• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• Journal of the Korean Society of Food Culture
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• v.3 no.3
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• pp.219-243
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• 1988

The sacrificial rite has its origin in the old China's primitive folkways faith based upon animism (B.C. 25c). From the animistic faith, Confucianism made its appearance in B.C. 551. Inevitably, the procedure of Confucian sacrificial rite was developed on the basis of the preceding primitive faith. In Korean culture, the god of Chinese Confucianism introduced to Korea in A.D. 108 was mixed properly with that of Buddhism imported in A.D. 372. Traditionally, Korean primitive religion (from B.C. 10c to B.C. 2c) was the sacrificial rite practiced by 'shaman.' The 'shaman' who was able to utilize ecstasy for the good of community was gods itself, and naturally the main form of the sacrificial rite was an exorcism with a sacrificial offering (food). After Korean primitive religion had been grafted to Buddhism and Confucianism, the character of Korean culture had to become compound. The most essential conception in sacrificial rite is a discrimination of a ghost, one is the evil spirit and the other is the good spirit. According to this conception, the good spirit is a spirit which ascended to heaven, in contrast, the evil spirit is a one which did not ascend to heaven and dispersed into this world. The sacrificial rite is a method to help the evil spirit ascend to heaven or to prevent harms from it. The mode of sacrificial rite especially the dead ancestor worship was transmitted from generation to generation as a purpose of the wealth and honors of descendants. Descendants believed that the evil spirit would not harm them only after receiving sufficient food and the right sacrifice. As a result, the sacrificial rite food was the sign of filial piety and a compensation for the evil spirit. How did the Korean religious culture which was consisted of three different religions-Shamanism, Buddhism. Confucianism-be combined and transformed? The author focused the mixture and transformation of the procedure of sacrificial rite and the arrangement of sacrificial food in each religion. In this thesis, the author studied first, the conception in sacrificial rite, second, the items of sacrificial rite food according to each period. In consequence of the research, each religion had lost its uniqueness and became mixed to each other and settle down in Korean culture.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.13-51
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• 2021

As a case study, this paper historicizes the film culture in Namchon district in Keijo(京城) based on a preliminary research on the film ephemera produced during the colonial period. Through cross-examining articles appeared in Japanese newspapers and magazines at the time, this paper empirically reconstructs the Japanese settlers' film culture in Keijo, a colonial city whose cultural environment was ethnically divided into 'Bukchon' and 'Namchon.' During the silent era, movie theaters in the Namchon district not only played a role of cinema chain through which films imported and distributed by Japanese film companies were circulated and exhibited but also served as a cultural community for Japanese settlers who migrated to a colony. The film ephemera issued by each theater not only provided information about the movie program, but also connected these Japaneses settlers in colonial city, Keijo to the homogeneous space and time in Japan proper. Both as a minority and colonizer in a colony, these Japanese settlers experienced a sense of 'unity' that could 'distinguish' their ethnic identity differentiated from Koreans through watching movies in this ethnically segregated cultural environment. In doing so, they were also able to connect themselves to their homeland in Japan Proper, despite on a cultural level. This is a cultural practice that strengthens a kind of long distance nationalism. Examining Japanese film culture through film ephemera would not only contribute to the previous scholarship on modern theater culture and spectatorship established since the 2000s, but also be a meaningful attempt to find ways and directions for film history research through non-film materials.

• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.348-354
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• 2023

A tattoo is a cultural form that has been handed down to mankind for a long time. Traditional tattoo customs that have been handed down and developed in the various cultures of mankind have the important value of academic research in various fields such as history, art, society, etc. The Derung people, one of the minorities living in Yunnan Province and nearby areas in the southwest of China, have 'facial tattoo' customs. The traditional culture of the Derung people, which had maintained the form of primitive society until 1949 when the People's Republic of China was established, was passed down through oral tradition, so there are no preserved materials about their tattoo culture, showing the need for research on the culture. Therefore, it was conducted in two ways: a research on modern and contemporary literature and a field trip to Yunnan Province. The exact reason and time of facial tattoo customs are unknown, but the customs disappeared after being banned in 1966 due to the Chinese Cultural Revolution. The symbols and functions of facial tattoos can be largely divided into four categories, including religious worship, coming-of-age ceremonies, aesthetic decorations, and ethnic and social history, through an on-site survey and research by modern and contemporary scholars. And, it is known that women of the Derung People get tattoos from the age of 7 to 8. The design of facial tattoos became more complicated for upper-class women and simpler for lower-class women depending on the area they live. Tattoos are mainly performed by relatives, and mainly bamboo skewers and lixivium extracted from the bottom of the pot are used as the materials. Currently, there are fewer than 25 women of the Derung people with facial tattoos, and most of them are elderly. Therefore, they seem to disappear altogether within a few decades. Therefore, it is urgent to have documentation on the unique facial tattoo culture of the Derung people.

• The korean journal of orthodontics
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• v.31 no.3 s.86
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• pp.301-309
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• 2001

Because many of patients seeking orthodontic treatment worry about the facial appearance and their chief motivation for orthodontic treatment is facial esthetics, it is critical to understand the influence of gender or culture on the evaluation of profile esthetics. The purpose of this study was to find out any influence of gender or culture on judging good facial profile. 4 different groups were asked to evaluate 133 facial profiles to test the influence of gender or culture on judging good facial profiles. Those 4 groups consisted of 10 Korean males, 10 Korean females, 10 Korean American males, and 10 Korean American females. 2 evaluation systems were introduced, absolute and relative. Soft tissues of selected good profile group were analyzed and statistic analysis was performed. Conclusions were as follows 1. Inter-evaluator difference for judging good facial profile was statistically significant, even if there was general agreement for the best profile among 40 raters. 2. Gender difference under the same cultural environment was not significant statistically. 3. The same ethnic groups with different cultural background showed statistically different preference on judging good Profile. 4. Good facial profile group had their own characteristics compared to remaining group in several soft tissue measurements which were vertical facial ratio, soft tissue facial convexity, and antero-posterior relative lip position.

• Journal of Communication Design
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• v.59
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• pp.298-308
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• 2017

In the modern society in which globalization is ongoing in the overall culture social culture, various efforts are being made by each country around the world in order to search for the distinctive cultural identity and creativity. Recognizing the importance of the 'Korean' tradition, South Korea is also actively engaged in researches to develop design utilizing it and to apply it in real life. Here, developing Korean design does not simply refer to borrowing and imitating the traditional form or color but refers to generating a new, original and ethnic aesthetic consciousness that conform to the era that we are currently living in based on the unique ideology and sentiment inherent in its formativeness. Despite the fact that research on Korean traditional culture has continued for a long period of time, it is considered that such phenomenon continues to take place because the establishment and utilization of Korean culture identity is still insufficient. There, research on various fields based on new understanding with regards to our culture and the development of design utilizing it is in dire need. This study aims to analyze the said usage form and formative characteristics and the possibility of modern application focused on the lines and patterns which are most frequently mentioned when discussing about the Korean traditional formative beauty of Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1608-1618
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• 2008

This research was conducted to define the different conventional meanings of face painting, we can come across easily in recent days, in different times and different cultures. The conclusions of the research are as followed. First, the face painting was mainly done for the symbolic function. Second, in un-cultivated groups, face painting was one way of body art expression and in some cases, the color and the pattern was the tool to give a symbolic massage that was more powerful than a language. The characteristics of the patterning was that they adopted wide range of patterns include geriatrics, abstract, animals, plants and especially the abstract patterns have the groups unique symbolic meanings such as specific pattern appears guard god which was the effort of having a wholeness with the pattern. Third, it is known that in un-cultivated cultures, face painting has a symbolic function whereas in modern society, there is an emphasis on a decorative function. Lastly, the various expressions of modern body decorations are seen as a result of social/cultural states of the settlement ethnic culture and the modern life style of the people who want to have direct and active opinions and individualize and differentiate themselves.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.188-208
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• 2013

This study aims to find out factors of historical specialty and cultural ethnicity that influenced the formation of Spanish fashion as well as examine the characteristics of Spanish fashion by comparing its historical costumes, such as folk costume and court costume with contemporary fashion of major Spanish designers in the 20th century. Documental investigation and analysis of visual materials were used as research method. The study results are as follows: The major factors that affected the characteristics of Spanish fashion in the history include the geographical features, invasion of foreign nations, cultural heritage of various ethnic groups, strengthening of the national power, advancement of international trading through the newly developed routes, and influence of religions such as Christianity, Islam, and Judaism. Featuring the coexistence of variety and heterogeneity, the ethnicity reflected in the culture harmoniously embraces various spirits such as conflict and coexistence, individualism and collectivism or regionalism, and exclusion and tolerance of religions. In addition, the characteristics in the cultural phenomena include passion, sensuousness, individualism, sense of reality, sense of chic, and the people-centeredness. The basic Characteristics of Spanish fashion include the sensuality of excessive zeal, decorativeness of gorgeous handicrafts, exoticism of people-centered variety, extreme contrast of harmony, touching artistry of chic, and fantastic surrealistic wits.

• Journal of architectural history
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• v.29 no.3
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• pp.15-24
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• 2020

As China enters the 21st century, China is strengthening its position as a world power in an international position. However, there are still problems with Three Agricultural(Agricultural, Rural, Farmer) and unbalanced urban and rural villages. China, as one of the largest and most populous nations, values the development of three farms. Strategies such as "The Construction Of New Socialist Countryside" were a policy to solve rural problems, But they were not enough to achieve breakthrough results. In order to achieve more effective results, the Central Committee of THE STATE COUNCIL proposed The Document No.1 of "Opinion on the Implementation of The Rural Revitalization Strategy" in February 4, 2018 and published "The Rural Revitalization Strategy (2018-2022 )". The Yanbian region, which is the subject of this study, is the home of Korean-Chinese tribes and the Korean autonomous region. As a minority of Chinese ethnic minorities, the Korean-Chinese has their own unique culture, and Yanbian has distinct regional characteristics. As The Rural Revitalization Strategy was raised, Villages is showing positive change in accordance with policy implementation in Yanbian. This study analyzed the current status of policy implementation of The Rural Revitalization Strategy in Yanbian area and analyzed the policy contents and performances based on the of Yanbian Daily News. Based on the results of the analysis, I would like to help in suggesting a more rational development direction and building the villages.

• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.715-722
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• 2010

The purpose of this study is to consider the characteristics of 'slow' fashion style expressed on fashion magazine in pursuit of sociocultural paradigm change towards 'slowness'. As for the research methodology, content analysis for Vogue magazine has been undertaken. The results of this study can be summarized as followings. First, the concern toward eco-friendly ethics has been involving simple style which is long-lasting, junky style which is reused or recycled, and sustainable style which is motived by nature. Second, the interest toward local diversity has been involving ethnic exotic style which is inspired by global culture and vintage retro style which is applied the old tradition. Third, the attention toward self-made has been involving personal style which is produced through the process such as made-to-measure, made-to-order and reform. Also, anonymous dresses can be personalized easily under mix-n-match. In Conclusion, the 'slow' fashion characteristics has been expressed on contemporary mass fashion in various way and the 'slow' fashion would be expected to improve in accordance with the change toward sociocultural paradigm of 'slowness'.