• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.5-25
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• 2008

Seoul's community beliefs originated from the ritual performed by the shrines affiliated to each government office in the Joseon Dynasty. Lower branches of government officials were assigned to perform these rituals. Generally, these shrines were called Bugundang(府君堂). Records show that Bugundang(府君堂) was generally one to three units and enshrined the portrait of Bugun(府君), the worshipped, inside. According to historical records, the worshipped were mostly General Choi Young(崔瑩將軍) or Madame Song(宋氏夫人). In fact, however, each Bugundang(府君堂) worshipped different persons. Some of the worshipped were historical characters from the Goryeo Dynasty or the founding period of Joseon Dynasty, Guan Yu(關羽) and Zhuge Liang(諸葛孔明) that became gods after the Japanese Invasion of 1952, Wanggun(王建), Dangun(檀君), General Nam Yi(南怡將軍), Kim Yoo Shin(金庾信), Lim Gyeong Up (林慶業), King Gongmin(恭愍王), King Taejo(Lee Sung Gye, 太祖 李成桂), Joban(趙?) who is one of the supporters of the foundation of Joseon Dynasty, Sir Hong(洪氏大監) and his women who appear in the legend of Nanhansanseong(南漢山城) area, and many other historical figures. It is difficult to compare the rituals of these shrines from community Gut(Shaman ritual) performances of Seoul. According to historical records, Gut and ceremony coexisted in rituals. As time passed, these rituals spread as the community Beliefs of commoners and have been transmitted in the context of Seoul's cultural change. This study examined the existence of affiliated shrines of local government offices in the Joseon Dynasty and discussed the cases of Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟), Bangsan-dong Seongje Shrine(方山洞 聖帝廟), and Seobinggo Bugundang(西氷庫 府君堂) to trace the succession of rituals at these shrines as folk customs of commoners. Bangsan-dong Seongje Shrine(方山洞 聖帝廟) spread to the public as Gwanwoo(關羽), who was considered the god of soldiers, transformed into the god of merchants along with historical transition. It clearly shows the process as to how merchants from a certain region developed a community religion. Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟) is Bugundang(府君堂) of the soldiers of Nampyoug(南營). As the ritual was succeeded by a ritual group called Yeoungsinsa(永信社), composed of nearby residents, it was naturally spread and succeeded by the residents in local community. Seobinggo Bugundang(西氷庫 府君堂) was related to the changes in the historical background of ice gathering in the late Joseon Dynasty.

• (The) Research of the performance art and culture
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• no.38
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• pp.33-69
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• 2019

In this article, I would like to pay attention to the changesofShaman's play as a part of examining the process of changeofDonghaeanbyeolsingut. Currently, Shaman's play can be seeninBaekseok2-ri, Byeonggok-myeon, Yeongdeok-gun, Gugye-ri, Namjeong-myeon and Yeongdeok-gun. Among them, ShamanRitual of Baekseok2-ri is short in cycle and easy to see change. InShaman Ritual of Baekseok2-ri, various Shaman's plays suchasJungdodukjabi(중도둑잡이), Wonnimnori(원님놀이), Talgut(탈굿), Mallori(말놀이), Hotalgut(호탈굿) and Georigut(거리굿) areperformed. Shaman's play carried out in Donghaeanbyeolsingut changesevery time it is carried out. Depending on the degree of change, itcan be classified into passive change and positive change. Whilepassive changes are improvisational, aggressive changes areintentional. Shaman's plays are jungdodukjabi, Mallori, Hotalgut, which are the improvisational changes, and the intentional changesare Wonnimnori, Talgut, Georigut. The biggest change in Shaman's play is the disappearance of the Shaman Ritual. The Shaman Ritual is suspended due to lackofpeople, financial difficulties, religious conflicts or rational accidents. Secondly, the period of separation is shortened or shortened. Thiscauses Shaman's play to be dropped or shrunk to change. InShaman Ritual, changes in Shaman's play are variable andcreative. The change due to the intervention of the spectatorsismainly improvisation. On the other hand, the change bythepreliminary plan of the acquaintance is intentional, and the changeis large. The changing factors of Shaman's play are influenced bythedemands of the times and the recognition of the tradition group. Changes in the traditional environment can be attributed to lackofhuman resources, individualism, changes in the workingenvironment and time constraints. At the same time, givingautonomy to traffickers is a major reason for Shaman's playtochange.

• Journal of Korean Historical Folklife
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• no.57
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• pp.197-228
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• 2019

This study was conducted under the judgement that there was a need to make several mentions by reference to studies about the spatial composition of the traditional village. The judgement was not about the dimension that there was a problem about the spatial composition of the existing village but that it would be effective to make a fresh reorganization of it in a little more detail. As a result, this study presented seven spaces in the spatial composition of the traditional village. It attempted to analyze it by dividing it into four spaces such as ① natural space, ② residential space and work space, ③ moving space and boundary space and ④ play space and ritual space to fit its basic nature. First of all, it made a pictorial presentation of the basic form of the spatial composition of the traditional farming village in the late Joseon Dynasty which was most general and whose form has been handed down up to the present. And it described the composition of each space accordingly. It was not intended for a specific village. So it presented the historical change, the behavior of the members surrounding the village and a difference according to the nature of the village, which were judged to be very important in explaining the items of the composition of each space. As a result, it was found that the spatial composition of the traditiona Korean village well embodied the framework of their life in terms of their view of nature, lifestyle and worldview. The view of nature acted on the spatial composition of the village as a whole and is well reflected in the natural space in particular. Their lifestyle is reflected in the residential space, farming space, moving space and play space, and their worldview is spcifically mirrored in the boundary space and ritual space. In particular, this study focused on how to take a look at the element of Feng-Shui in discussing the spatial composition of the village.

• Journal of the Korean Society of Costume
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• v.19
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• 한국노년학
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• v.36 no.3
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• pp.765-783
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• 2016

This study examines 2014 National Survey on Older Koreans (10,279 persons aged 65 or above) to understand social networks among older Koreans. In order to classify the types of social relationships, the latent profile analysis is conducted based on such structural aspects of social networks as network size, frequencies of contact, and closeness. The results show that older Koreans can be categorized into 5 distinct social network types: disengaged (11.6%), ritual-family-focused (17.7%), close-family-focused (23.6%), close-restricted (28,4%), and diverse (18.8%). Characteristics by each social network type are compared and multinominal logistic regression analyses are applied to figure out the influencing factors of social network type. Older persons with disengaged social network ties tend to be overwhelmingly female, living alone, old-old, and of low socioeconomic status. On the other hand, older persons with diverse social network ties tend to be young-old and had highly-ranked jobs in their mid-life. Spouse/children are the focal point of social relationships in both ritual-family-focused and close-restricted social network. However, the proportion of men is higher in the close-family-focused type than in the ritual-family-focused. Older Koreans with close-restricted social network ties tend to be female, uneducated, and have engaged in agricultural and allied activities. This study discusses the implications of its findings and how research in this area should develop in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.6
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• pp.935-946
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• 2008

Religion is the symbolic form and action, linking the ultimate condition of life with human beings. Religious idea grasps the world through symbols and gives birth to the action through symbols. This research put its purpose in elucidating the effect of religion on the costume and its mechanism. It's focus is centered on Buddhism, Hinduism, and Islam which are among the world high religions. Part of this research also examines the mechanism in which several composing factors are expressed with rituals and manifested with costumes, this process was diagrammatized and suggested. The composing factors of religion such as belief system, experiences, community, and rituals are closely related. Ritual especially, is the symbolic action, practice, and the way of rescue, expressing religious meaning. Religious rituals such as imitative rituals, positive or negative rituals, sacrificial ritual, and rites of passage have been expressed with religious music or figurative art such as costume, construction, and art as well as religious ritual like ancestral rites. Religion has had a great effect on the overall culture including costume as a belief system by lightening the meaning of life and suggesting the solutions to the human problems such as anxiety or conflict.

• Journal of the Korean Society of Food Culture
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• v.11 no.5
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• pp.699-710
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• 1996

The sacrificial foods using at 88 villages in Andong area where the village sacrificial rituals are performed, were investigated in 1994. The finding are as follows; 1. Since the village sacrificial rituals keep ancientry, white Baeksulki without any ingredients is used as Ddock (a steamed rice cake) in 74 villages, and in 5 villages the Baeksulki was served just in Siru (a tool used to prepare Ddock). The type of meat serving in rituals has been changing from large animal to small animal and the type of light from bowl-light to candle. 2. Though the ritual observes Confucianism style, memorial address was offered in 34 villages and only in 8 villages, liquor was served 3 times and the address was offered. In 60 villages, liquor was served only once, and calling village god, bowing twice, and burning memorial address paper were performed in order. Burning paper has been meaningful in rituals. 3. Tang (a stew) was served in 21 villages, and in 18 villages even Gook (a soup) was not used. The numbers of village which do not use cooked rice and Ddock are 14, respectively. 4. Fruits are essential in rituals foods. In 63 villages, 3 kinds of fruits are served and this is contrasted with even number of fruits in Bul-Chun-Wi Rituals. 5. In 25 villages, fish and meat are not served. As meat, chicken in 19 village are served. Meat Sikhae (a fermented rice beverage) prepared with meats or fish are served in 5 villages. Slice of dried meat is served in 73 villages commonly. 6. In gender of god for village shrine, woman in 43 villages, couple in 17 villages, man in 9 villages, mountain god in 2 villages, villages tree, etc were enshrined. In 52 villages liquor is served in rituals (liquor is used in 58 villages including serving god), in 28 villages sweet liquor (Gamju) is served for god (sweet liquor is used in 46 villages), and liquor, water, or sweet liquor is just displayed on table but not served in 8 villages. Incensing is found to be not common in village ritual, only in two villages it is performed. The most appropriate rituals food is thought to be pig for mountain god. Home dishes can not be used in village ritual and spoon is not used and chopstick is prepared from wild plant. Meat and fish are used in the raw.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.89-97
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• 2016

This study looked at the sacrifice space building in the Changbai Mountain area to a specific era in terms of the cultural landscape. The scared of Changbai Mountain how changes in history came despite the regime and national change, interpretation of the reason was the scared maintained. The results of this study are as follows. First, Replacement of the regime in the Republic of China in the Qing period, ethnic diversity, underwent a cultural acceptance. So Changbai Mountain nature of sacrifice, the divine subject has formed the changes. Second, the Qing Royal sacrifice space Wangji Temple(望祭殿) have formed a unique cultural space and the sacrifice of authoritative content with only space. The Republic of China period, a new folk beliefs were born between the defense in the face of the Han Chinese migration and settlement process. Build Sacrifice space of Rulai Temple(如來寺) and Shanshenlaobatou Temple(山神老把頭廟). Third, the spatial relationship between the priest and the Changbai Mountain area Wangji Temple(望祭殿) is the power of space as vertical space. Rulai Temple(如來寺), Shanshenlaobatou Temple(山神老把頭廟) is located in the Changbai Mountain and horizontal space was obedient to the space. Fourth, the sacrifice ritual Wangji Temple(望祭殿) of the Qing Dynasty is the only ritual sacrifice of satisfaction. It is cut off depending on the abolition of imperial power. Currently, public ritual sacrifice is commonplace rituals and sacrifices of the Qing Dynasty is only formally underway. In conclusion, as it has been maintained for the sanctity historically Changbai Mountain. Changbai Mountain sacrifice space was changing through the acceptance of the replacement of the regime and culture of ethnic offerings from a single culture of the Qing Dynasty. Currently, to form a sacrifice space and culture overlap through a mutually acceptable.

• 한국노년학
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• v.29 no.3
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• pp.971-986
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• 2009

This research investigated how the participation of various social activities affects cognitive function in middle-aged and elderly population. To examine the relation between the participation of various social activities and cognitive function, we used data from the Korean Longitudinal Study of Ageing. Social activities were classified into four types as religious ritual, leisure, public association and ascriptive association activities, and MMSE-K score was used to measure cognitive function. Results from multiple regression analyses after adjusting for socio-economic status and health status show that the participation in religious and leisure activities have positive effects on cognitive function in middle-aged and elderly population. Participation in leisure activities in middle-aged male group helps preserve cognitive function, and leisure activity and ritual activity are significantly related to cognitive function in middle-aged female group. Meanwhile the participation in religious and leisure activities have positive effects on cognitive function in elderly male and female group. Based on these findings, we suggest that various programs to support the participation of elderly population in social activities should be developed for healthy life for the elderly.