• Journal of Family Resource Management and Policy Review
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• v.14 no.3
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• pp.143-163
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• 2010

The purpose of this study is to analyze the trend of research system and contents of thesis which was published with a theme of child tea ceremony education. Under this purpose we have searched the thesis related to the child tea ceremony education which was in the data base of the National Assembly Library, the National Library of Korea, Korea Education & Research Information Service and we have collected total of 22 analyzing subject data. The major results of this study are as followings: First, after analyzing the research system, the release year of child tea ceremony education study which was published from year 2000 to 2009 are shown as followings, 1 unit in year 2000, 2 units in year 2001, 2002 & 2003, 4 units in year 2004, 5 units in year 2005, 2 units in year 2006, 1 unit in year 2007, 2 units in year 2008, 1 unit in year 2009. The publishing type were 14 units of master's degree thesis, 6 units of academic journal, 2 units of doctor's degree thesis. The academic area of researchers are 8 units of propriety and tea culture, 5 units of early childhood education, 5 units of child welfare, 2 units of family culture and consumer, 1 each unit of counseling psychology and korean culture. As per the research method there were 15 units of experimental study, 6 units of reference research, and 1 unit of thesis which adopts both interview and case study. Second, as a result of analyzing the research contents, the goal of child tea ceremony education was shown to be a holistic child growth and development, a formation of basic living habit, a development of pride on traditional culture and an establishment of national identity. The contents of child tea ceremony education has been classified into 57 items. The activity of child tea ceremony education has been classified into 34 items. The vitalizations of child tea ceremony education is shown to be a education for parents and teachers, a development of systematic educational program, durability of child tea ceremony education, and a verification of effectiveness of child tea ceremony education.

• Human Ecology Research
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• v.55 no.5
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• pp.481-490
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• 2017

This study considered the performing arts culture with a focus on Palgwanhoe Ceremony and various stunt-songs and dance (Baekhee-Gamoo) from the Goryeo period as well as examined the characteristics of performing arts' costume for Baekhee-Gamoo shown in Palgwanhoe Ceremony. The Baekhee-Gamoo shown in the Palgwanhoe Ceremony included acrobatics, traditions from comic dramas, puppet shows, mask plays, and four musical troupe flowers of youth in the Silla Dynasty, who excelled in beauty, bravery and the military arts (Sasun-Akboo). These were performed on a wagon ship with dragon, phoenix, and elephant animal masks (Yong-Bong-Sang-Mageosun). The characteristics of performing arts' costume for each performing arts are as follows. First, the general costume of the time was used for performing arts' costume. There were no special costumes for performing arts and it was just transformed or added for the efficiency of acrobatics. Second, the reality was improved by focusing on the historical research on costume suitable for characters and background of events in the performing arts to clearly deliver the purpose of the ceremony and quickly arouse audience's curiosity towards the performing arts' costume for the tradition of comic dramas and puppet shos in the Palgwanhoe Ceremony. Third, magical powers and symbolism were expressed through masks and performing arts' costumes. Palgwanhoe Ceremony aimed for magical powers that could protect weak human beings from threats and repel everything unfair while also symbolically showing the deified being through the performing arts' costume.

• Journal of the East Asian Society of Dietary Life
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• v.12 no.6
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• pp.447-488
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• 2002

The annals of the Chosun dynasty (朝鮮王朝實錄). on CD-ROM was studied to understand e ceremony and dietary culture of the Chosun dynasty. The Chunshin (薦新) ceremony. the service of offering the first food product of the year to ancestors, was begun in the Song dynasty in China and initiated in the Koryo dynasty in Korea. Chunshin ceremony as the national auspicious ceremony was settled through the 311 the Chosun dynasty. The offerings were graded and the Saongwon (司饔院) was in charge of the transportation of them. A king attended the ceremony in person at Jongmyo (宗廟) once in a while. but the Bongsangsi officials usually took charge of ceremony. Even though the harvest of crops had failed due to the drought. the quantity of the offering was not curtailed. Seven kinds of the new products It ere offered in the Koryo dynasty, twenty-seven kinds of them during the reign of king Sejong, and thirty-one kinds of the them during the reign of King Sungjong according to the Gukjooreeui (國朝五禮儀) (1474). The offerings were served on the utensils called Du (두(豆)), Byun (遼), and Jak (爵). Most of the of the offerings were dedicated by public officials and civilians. The meat products in particular were caught by the king on hunting trips, and offered by the king in Person.

• English & American cultural studies
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• v.14 no.2
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• pp.97-125
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• 2014

This paper delves into the question of universality in Native American Literature focusing on Leslie Marmon Silko's Ceremony, exploring some different definitions of universality and looking at the work in the light of these definitions. In this paper I proposed four possible definitions or faces of universality applicable to the narrative of the oppressed people. Firstly, the colonizers indoctrinate their colonized persons with the colonialists' beliefs through the process of assimilation purposefully imposed in the name of universality. In Ceremony Rocky and Emo are the victims of assimilation including militarization. Secondly, the colonized people hold on to their traditional values in face of colonizers' universalism. In Ceremony Tayo shows an attachment to tribal stories in opposition to whites' lies. Thirdly, the colonized can get together by sharing experiences of violence, occupation, and loss of their land and language, forming a bond of "commonality" among them. In Ceremony the story of a medicine man, Betonie, suggests oneness of victims against the evil power of destroyers represented by nuclear bombs. Fourthly and lastly, the universal consists in the subject's trial and practice attempting to achieve universalism against the existing order, not in the stipulation defining what is universal. In the story Tayo endeavors to retrieve his cattle by transgressing whites' property and makes a hole in the established dichotomy of whites and Indians. In sum, Ceremony as a minor literature shows the developmental aspects of universality, culminating in Tayo's refusal to assimilate himself to whites' lies.

• Korean journal of communication and information
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• v.28
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• pp.43-76
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• 2005

This study focused on the wedding ceremony. It was considered as important social text containing cultural codes of Korean society related gender system. Using the concepts of 'Myths', introduced by Barthes, this study analysed every procedure of wedding ceremony prevailed contemporary Korea. Romantic Love, creation of the ideology system of Western bourgeois and peculiar Confucian ideas about gender structure in Korean patriarchy system are both important frames determined wedding culture in Korea society. Thus this study divided wedding ceremony into displaying sphere and non-displaying sphere. Then, displaying sphere was framed by myth of romantic love, but non-displaying sphere was framed by traditional Confucian ideas. And, the transformation of contemporary wedding ceremony has the nature of kitsch, related the radical change of Korean class structure, also it worked as myth reveled up the unequality of present gender system.

• (The) Research of the performance art and culture
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• no.39
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• pp.509-547
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• 2019

The cocoon breeding related national ritual ceremony exercised from the beginning time of Joseon is the 'clothing culture' that has taken its role in the ritual ceremony where it demonstrates the resolution of a state that placed importance in 'things to wear'. During the reign of King Seongjong, it enhanced the level of importance by adding the 'procedure to pick up the mulberry leaved by the queen personally'. During the reign of King Youngjo, the implication of the ritual ceremony was even more expanded that there was an new emergence of new type of national ceremony for the Joseon Era with its first ritual ceremony for woman to personally administer the memorial ceremony to the 'woman divinity' in addition to the 'Jakheonrye' procedure to personally present by the queen for the cocoon breeding. This is intended to meet the status of chingyeonguirye (farming-friendly ceremony) with King Youngjo to personally cultivate the dry field after administering Seonnongje (good harvest paying ceremony) that it is conspicuously demonstrating the importance of farming and cocoon breeding activities. As a result, the Chinjam (a type of ceremony that queen personally breeds cocoon for fabrics) related ceremonial rite that was rearranged during the reign of King Youngjo was settled into 11 ceremonial rites with the expansion of its contents. It ranges from the procedure to leave the palace for carrying out the ritual ceremony to the procedure for the crown princess and Hyebin-gung to accompany the queen, ritual for the queen to devote the Jakheonrye to exercise Chinjam, the ritual for the king to announce his royal message, johyeonui (morning assembly) exercised after completing Chinjam, it is the ritual for the queen to receive the box that contained the cocoon. This type of ritual ceremony is a significant expansion when compared with the exercise carried out earlier and it is part of characteristics displayed for ritual overhaul trend in the reign of King Youngjo. In the main procedures of these ceremonial rites, the music is accompanied and the music includes folk music, inspiration and so forth. The Chinjam related ritual ceremony in the reign of King Youngjo was established in the direction to establish it as the ritual ceremony for a woman who had the divine role of the seonjamje ritual to administer the ritual in a way of having the justification and reality to be consistent.

• Journal of the Korea Convergence Society
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• v.8 no.12
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• pp.445-450
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• 2017

Recently, at university, the number of international students from China is increasing, and we want to improve their adaptation to college life, In this research, we applied a fusion program of the tea ceremony to respect and to enhance true self through tea culture for Chinese students and seeing the tea ceremony application in Chinese. The targeting 10 international students in T University of P City have participated directly to the tea ceremony experience program once a week for 4 sessions, and watching the tea ceremony app twice or more everyday for 30 days. As the result, the average stress score of cultural adaptation of Chinese students before participating in the program was 98.5 (SD 9.63), and after participating in the program that was 93.9 (SD 9.67). And it was confirmed that the stress score level of cultural adaptation before and after participation in the program was significantly different (Z=6.702***, P=.000). Therefore, this program can be effective to reduce the cultural adaptation stress to Chinese students.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.71-80
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• 2012

The Kut is the core of the traditional folk religion. The afterlife wedding Kut actually performs a traditional wedding ceremony by personifying the deceased in the process of performing the composition of Kut geori that cannot be observed from other Kuts, which is an important means to convey the situation of Kut more clearly. A traditional wedding ceremony performed in the Kut enables the audience to understand the meaning behind the Kut. The costume worn in the traditional wedding ceremony of the afterlife wedding Kut makes the audience understand the existence of the deceased by the use of a scarecrow dialect and makes them feel a vivid sense of the scene emitting from the Kut, which performs a traditional wedding ceremony in the composition of Kut geori. The results of this study showed that a shaman who led the afterlife wedding Kut had a scarecrow that symbolized the bride and a bridegroom wear the traditional wedding costume in order to visualize the deceased and express the symbol of a wedding which could not be made in this world. It can be interpreted that the traditional costume derived from the afterlife wedding Kut plays a symbolic role, which converts the deceased into a living person through the formal aspect of ceremonial costume and the cultural aspect of wedding ceremony.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.139-151
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• 2014

Storytelling contributes to easy flowing of cultural contents, and cultural original materials offer the creative subjects of cultural content. Now, in Korea, thanks to the Korean wave and etc, new kinds of cultural contents are requested and the demand for the original materials of storytelling has been increasing.A 5,000-year-old history, Korean traditional culture is the storage of the original materials of storytelling that can offer the creativity and the competitiveness, which are able to secure the national competitiveness. Particularly, there are different kinds of cultural archetype materials in the wedding ceremony and wedding costumes. This research, thus, is aimed at providing the subject materials for the cultural content development which are various and interesting by developing the original materials of storytelling on the wedding ceremony and wedding costumes during the Joseon dynasty. In the study for the wedding procedures in the late of Joseon Dynasty, the original sources within wedding ceremony created in the process where wedding customs in Joseon Dynasty and China were compromised are suggested. Further, in the research for the original sources on the wedding costumes associated the wedding ceremony, the original source of storytelling which are showed in a nation and an individual in the process where the wedding ceremony symbolizes the most important marriage one of the fomalities performed in one's life is suggested.

• Journal of the Korean Society of Costume
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• v.57 no.2 s.111
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• pp.100-114
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• 2007

This study reports the dress style of Daesarye ceremony participants in the Yeong-Jo Era. The King Yeong-jo attending the archery practice ceremony wears Ikseonkwan(翼善冠), Golryongpo(袞龍袍), Okdae(玉帶), and Heukpihwa(黑皮靴) while royal family members and officers in the ceremony wear Heukdalryeong(黑團領). Each officer in Sangbok(常服) who shoots arrows wears a ring and a wristlet with an archery case on his waist. King's bodyguards wear Yungbok(戎服) or Sangbok(常服). Especially, Muyaebyeolgam(武藝別監) wears Hong-geon(紅巾) and a green Jikryeong(直領). Yujiang-gun(儀位軍) wear Pirip(皮笠) and Hongjuryi(紅紬衣) while Hyeopryeongun(狹輦軍) and Hyeopryeogun(狹輦軍) wear Hong-geon(紅巾), Hongyui((紅衣), Cheonghaengjeon(靑行纏), Hakchang(鶴雲), Hongmokdae(紅木帶), and Unhye(雲鞋). Gyeonmabae(牽馬陪) wear Hwangchorip(黃草笠) and Hwangyui(黃衣). Seupjeongun(拾箭軍) and Hwaekja(獲子) wear Jageon(紫巾), Jayui(紫衣), and Unhye(雲鞋). Jeonak(典樂) wears Mora- bokdu and Noksayui(綠抄衣), while Ak-kong(樂工) wear Hwahwabokdu, Hongjuyui(紅紬衣), Ojeongdae, and Heukpihwa(黑皮靴). Lastly, Hyeopryulrang(協律郎) wears Heukdalryeong(黑團領).