• (The) Research of the performance art and culture
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• no.35
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• pp.405-439
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• 2017

In this article, I suggest issues and tasks in transmission of Gyeonggi Province folk songs after thorough study of designation of Gyeonggi Province folk songs as intangible cultural asset, reproduction and transmission. Intangible cultural assets are classified into seasonal playing and songs. Originally, category or extension of folk songs is above mere songs and it also embraces personal lives as well as village communities. Intangible assets of folk songs are folk art, group events and non-stage events at the same time based on tradition, history, uniqueness, characters of field value. Gyeonggi Province has 9 intangible assets now because of the revocation of several assets (All Gyeonggi Province, Hwasung, Gwacheon) within five years after initial designation of 13 assets in 1998. They are mostly distributed in the north Gyeonggi region where is close to the DMZ and delay in development seems to have enabled the preservation. Most of the intangible cultural assets are farming songs and weeding which show characteristics of Gyeonggi Province. Most of the designees are who performed excavation, recovery, excluding a few cases without designees on designation, and almost all the designee passed away. Number of cases have been revoked because transmission was not completed or some cases were transmitted to groups rather than specific designees. Subscription concert, the biggest and most representative event, is performed once a year with all of the 9 intangible cultural assets in the original complete forms of the designation. Intangible cultural assets are classified into seasonal playing and songs. In general, current performance of the intangible cultural assets and folk songs are same as the originally designated forms and are not in varied forms other than folk songs like songs for rice-planting and weeding. Funeral songs are transmitted in Yangju and Yangpyeong. In terms of the operation, preservation societies having training centers have been performing more constant activities for preservation including lecture, performance and transmission. Members are quite aged and the societies are suffering from lack of support fund for reproduction and transmission. Problems in reproduction and tasks for the transmission I would like to suggest are like followings. First, preservation and value of the cultural assets. Second, new understanding of designation and revocation of the intangible cultural assets. Third, record of performance and sound source. Fourth, liaison with local communities. Fifth, organization of professional resources and establishment of systematic support and management.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.61-72
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• 2001

Chunghahk-dong is located in a retired spot, Jiri Mountain and has been built up its won religion and culture without any exchange outside world. People in Chunghahk-dong believe in a religion called Genjungyutaosim. Forming a trinity on which mind is Taoism, body is Buddhism, and behavior is confucianism. These are the principle elements to form a village. They made their own unique cultural factor such as longhaired boys and girls, wearing traditional cloths and hat, a monastic life, folk mores and family rituals, and private school system. This shows a great deal of affection on their life style and organization and is closely connected with community and culture. Grasping a culture and behavior on clothing, it has propose to understand Chunghahk-dong properly according to this study. A method of study has a purpose to understand culture and clothing behavior precisely in Chunghahk-dong. I inquire ito clothing behavior with investigation and study of picture script. The results are as followed; People in Chunghahk-dong show unique clothing and hair style behavior based on Genjungyutao. First, men and women wear a white cloth called HanBok(Korean costume) and footwear made of rubber. Only men wear a blue vest. A grown up men wear a long coat when they go out. They are dressed in tractional cloth for a ceremonial occasion. The reason why they put on the HanBok(Korean costume) is a belief on our traditional cloth becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea become a leading country in the world. This clothing behavior is symbol of Genjungyutao and has a role of delivery system for expressing their split. Second, In sign of being a Genjungyutao men, they let their grow hair. Cutting hair is not to be a Genjungyutao men any more. There is few reason that people in Chunghahk-dong let grow their hair : First, because of importance in TanGun's ideology, they believe Korea is a first nation in the world and can't cut their hair which has grown from TanGun (The founding father of the Koran nation) Chosun traditionally. Second, Cutting their hair runs counter to the principle of nature. Third, They value their body for confucianism. They don't want to damage their body because of body from their parents. Boys and girls braid and tie up their hair and adult tie a topknot and a chignon. Wearing a YouGun(A horsehair skullcap) at home and Kat(A Korean top hat) when going out, they express as a Genjungyutao. Hemp cloth and synthetic fibers are main clothes. Also, they wear an improved HanBok(Korean costume) these days on influence outside.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.42-55
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• 2011

The basic approach of this study was to take the theory of cultural fluctuations to investigate the early modern and modern patterns of the use of ox carts and@ the social and economic appropriateness and cultural significance of ox carts. The study chose a village that was the only place that used ox carts in Bugye-myeon. The findings will help to understand how traditional cultural elements would continue or change according to the natural, geographical, economical, and cultural characteristics of a village. Located in Gaho-2-ri, Bugye-myeon, Gunwi-gun, Gyeongbuk Province, Dongrim Village started to use ox carts during the Japanese rule and replaced the traditional version with an improved one in 1972 when a reservoir was built. Until the 1970s, they used ox carts to carry agricultural products and luggage and to visit the markets in distant Bugye-myeon or Gunwi-eup. In the early 1980s when a cultivator was first introduced into the village, ox carts gradually disappeared in the village and eventually remained as a mere means of transportation. As the younger generations were active in introducing modern means of transportation, a cultivator became the main means of transportation in the village in the 1980s and a truck since the latter half of the 1990s. Despite those changes, however, the elderly in their seventies or older continued to use ox carts. With aged labor and inability to use modern means of transportation, they grew cows and oxen to cultivate the inclined fields and gain easy access to fields distributed in distant locations and continued to ox carts through reform. In Dongrim Village, the heritage of using reformed ox carts is the practice of appropriate technology by the old farmers and a cultural representation of an aged agricultural society. That is, the elderly recognized the appropriateness and practicality of traditional culture and renewed a traditional means of transportation called an ox cart. The phenomenon of the old men and women frequently using ox carts in an agricultural village in the mountain with geographical limitations has settled down as a cultural representation of the elderly in Dongrim Village. The continuing usage of ox carts in Dongrim Village is attributed to the fact that ox carts well suit the natural, geographical, and economic aspects of the village and the cultural inertia of the elderly with the aging of the farmers. Thus it is once again shown that human beings transmit and alter culture according to their overall situations and conditions.

• Architectural research
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• v.3 no.1
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• pp.21-27
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• 2001

This study addressing the underlying strategies for Andong municipal museum complex development is in timely view that Andong has obtained a worldwide reputation as a treasury of traditional Korean Confucian culture. Thus far, there has been a tendency that various local museums are proposed to meet architectural aspirations architects and users commonly hold. Overall, though, the major role they play in making overall city image has not been considered in a systematic manner. Based on Lee's (2001) two previous studies, this study summarized the utility of cognitive distance and cognitive map concepts, which are proposed by Kevin Lunch (1976) to evaluate city image, in planning Andong municipal museum complex (AMMC). Sample is stratified into city residents and outsiders, and also into the general public and design-related professionals to see if there is any group difference in constructing their mental image. Three major findings are obtained. First, familiarity, so-called the degree of knowing, is the function of the length of stay in a designated area. That is, the longer people stay in Andong, the more likely they are familiar with its overall environmental aspects. Second, mental proximity of Andong municipal museum complex relative to existing cultural landmarks is closely related to the degree of how people value those landmarks in terms of their significance. Dosan Seowon and Hahoe folk village are most highly valued, which means higher proximity. Third, functional diversity turned out to be the most important design dimension, while display mechanism are least valued. Cognitive simulations of this sort are meaningful in that projected composite image might be a rough first approximation of true public image.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.98-104
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• 2010

The objective of this study was to understand the origin and characteristics of stone tower's style through the study of the 'Village Shrine at Seoji-ri, Andong'. The three kinds of stone towers were located forming a line of 9m on the hill of a red pine forest along the stream in the village. Toward the direction looking at the village, the three-story stone located on left, the two-story stone located in the middle, and the common style stone tower located on right. The bottom part of the three-story stone was 2.5m in length, 1.8m in width, 1.3m in height. The bottom part of the two-story stone was 1.3m in length, 1.5m in width, 0.9m in height. The common style stone heap tower was 3.0m in diameter, 1.8m in height with a cone shape. The small hat-shaped stone was presumed to be the top part of a three-story stone. According to the three factors(heaven, earth, human) of the idea of the universe in Korea, most ancient remains have components of odd numbers. Then it had been substituted with smaller three-story stone(at present, two-story stone). And then altered to a common stone tower later, such as the 'Village Shrine at Seoji-ri, Andong' that shows the combination of the Bronze Age's megalithic and a folk religion. The 'Village Shrine at Seoji-ri, Andong' is a valuable relic that shows the stone towers, and is derived from the Bronze Age. The 'Village Shrine at Seoji-ri, Andong' shows that the 'Village Shrine at Seoji-ri, Andong' was embodied the three-factor(heaven, earth, human) idea of the universe in three-story stone of megalithic culture' remains.

• Journal of the Korean Society of Food Culture
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• v.16 no.3
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• pp.260-267
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• 2001

This study was conducted to investigate the physicochemical characteristics of Sunchang traditional kochujang(fermented hot pepper-soy bean paste) for quality standardization. The kochujang samples, which have been fermented for 8 months in 1999, were collected from 20 firms at folk village in Sunchang area and analyzed their chemical compositions and color reference. The mean value of moisture, amino-type nitrogen, pH, acidity and salt content of the samples collected were $44.62{\pm}1.79%$, $132.66{\pm}21.67\;mg%$, $4.52{\pm}0.08$, $15.77{\pm}1.62$ and $8.76{\pm}1.55%$, respectively. The moisture, pH, acidity and salt content of each sample did not show much differences among samples. The Hunter values(L, a and b) of Sunchang traditional kochujang were $25.72{\pm}1.58$, $23.26{\pm}1.71$ and $9.86{\pm}0.94$, respectively. The mean content of amino-type nitrogen of Sunchang traditional kochujang was $132.66{\pm}21.67\;mg%$, and there were a little difference between the minimum(100.33 mg%) and the maximum(164.56 mg%). The main free sugars of Sunchang traditional kochujang were fructose($1.86{\pm}1.01%$), dextrose($4.29{\pm}2.06%$), sucrose($0.54{\pm}1.21%$), and maltose($1.48{\pm}0.77%$). The contents of fructose, dextrose, and maltose had little difference among samples. The fatty acids in Sunchang traditional kochujang were composed of palmitic, stearic, oleic, linoleic, linolenic, octadecatetraenoic, arachidonic and behenic acid. The linoleic acid(18:2) showed the highest, occuping 59.37% of the total fatty acids.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.126-144
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• 2015

The object of this study is to develop textile designs and fashion products based on the cultural resource of Jeju Bangsatop, which means a stone tower preventing misfortune and driving out evil spirits. The field surveys of 32 Bangsatops located at 17 villages in Jeju were conducted. As a result, unlike stone towers located in other regions, Jeju Bangsatops made with basalt. In addition, wood and stone birds, Dolhareungbang, and other sculptures are built on the tops. Jeju Bangsatops were classified into four types based on the body form of the tops: Conical, truncated conical, trapezoid, and irregular shaped Bangsatops. Jeju Bangsatops located in a area or a village are symmetrically arranged in direction of south and north, left and right, east and west, or face to face. The conical, truncated conical, and irregular shaped Jeju Bangsatops which are designated as folk cultural properties or which have the unique sculptures of stone birds and the statues of Dolhareungbang built on the tops were selected as motifs for textile pattern design. The 4 basic patterns of Jeju Bangstops were designed. The six creative textile designs were developed by the various repeat arrangements of the basic patterns and were printed on oxford cotton fabrics by digital textile printing (DTP) method. The sixteen products of wallets, bags, hats and shoes were actually made with the DTP fabrics, the DTP fabrics which were naturally dyed in gray and blue colors, or the DTP fabrics which were redesigned with textile crayon. Therefore, it is confirmed that Jeju Bangsatop could be very useful as a motif for the development of cultural products focusing on Jeju tourism souvenir market.

• The Korean Journal of Archival Studies
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• no.34
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• pp.165-219
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• 2012

Folklife archival science(folklife: Folklore is generally used in Engish-speaking countries but it has a strong meaning as remnants of former times. That's why I am useing the term-folklife instead of folklore in this paper. I think folklife is more appropriate term for expressing studies on daily life culture and also my intention to unite the both word in this paper) is a new academic movement, I propose, which is intended on convergence of advantage of folklife and archival science. In other words, taking advantage of the two branches of study(folklife, archival science), it becomes a practical studies which systematically organize records, preservations and application on living culture in any community. It demonstrate deeply on archiving and archive and It conducts a probe into records, preservations and applications. It is a method of technical study in order to record communities like village, rural society and modern city. In the mean time, there is no well defined and established methodology for archival science and for folk-area or community archiving. And therefore, It needs a research methodology in a folklife. In the other hand, there is a lack of a theoretical basis, methodological strategy and clear vision over folklife and field survey or method of survey. Therefore, converging advatage of the two studies(folklife, archival science), we can combine professionalism of community archiving and methodological strategy together.

• (The) Research of the performance art and culture
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• no.37
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• pp.187-221
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• 2018

The style of performance to contemporary nongak is not fixed in a specific period of time, but in conjunction with the total change in society that has occurred during its long time from traditional society to the modern times. It is important to recognize that the traditional performance art forms that we see and feel today, including nongak, are constantly interacting with the times and are a change in the design that has been shaped in the past. Now, we must get rid of the negative idea that there is some fixed prototype in Nongak. Also, the value and the need for preservation of current Nongak should not be evaluated according to the ' pure genealogy of village descent, ' which was possible only in villages with small population movements long ago. If can get rid of the stereotypes, can greatly expand the view that we read the values of a certain Nongak. Looking away from a few of these traditional fixed perceptions can significantly broaden the view of reading the winning values of some farmers ' songs. In this regard, this report determined the performing style and nature of Changwon's Toichon-noangak through a structural analysis of the Toichon-noangak in contemporary, and discussed the significance of the transmittion of Toichon-noangak. Changwon Toichon Nongak started out as an even-present ritual performance based on the religious nature of the village community and actively exchanged with the economic, social and cultural foundations of the Republic of Korea, which began to accumulate in the modern changes. Generally, the performance style of village Nongak has a combination of characteristics according to the ritual, Dure(collective labor), entertainment, and these three functions. Toichon Nongak is also a village Nongak style and in which of ritual nongak and village entertainment nongak are connected in parallel as one in the big total structure. The origin, background, purpose, and style of towing of Toichon noangak demonstrates that the Toichon noangak is originally ceremonial noangak derived from a prayer style of Dongje. Then, various factors influences are interacting with Toichon noangak within the orbit of modern society, such a style of playing, popular nongak, is believed to have undergone an extended change. Overall, Toichon nongak performance style can be called nongak, which maintains traditional customs and it also has the changed characteristics according to the times of village society.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.2
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• pp.128-140
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• 2021

This study applied the theory of Landscape Ecology to representative resources of Jeju Olle-gil, which is a representative subject of walking tourism, to identify ecological characteristics and to establish a technique for landscape ecological analysis of Olle-gil resources. Jeju Olle Trail type based on the biotope type, major land use, vegetation status around Olle Trail and roads were divided into 12 types. Based on the type of ecological tourism resource classification, the Jeju Olle-gil walking tourism resource classification was divided into seven types of natural resources and seven types of humanities resources, and each resource was characterized by Geotope, Biotope, and Anthropopope, just like the landscape ecology system. Geotope resources are strong in landscape characteristics such as coast and beach, rocks, bedrocks, waterfalls, geology and Jusangjeolli Cliff, Oreum and craters, water resources, and landscape viewpoints. The Biotope resources showed strong ecological characteristics due to large tree and protected tree, Gotjawal, forest road and vegetation communities, biological habitat, vegetation landscape view point. Antropotope include Culture of Jeju Haenyeo and traditional culture, potting and lighthouses, experience facilities, temples and churches, military and beacon facilities, other historical and cultural facilities, and cultural landscape views. Jeju Olle Trail The representative resources for each type of Jeju Olle Trail are coastal, Oreum, Gotjawal, field and Stonewall Fencing farming land, Jeju Village and Stone wall of Jeju. In order to learn about the components and various functions of the resources representing the Olle Trail's ecological culture, the landscape ecological technique was interpreted. Looking at the ecological and cultural characteristics of coastal, the coast includes black basalt rocks, coastal vegetation, coastal grasslands, coastal rock vegetation, winter migratory birds and Jeju haenyeo. Oreum is a unique volcanic topography, which includes circular and oval mountain bodies, oreum vegetation, crater wetlands, the origin and legend of the name of Oreum, the legend of the name of Oreum, the culture of grazing horses, the use of military purposes, the object of folk belief, and the view from the summit. Gotjawal features rocky bumps, unique microclimate formation, Gotjawal vegetation, geographical names, the culture of charcoal being baked in the past, and bizarre shapes of trees and vines. Field walls include the structure and shape of field walls, field cultivation crops, field wall habitats, Jeju agricultural culture, and field walls. The village includes a stone wall and roof structure built from basalt, a pavilion at the entrance of the village, a yard and garden inside the house, a view of the lives of local people, and an alleyway view. These resources have slowly changed with the long lives of humans, and are now unique to Jeju Island. By providing contents specialized for each type of Olle Trail, tourists who walk on Olle will be able to experience the Olle Trail in depth as they learn the story of the resources, and will be able to increase the sustainable use and satisfaction of Jeju Olle Trail users.