• Journal of Information Technology Services
• /
• v.23 no.5
• /
• pp.21-42
• /
• 2024

In recent years, local festivals have emerged as a promising strategy for regional regeneration, offering a cost-effective means of generating significant added value. Despite the significant growth in the number of local festivals, a number of challenges remain. These include strategic considerations, availability of expertise and financial independence. These issues raise concerns about the long-term viability of these festivals. Recent studies have explored various forms of convergence, including technological, business and cross-industry, with festivals identified as a representative example of such convergence. Local festivals that mobilise the local business service environment, specialised industries, specialities and products should be studied through the lens of an innovation ecosystem for service innovation. This study presents and verifies the key factors for successful festival organisation from an innovation ecosystem perspective. To achieve the research objective, a three-level success factor structure model of village arts festivals was developed based on the EPSS framework, with a focus on the Echigo-Tsumari Art Triennial in Japan. This model consists of 7 superordinate factors and 29 subordinate factors. The AHP analysis showed that the most important factors are strategy, service, institution, etc. The subsequent elements were ranked in descending order of importance, with the following factors considered to be of particular importance: excellence and representativeness of content, clarity of vision and goals, novelty and differentiation of theme, etc. The results of this analysis have implications for the development of strategies for the sustainable operation of village arts festivals and for the possibility of studying local festivals from an ecosystem perspective.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.549-580
• /
• 2019

There are many festivals in the region that mainly use traditional performing arts. Traditional performing arts has a story that incorporates the history of the area, and it is easy to build a brand that can be distinguished from other areas through traditional performing arts, so it has conditions that are easy to grow in the local festival it can. In this paper, I researched the relationship between the significance and regionality of regional performing arts, referring to the case where traditional performing arts, which is a joint cultural heritage of East Asia, are transmitted as a festival. The performance art with strong locality has grown into a local festival, and the Kanto Festival (竿燈) held in Akita prefecture in northeastern Japan was selected as a representative example of that area. Along with the Aomori Nebuta Festival and the Sendai Tanabata Festival, the Kanto Festival is called the 3 major festivals in the northeastern part of Japan. It was designated as an important intangible folk cultural property in 1980 and became more famous. It visited Seoul several times after the 2005 Japan-Korea Exchange Festival event. It is widely known as a regional festival that represents Japan. The Kanto Festival, which was a participatory event on a village basis, has faced problems such as the migration and aging of young people since the 1970s. In order to solve this, they led the participation of schools, educational institutions, and various groups beyond the village unit and persuaded the participation to the local companies. They have been steadily promoting free lectures on technical skills and school visit events that induce children's interest. As a result, the number of moths mobilized in the current festival has reached 250, and the Kanto tournament also shows great popularity every year.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.513-557
• /
• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.187-218
• /
• 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 Korea Entertainment Industry Association
• /
• v.13 no.7
• /
• pp.307-319
• /
• 2019

This study aims to provide the basic materials for the development of leisure and tourism contents in connection with Osaek cableway for the revitalization of Osaek District. For such a purpose, the following policy directions were presented through the analysis of the present situation and conditions of Osaek District, the direction of development of leisure and tourism contents of Osaek District, etc. The first is increasing the participation of local residents and reinforcing their capabilities. The suggested promotion plans are ① establishing organizational system and strengthening support, ② reinforcing the capabilities of local residents and ③ constructing networks with external human resources. The second is setting the guidelines for contents development. It was proposed to prepare contents for leisure experience using the natural environment of Osaek District in response to the trend of increase of people who enjoy "contents using culture and arts" and leisure. The third is typological approach to contents. It was proposed to develop cultural contents with the theme of Osaek such as "Osaek Light Festival", "Osaek Concert", "Osaek Photo Exhibition" and "Osaek Good Men and Women Contest" for the promotion of the brand of the place name of Osaek and the creation of the "Picture Book Village" for the compilation of the history and culture of Osaek District with pictures. The fourth is securing marketing channels. For this, it was proposed to produce the website of Yangyang County or a website tentatively named as "Osaek-ri with Beautiful Osaek" and introduce an integrated travel product (transportation + lodging + foods + experience (hot spring, mineral water therapy, leisure experience, etc.) + purchasing local specialty products, etc.) composed of the leisure and tourism contents, transportation, lodging, foods, etc. of Osaek District through travel agencies. The final policy direction presented was phased implementation of the development and operation of the contents. Proposed policies include support of a consulting project to upgrade the organization of local residents; implementation of "Tourism Dure (Cooperative)" project for the solution of the problem of tourism in Osaek District by the residents themselves together using the space of culture and arts made by remodeling idle public and private facilities after benchmarking exemplary places; system improvement for the introduction of leisure and tourism contents appropriate for local conditions; and the establishment of a master plan for the introduction of various leisure and tourism contents in Osaek District.