• 지역과문화
• /
• v.8 no.4
• /
• pp.1-22
• /
• 2021

This ethnographic study aimed to understand the emotional labor of traditional performing artists who hide and control their emotions in performances and the components and characteristics of their emotional labor by means of in-depth interviews with traditional performing artists and Giorgi's analysis method. As a result of the analysis, first, the factors that lead to emotional labor of traditional performing artists can be divided into external and internal ones. The external factors arose from expressing various emotions while creating or suppressing their own emotions in an effort to draw out the emotions of the audience. Also, emotional labor occurred depending on the performance place, performance type and audience reaction. The internal factors consisted of the emotional burden experienced due to concerns over mistakes and audience satisfaction as they voluntarily commit themselves to the performance in order to satisfy the audience. Second, complex emotions that remain after the performance sometimes lead to aftereffects of emotional labor. Third, factors of emotional labor that originate from belonging to an organization had an influence, which resulted in their considering job change or resignation. Fourth, emotional labor arises from the specificity of the traditional performing arts field, that is, negative perceptions and unfair internal practices of traditional performing arts. The study showed that traditional performing artists relieve their emotional labor through hobbies and chatting with colleagues, and took the emotional labor as granted, not recognizing that the occupational emotional labor as emotional labor. This study is significant in that it recognized and analyzed traditional performing artists as emotional workers and focused on the emotional labor components of traditional performing artists.

• Journal of the Korean Society of Costume
• /
• v.54 no.3
• /
• pp.113-127
• /
• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• Journal of Fashion Business
• /
• v.13 no.1
• /
• pp.67-81
• /
• 2009

The culture of each era make their own art, and it is certain a sense of beauty is changed according to a flow of era. We can find an unique beauty in the traditional culture of one era. And it is formed by the local and climatically influences according to their own ethnic character. Furthermore, an unique beauty is became an important element in forming the culture. That is, it is the universality in general. What is important is to develop of one's tradition on the background of the past for the future. This study is focused on the personal ornaments of women's Gache among the Cyubang culture in Chosun era. Throughout the study of clothing design that applies various decorative elements like an ornamental hairpin, a chignon ornament, and ttoljam among the women's Gache, this study is proposed to internationalize of clothing design utilizing the Korean specific character. The concepts of this study are as follows : First, grasp a definition and notion about Gyubang Culture of Chosun Era. Second, consider the definition of ornamental culture and the specific characters and kinds of women's ornaments. Third, analyze the trend and examples in the modern fashion applying women's ornaments. The method of this study included national science and literature, fashion magazines, newspapers, internet, and the research of like materials, with the intent to set a foundation for understanding ornamental design. Throughout these backgrounds, I try to develop and make six modern clothing design that applies women's Gache.

• 한국HCI학회:학술대회논문집
• /
• 2008.02b
• /
• pp.640-644
• /
• 2008

In this paper, firstly, I take the concept of korean traditional cultural archetype and cultural content, and discuss about methodology that the cultural archetype can be cultural content. As the methodology of making cultural content of cultural archetype, analyzing media art which used material of the painting and korea traditional dance in the Chosun Dynasty, the photograph in the era from the end of the Chosun Dynasty to modern age, and a folk play, etc. And then I would like to suggest that the method of making cultural content of the cultural archetype using new media.

• The Korean Journal of Community Living Science
• /
• v.21 no.4
• /
• pp.489-498
• /
• 2010

The purpose of the study was to investigate the perceptions and opinions of culinary art high school and undergraduate students on the curriculum for Korean culinary arts education. The results of the research were as follows. High school students were found to be more satisfied regarding their culinary arts curriculum than college and university students (p<0.001). In addition, high school students gave a significantly higher score for the 'need for Korean culinary arts major' than college and university students' (p<0.001). University students placed more emphasis on the current policies and business projects of the government for globalization of Korean cuisine as compared to high school and college students (p<0.001). A high percentage of respondents perceived Korean cuisine to be 'old fashioned(44.6%), followed by 'difficulty in finding a good job(40.1%)'. Forty five% of the students responded that the important factor for Korean culinary arts education was the 'curriculum'. More than half of the students perceived 'ability to adapt traditional cuisine style to foreigners and modern customers' as a very important area. In terms of areas required to be included in Korean culinary arts curriculum, ‘basic cooking skills(4.49)' received the highest perceived need score, followed by 'languages(4.46)', 'traditional Korean food(4.33)' and ‘Korean food culture(4.21)'. The findings of the study can be used to develop a curriculum for Korean culinary arts major.

• Journal of Fashion Business
• /
• v.20 no.2
• /
• pp.46-58
• /
• 2016

Architecture and Fashion mutually affects the shape and appearance of the other as an art of space according to the hybrid trends. Therefore, the purpose of this study is to find the correlations between the characteristics of traditional architecture types in Southeast Asia and modern fashion. Firstly, characteristics of the types obtained through the theoretical consideration of Southeast Asian architectural tradition include vertical, symmetrical, geometrical, epeated and continual structure. On the basis of these characteristics analyzed from 2013's S/S to 2015's F/W collection of Alexander McQueen, Gareth Pugh, Victor & Rolf, designers with strong creative and experimental minds who juxtaposed designs of two opposing points as well as hybrids since 2000, the following formativeness exists. First, the vertical structure of high floor is represented as a straight silhouette, a color contrast, vertical cut or wrinkle. Hence, it impresses verticality, rhythm, etc. Second, symmetrical structure of the gable roof is represented as a trapezoidal shape starting from the shoulder line or neck line widened into sleeves, impressing symmetry, dynamism, etc. Third, the geometry of the assembled is represented as vertical and horizontal bands or pattern pieces like puzzle, impressing geometry, three-dimensional, etc. Fourth, repeated structure of the weaving pattern is represented as repetitive patterns of woven fabric or printing techniques. Thus, it impresses repeatability, harmony, etc. And lastly, continuous group structure is represented as a connection of collars or hem-lines, as well as a crossing of fabric that impresses continuity, liquidity, etc.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2017.05a
• /
• pp.207-209
• /
• 2017

3D printing, will make it integrated into one of the important branches of animation art, such as stop-motion Animation, to improve stop-motion Animation and put the modern science and technology and the manual craft into perfect combination. Throughout the development of stop-motion Animation, innovation in traditional concept is needed, to put the 3D printing integrated into traditional making and apply it to stop-motion Animation creation, and make sure to reconsider the animation production technology and production material, exploit its unique and distinctive features in multi-level and multi-angle, reshape art form of stop-motion Animation so as to highlight the advantages of 3D printing in making stop-motion animation.

• The Journal of Art Theory & Practice
• /
• no.5
• /
• pp.83-107
• /
• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• Journal of Broadcast Engineering
• /
• v.26 no.5
• /
• pp.533-542
• /
• 2021

In this study, a process of re-creating Jindo Buk Chum, one of the traditional Korean arts, into digital art using various artificial intelligence technologies was proposed. The audience's emotional data, quantified through artificial intelligence language analysis technology, intervenes in various object forms in the projection mapping performance and affects the big story without changing it. If most interactive arts express communication between the performer and the video, this performance becomes a new type of responsive performance that allows the audience to directly communicate with the work, centering on artificial intelligence emotion analysis technology. This starts with 'Chuimsae', a performance that is common only in Korean traditional art, where the audience directly or indirectly intervenes and influences the performance. Based on the emotional information contained in the performer's 'prologue', it is combined with the audience's emotional information and converted into the form of images and particles used in the performance to indirectly participate and change the performance.

• Cross-Cultural Studies
• /
• v.45
• /
• pp.33-54
• /
• 2016

This study presents a comparative analysis of the calligrammic poetic dictions shown in the poems of the French poets Guillaume Apollinaire and Paul Eluard and in those of the Korean poet Lee Sang. They were adventurers in the avant-garde movement who used experimental techniques that led to futurism, expressionism, cubism, dadaism, and surrealism. They applied a typographic technique that combined pictorial arrangements of fonts, shapes of compositions and between lines, letters of the alphabet, mathematical symbols, and graphical elements, such as circles or lines, to make up a poem that also looked like a painting. Their works, valued as visual lyric poems, break up language and combine anti-poems. They rejected traditional poetic dictions or grammar, but developed a paratactic poem that freely uses letters and symbols. Their calligrammic poetic dictions arouse dynamic images like space extension. Lee Sang's calligrams seem like abstract paintings that apply geometric symbols like those used in technical drawings. As a result, crossing the boundaries between language and pictorial art by using experimental materials and techniques, their poems deconstruct the creative standards of rational and traditional poetic dictions, creating an adventurous, expressive technique. Their calligrammic, avant-garde poems introduced a new spirit of art into both French and Korean modern poetic literature.