• The Journal of the Korea Contents Association
• /
• v.22 no.7
• /
• pp.607-622
• /
• 2022

The Spring Festival is the most important traditional celebration in China, and it has the important value of condensing the national spirit and emotion, inheriting traditional culture and customs, and showing the development and changes of contemporary China. As a kind of TV performance art and cultural media carrier, The Spring Festival Gala of China Media Group (C.M.G) has been broadcast for 40 years and has exerted a great influence on the development of China's media industry. These days, China's TV performing arts and Chinese media that represented by The Spring Festival Gala, are not only the main front of domestic propaganda, but also shoulder the historical responsibility of building the image of a great country and exporting Chinese remarkable culture to the outside world. Therefore this study had summarizes The Spring Festival Gala change trend in the past 40 years focus on the theme of The Spring Celebration, the development of multimedia, and the interaction between society and culture in different periods of Chinese social background, and also analyzes the current problems of the Spring Festival by combining relevant data and specific cases. so as to make forward-looking suggestions for the and how the Chinese media industry can further develop towards globalization.

• (The) Research of the performance art and culture
• /
• no.19
• /
• pp.88-123
• /
• 2009

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 "Hanjanggun Nori" in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut - Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut - Ex: 'Hanjanggungut' or 'Keungut' 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is 'Hanjanggungut,' and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.

• Korean Journal of Agricultural Science
• /
• v.27 no.1
• /
• pp.63-70
• /
• 2000

Taean county region has been economically lagged behind compared with other areas in Chungnam Province mainly due to disadvantages of the location such as traffic accessibility, social infrastructure and industrial complex. However, recently Taean region has been emerged as newly prospective area because west coastal highway will be constructed to connect Seoul urban area to famous beach sites, recreational facilities along the seaside of Taean county, where International Flower Exhibition will also be held in Anmyon Island for the year of 2002. This Paper aims to explore how International Flower Exhibition is contributing to the development of local economy of Taean County area and to suggest the strategies for the development of this area through promoting spread effects of these international events. It is estimated that although there will be loss of 32,987 thousands won during the period of international flower festival based on the cash flow analysis, long run profits would be 108 trillion won, when calculating indirect benefits derived from the sight seeing, flower sales and other incomes from various activities. In order to maximize post benefits of international flower event, it is suggested that Taean county should pursue the strategies for specializing in cultural events such as family recreational events, beach festival and traditional cultural events, improving the social infrastructure and promoting the local industry such as flower, tourism and advanced technological enterprises.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.171-199
• /
• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• Archives of design research
• /
• v.17 no.4
• /
• pp.251-258
• /
• 2004

Today we seem to be flooded with digital culture as the age of information has reached its peak. As fusion culture has been generalized, in which the arts and culture of the East and the West are in harmony, and quality of life has been improved, people are enjoying more abundant cultural benefits than ever. In such a situation, we may lose the origin of our culture and disregard our traditional culture due to the mixture of cultures. In addition, it is necessary at this point to distinguish pure culture from mixed one and to re-illuminate the value of our original culture for the next generation. Therefore, the author took interested in Dongraeyaryu, a large-scale festival in Busan, which has been designated as an important intangible cultural property, and carried out a research for its continuous instruction and activation. among contents such as music, costume, dancing and stage properties that compose intangible cultural property, this study selected costume, which has significant visual effects and large differences in shape between old one and contemporary one, for development. By proposing modernized design of costume preferred by the new generation and in harmony with the masks, this study wished to narrow the generation gap, to direct young people's attention to the learning of tradition and to propose motives that activate the culture of local festival.

• SUVANNABHUMI
• /
• v.10 no.1
• /
• pp.149-174
• /
• 2018

Southeast Asians participate in elections eagerly, a fact indexed by the high electoral participation rates across a range of political conditions in the region. What gives elections in Southeast Asia such high legitimacy? Using data from Indonesia and the Philippines, this article emphasizes the need to understand peoples' rationalities, which are informed by meanings generated by prevailing cultural practices. From this perspective, electoralism can be understood as a cultural phenomenon that conforms to the structure of a ritual. Despite the democratic deficit in many electoral exercises, elections share the attractiveness and fun of traditional community festivities. Voters participate in elections as a testament to membership in a community. Although they do not always transform the existing social arrangements, elections embed contradictory impulses in the same way that cockfights do. A procedure of formal democracy authored elsewhere, electoralism has been localized in Southeast Asia and invested with indigenous significance.

• The Journal of the Korea Contents Association
• /
• v.18 no.5
• /
• pp.647-659
• /
• 2018

'Waiting for a Thousand Years & Mingling with World People-Gangneung Danoje Festival 2017 as an Important Intangible Cultural Property' is the festival with the longest history in Korea. In spite of its historical value, however, there are not many academic researches on the value of festival brand equity. Thus, the objective of this study is to empirically analyze the influence relationship between selection attributes of festival storytelling, brand equity, brand attitude, and brand loyalty through the structural equation model. Regarding the spatial scope of thesis material, a survey was conducted focusing on 657 tourists visiting the Gangneung Danoje Festival. In the results of verifying the hypotheses in accordance with the structural equation model, the selection attributes of festival storytelling had effects on the brand equity, and the brand equity had effects on the brand attitude and brand loyalty while the brand attitude had effects on the brand loyalty. Based on such results of this study, the implications could be suggested as follows. First, the local contents culture should be developed together with local experts and residents by finding its local custom. Second, the brand equity that could prioritize the strategy of characteristics should be increased by emphasizing the selection attributes of storytelling. Third, the phased development should be achieved through local residents' open participation by dividing roles of experts and non-experts as festival manpower.

• Journal of the Economic Geographical Society of Korea
• /
• v.1 no.2
• /
• pp.103-134
• /
• 1998

This paper examined the evolution and development strategies of Young-deung Festival holding in Chindo since 1978. The Young-deung Festival is a representative event tourism in Korea. The water between Hoidong and Modo in Chindo, a small islet 2.8km off the coast, part to reveal a path 40m wide as a result of the moon influence on the tides. This phenomenon is called “young-deung-sal”on the Chindo. This event began on a small scale highlighting the treasury of traditional folkfore and shamanism peculiar to these islands, various cultural resources, and local place attraction such as young-deung-sal. But, in the early 1990s, with the introduction of systematic management and a variety of programs, the small village festival has steadily evloved in the scale aspects of the program, budget, profit, and the number of visitors participating in festival. In addition, the period of festival was prolonged for three days and visitors from other provinces have steadily increased, in particular visitors from Seoul and Gyoungkee have steadily increased. In order to develop the Young-deung Festival, the followings should be done: creation of local image through place attraction, private organization in supporting festival, adoption of management techniques for the local economic activites, and extension of linkage with tourists places around Chindo, target visitor marketing through a continuous visitor survey.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.35 no.3
• /
• pp.82-91
• /
• 2007

Rural areas dominate country landscape, where the population is rich in traditional and natural heritage. Dangsan forests and Rural community forests (RCF) have been maintained by local residents for hundreds of years. However, many of these forests have been disturbed, and only small amount of Dangsan forests and the RCF remain due to the efforts of local residents. Recently, the remnants of Dangsan forests and RCF have been regarded as living traditional landscapes representing the cultural and rural background of Korea. But the value of Dangsan forests and the RCFs has not been recognized by many. This study aims to understand the characteristics and management status of Dangsan forests in Sungnam-ri, Wonju. Sungnam-ri has four villages, each of which is bordered by a Dangsan forest at the riparian buffer. Sungnam-ri has been selsected as a site for a rural village development project by the Ministry of Agriculture & Forestry of Korea. Sunghwanglim (the Upper Dangsan forest) is designated as Natural Monument No.93 and entrance is limited in this area. The size of Sunghwanglim is $21,133m^2$, and the major tree species are Kalopanax pictus (Dangsan tree, Divine tree), Pinus densiflora, Abies holophylla, Acer triflorum, Ulmus davidiana, Fraxinus rhynchophylla and Quercus serrata. In total, 124 trees with more than 40 cm in DBH are at this site. As for cultural activities, the Dangsan festival is held on April 8th and September 9th of the lunar calendar at shrines in the forests. Although other Dangsan forests are smaller than Sunghwanglim, they also have similar cultural activities. The landscape of the Dangsan forests have been managed for several hundred years by the local people, and they intend to continue maintaining the Dangsan forests for the purpose of festivals and other cultural activities. The findings in this study suggest that Dangsan forests have the potential for the development of rural villages and for the improvement of cultural and natural landscapes in Korea.

• Journal of the Korean association of regional geographers
• /
• v.8 no.3
• /
• pp.326-346
• /
• 2002

This study examined how the tradition and culture based on the historical experience of the region are regenerated on the making regional identity and symbolic representation in Kurim-ri, Youngam. Kurim has represented the most typical community of the aristocratic class through Daedong-gae of 400 years. But, since 1970's Kurim has undergone a rapid change in regional identity in Kurim ; from the beginning of the spot of Wangin festival to the village of earthenware, the village of pottery culture heritage most recently. The process of history-making around Wangin in Kurim was connected with the strategy of the pottery culture village-making centering around the Youngam Pottery Culture Center. These projects ultimately were resulted in expression the regional identity, 'Kurim of Wang-in'. The regional tradition of Daedong-gae and Wangin in Kurim was linked together solidly through the Wangin festival procedures. And the excavation of a kiln site in Kurim which was going on with the process of history-making at the same time around Wangin in Kurim provided the cultural episode on related 'earthenware' with an archeological foundation. As a consequence of these, the cultural space, the Young-am Pottery Culture Center has came to establish in Kurim finally. However, recently the Kurim of Wangin and Daedong-gae which was representative of regional identity in Kurim is bringing Dosun who was distorted and estranged during the history-making focused on Wangin in Kurim. Now, there are some cultural issues in Kurim ; an authentical settlement of the Youngam Pottery Culture Center in Kurim and how Wangin and Dosun is linked together into the cultural strategy of 'the traditional village, Kurim'.