• Cross-Cultural Studies
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• v.40
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• pp.239-264
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• 2015

In the early 20th century, Japan built theaters to take possession of colonial culture while establishing the Imperial University, libraries, and museums to accumulate and spread the knowledge of "imperial" Japan. Many different genres made a hit in theaters including theatrical troupes, theatrical companies, and motion pictures. One of the various features of expositions was "spectacles" or unusual events. They were integrated with a national festival in celebration of "5th anniversary of political commencement." In 1915, the longest hit series in Keijo (Seoul) was the dance performance by professional Japanese beauties and entertainers, whose songs delivered the legitimacy of governance. This study focused on the performance in the space of "cultural" spread called theaters, thus examining the "imperial" cultural waves they were in charge of. The study also focused on the tensional relations of Hierarchie along those cultural borders. The performance at the theater Engeikan(演芸館) in 1915 was especially an epoch-making event in the Japanese theatrical community of Keijo (Seoul): first, it marked the emergence of large-scale performance hall called Engeikan(演芸館); secondly, the performance kept its ongoing, stable streak for about 50 days; and it led to the appearance of leading troupes including Geijutuza(芸術座), which put on a show in Keijo (Seoul) in November, 1915. The study examined the issues of theater Engeikan(演芸館) performance in 1915 involving the art company, performance genre, and audience composition, showed that there was the coexistence of entertainment and governance through cultural ruling while securing amusement and entertainment, and found it was accompanied by the organized operation of "Keijo Sponsorship Council（京城協贊會）" which brought together the cultural capabilities of Japanese people living in Joseon. The performance at theater Engeikan(演芸館) in Keijo (Seoul) in 1915 fully reflected the issues involving the tensional relations between different artistic genres, the competing relations between the subjects of performance, and the cultural power.

• Health Policy and Management
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• v.31 no.4
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• pp.462-471
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• 2021

Background: The purpose of this study was to identify the association between participation in social activities and mortality rates for those aged 45 aged and older in Korea. Methods: In this study, the 1st to 6th Korea Longitude Study of Aging was used to analyze 10,217 people excluding missing values among middle and old age groups aged 45 or older. The scope of social activities was classified into "religious gatherings," "religious gatherings," "leisure/cultural/sports-related organizations," and "clubs/hometowns/religious associations," and analyzed using a chi-square test and Cox proportional risk model. Results: In the case of non-participating groups in religious activities, the mortality rate was 1.24 times higher (hazard ratio [HR], 1.24; p=0.000) than those of the participating group. The non-participating group of social gatherings had a 1.27 times higher mortality rate (HR, 1.27; p<0.0001) than the participating group. In addition, the mortality rate of non-participating groups related to leisure/cultural/sports was 1.79 times higher (HR, 1.79; p=0.000). The mortality rate of the group that did not participate in the alumni association/festival/folklore society was 1.51 times higher than that of the participating group (HR, 1.51; p<0.0001). As a result of correcting the control variable to analyze the relationship between the number of participants in social activities and the mortality rate, the mortality rate of the group participating in one or less social activities was 2.26 times higher (HR, 2.26; p<0.0001) compared to the four or more social activity participating groups, and the mortality rate of the 1-3 social activities was 1.64 times higher (HR, 1.64; p<0.0001). Conclusion: As a result of the study, it was found that participation in social activities of the middle-aged and elderly groups was effective in reducing mortality, and in particular, it was found that there was a strong relationship with mortality in less than one social activity group. Therefore, it is intended to provide an academic basis for lowering the mortality rate of the group in line with the continuous improvement of domestic social activity participation conditions, and through this, this study can be expected to serve as a policy and institutional basis for lowering the mortality rate of the group.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.2
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• pp.39-49
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• 2021

This study was conducted to establish practical goals for the viewing environment and interpretation and delivery system of cultural heritage and to create an viewing environment according to the classification of cultural heritage types, and the conclusions reached are as follows. First, five goals were set based on the international basic principles of the cultural heritage viewing environment and interpretation and delivery system. Second, based on the set goals, cultural heritage was classified into the first type 'disappeared and hidden heritage', the second type 'stuffed memory heritage', and the third type 'living memory heritage'. Third, the directions for creating the viewing environment for each type of cultural heritage were suggested. The first type has to be able to properly convey cultural heritage to visitors through excavation and digital technology. The second type needs a plan to deliver tangible and intangible values by combining various digital technologies with actual cultural heritage. The third type should emphasize the role of local residents in effectively enjoying the tangible and intangible values ??that already exist. Fourth, it proposed comprehensive considerations in the establishment of the cultural heritage viewing environment and interpretation and delivery system. Based on dynamic and sustainable heritage management, cultural heritage viewing should be valuable, satisfying and enjoyable. In addition, local communities should be actively involved, and tourism and conservation activities should be able to benefit the community. Establishment of a viewing environment should protect and strengthen the authenticity of cultural heritage.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.212-231
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• 2021

This study examines the types of gods worshiped in the homes of Utsunoya village, the places where they are enshrined, the rituals and food offered to the gods, the decorations during the rituals, and the people's beliefs. Also, by comparing the gods worshiped in houses in remote Utsunoya with those of downtown Shizuoka, the differences and changes in the gods worshiped in the two contemporary spaces were predicted. Today, the gods enshrined in Utsunoya's houses are amatelaseu oomikami (天照大神), ancestor, ebisu, daigoku, kojin, inari, the god of the toilet, the god of land, and the god of water. From December 31st to January 3rd and on January 15th, Obon (July 15th), October when there is a festival at the village shrine, and on Ebisu Day (October 19th and 20th), residents offer drinks and food to the gods. Japanese beliefs at home are polytheistic in nature. They maintain national identity through kamidana and maintain family identity through ancestor worship linked to the Buddhist altar. The Japanese beliefs at home are firmly established in the background of the home, the base of family life. Japanese houses have a strong character as a religious space where they coexist "with the gods," and the residents have a cultural tradition of living with the gods.

• Cross-Cultural Studies
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• v.50
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• pp.197-224
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• 2018

Korea's Kimjang and Japan's Washoku were listed in the UNESCO's Intangible Cultural Heritage of Humanity in 2013. Kimjang and Washoku not only have the meaning of a long tradition or national representative food. Additionally, UNESCO admitted the value of Kimjang and Washoku that allows members of society to share together and strengthen their solidarity through the use of it. And the identity of each nation is well represented in the Kimjang and Washoku effort. The Kimjang is managed by the Intangible Cultural Properties Department of the Cultural Heritage Administration. Likewise, the Washoku is managed by the Department of Washokusitsu of Japan's Agriculture Ministry. In regards to festivals, they are the most representative of Kimjang's contents in Korea. Kimjang can participate with a consensus of all people and must do it before the coming winter months. In this way, it is very suitable for the presentation of a festival. And there are many festivals related to Washoku in Japan, mainly manifested with local specialties. We have seen that Japan has many kinds of festivals, which encourages it to be called and known as the country of festivals. And Washoku is being fostered as the core content of the 'Cool Japan Strategy' because it has become world-renowned since it was listed as an intangible cultural heritage.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.5-59
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• 2014

This paper investigates the development and aesthetics of Korean political theatre from its quickening period 1920s to democratization era 1990s. Political theatre before 90s developed an antithesis resistant movement toward Korean modern history that had been scattered with suppressing political circumstances such as colonial era and dictatorial government, the movement has powerful activity and social influences. Just like the 20 century political theatre had been quickened under the influence of Marxism at Russia and Germany in 1920s, Korea's political theatre began in socialism theatre movement form around the same time. Proletarian theatre groups had been founded in Japan and Korea, and developed into practical movement with organized connection. However, the political theatre movement in Japanese colonial era was an empty vessel makes great sound but not much accomplishments. Most performance had been canceled or disapproved by suppression or censorship of the Japanese Empire. The political theatre in liberation era was the left drama inherited from Proletarian theatre of the colonial era. Korean Theatre alliance took lead the theatrical world unfold activities based on theatre popularization theory such as 'culture activists' taking a jump up the line and 'independent theatre' peeping into production spot as well as the important event, Independence Movement Day Memorial tournament theatre. Since 1947, US army military government in Korea strongly oppressed the left performances to stop and theatrical movement was ended due to many left theatrical people defection to North Korea. The political theatre in 1960s to 70s the Park regime, developed in dramatically different ways according to orthodox group and group out of power. The political theatre of institutional system handled judgment on sterile people and had indirect political theatre from that took history material and allegory technique because of censorship. In political theatre out of institution, it started outdoor theatre that has modernized traditional performance style and established deep relationship with labor spot and culture movement organizations. Madangguek(Outdoor theatre) is 'Attentive political theatre', satirizing and offending the political and social inconsistencies such as the dictatorial government's oppression and unbalanced distribution, alienation of general people, and foreign powers' pillage sharply as well as laughing at the Establishment with negative characters. The political theatre in 1980s is divided into two categories; political theatre of institutional system and Madangguek. Institutional Political theatre mainly performed in Korea Theatre Festival and the theatre group 'Yeonwoo-Moudae' led political theatre as private theatre company. Madangguek developed into an outdoor theatrical for indoor theatre capturing postcolonial historical view. Yeonwoo-Moudae theatre company produced representative political plays at 80s such as The chronicles of Han's, Birds fly away too, and so on by combining freewheeling play spirit of Madangguek and epic theatre. Political theatre was all the rage since the age of democratization started in 1987 and political materials has been freed from ban. However, political theatre was slowly declined as real socialism was crumbling and postmodernism is becoming the spirit of the times. After 90s, there are no more plays of ideology and propaganda that aim at politicization of theatre. As the age rapidly entered into the age of deideology, political theatre discourse also changed greatly. The concept 'the political' became influential as a new political possibility that stands up to neoliberalism system in the evasion of politics. Rather than reenact political issues, it experiments new political theatre that involves something political by deconstructing and reassigning audience's political sense with provocative forms, staging others and drawing discussion about it.

• 재활복지
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• v.20 no.4
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• pp.157-175
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• 2016

The purpose of this study was to analyze the perceptions of disabled sports that were reported the newspapers using semantic network analysis method. for this purpose, 745 news articles were selected from 21 source in Naver news searching engine. The main keyword for searching on newspapers was 'disabled sports'. Krkwic software was used for keyword cleansing and co-occurrence of text to text matrix in frequencies. Centrality indices that are degree, between and eigenvector, were used to analyze the perceptions of disabled sports from Netminer 4.0 for semantic network analysis. The conclusion of overall results from this study are follows; First, the core keyword of disabled sports in newspapers are 'impression', 'challenge', 'festival', 'dream' and hope. And there is different concepts of cognition among types of disability. Second, there are two elements on the perceptions of disabled sports from reported newspapers; sports performance and emotional. Specifically, main stream of keyword were 'Paralympics' and 'Special Olympics' on sports performance element and 'impressive' and 'challenge' in emotion element.

• Journal of Digital Convergence
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• v.19 no.7
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• pp.327-340
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• 2021

The purpose of this study aims to empirically verify about the impact of the customer satisfaction on the characteristics factors(presence, empathy, responsiveness, and interaction) on the customer satisfaction of 'Asia Model Festival', which was heldis an as untacted fashion and beauty performance that was successfully conducted in Seoul duringinyear 2020. and tThe regulatory effect of innovation resistance in the relationship of the characteristic factors and the customer satisfaction was also reviewed. The analysis showed that the characteristic factors have a positive effect on customer satisfaction, and the innovation resistance is found to control the relationship between interaction, empathy, and the customer satisfaction of the characteristic factors by the subfactor. By identifying the characteristic factors that affect the customer satisfaction of the un-tacted(Zzero Ccontact) visitors, which are expanding due to COVID-19, and studying the effect of controlling the innovation resistance, this study provides a basis for knowing what un-tacted(Zzero Ccontact) visitors need and what services they want to receive, and it presents practical implications and provides basic data for relevant research.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.187-206
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• 2021

The purpose of this study is to analyze the compositions and characteristics in cultural programs of the 1988 Seoul Olympics and the 2018 PyeongChang Winter Olympic Games. A research method was considered the developmental aspects of Cultural Olympics in all-time Olympic Games and the cases of Cultural Olympics in a host country through a documentary research method. The compositions and characteristics in cultural programs of the 1988 Seoul Olympics and the 2018 PyeongChang Winter Olympic Games were diversely analyzed. The results are as follows. First, a concept of a cultural program was deepened and developed at the 1992 Barcelona Olympics. In the wake of the 2010 Vancouver Olympics, IOC published the Cultural Olympic Guide. Through the 2012 London Olympics, the Cultural Olympic Guide was revised. Second, the cultural programs of the 1988 Seoul Olympics and the 2018 PyeongChang Winter Olympic Games showed the characteristics of image change & status and of the international exchange strengthening in a host country and a holding city. Third, in terms of cultural programs, the 1988 Seoul Olympics comprised the celebrations, performances & exhibitions amid the Culture and Arts Festival, and the International Academic Conference. The 2018 PyeongChang Winter Olympic Games were composed of performances, exhibitions, festivals, humanities & experience, and educational events. Fourth, the 1988 Seoul Olympics included the key element of forming a program that equally has the characteristics with the harmony between tradition and modernity, with the promotion of the excellence in Korean traditional culture & the spread in a bond of sympathy, and with various cultures and arts in each region. Also, the 2018 PyeongChang Winter Olympic Games pushed ahead with the strategy dubbed 'The Olympics in which there is culture day after day, in which provincial residents participate, and in which the cultural heritage is left' in order to systematically expedite the cultural Olympics.

• Journal of Digital Convergence
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• v.19 no.5
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• pp.383-395
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• 2021

The purpose of this study is based on Pine and Gilmore's (1998) Experiential Economic Theory (4E's). This study mediates the perceived value of the experience factors (entertainment, aesthetic, deviant and educational experience) of Untact fashion and beauty performances. The impact on customer satisfaction was analyzed a total of 230 questionnaires were collected for visitors to the 15th Untact 'Asia Model Festival', which were successfully held in Seoul in 2020. The statistical analysis method used the SPSS 21.0 statistical program. As a result of the study, it was found that the experience factors had a significant effect on perceived value and customer satisfaction. In addition, perceived value was found to have a significant effect on customer satisfaction, and perceived value as a parameter was found to partially mediate the effect of experience factors on customer satisfaction. By studying the empirical analysis in this way, practical implications were presented and basic data that could be used for reference to related research were provided. However, future research should contribute to academic development through research on variables not covered in this research, and research on various untact performances should be continued.