importance is transferring from the commodity-centered industrial society to intangible culture-oriented society Therefore, it is becoming very important that what kind of image, concept and psychological factor act upon the space, things, incident and time (event) which is constituted around our environment. As regards this standpoint, from the early period, that advanced countries have been taking advantage of the national symbol image very positive way and function for domestic things and place and event and so on which make a standout for the nation's positive image and taken an effort for promoting a pride of their fellow countrymen through this. This study approaches the basic images of national symbol which includes the country's name, national anthem, national flag through the design principle which could express some certain above level of pattern and composition. I suggested various applicative motif based on basic expressions of each individual image and the applied sample goods of this idea, and through the introduction of the process of image development, and I tried to offer a moment of more prosperity and development at a later time. This is for encouraging fellow citizens to use national symbol in the free and positive way which make them to increase a national pride, and give a familiar image in the citizens'daily life. I intended to offer basic materials for promoting ourselves whenever we need it. And also by the offering information on our nation for foreigners which make them to have a favorable impression of our nation. I tried to promote a positive national image.