• (The) Research of the performance art and culture
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• no.35
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• pp.249-286
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• 2017

This study was started the problem consciousness on the tendency of current research which has only focused on specific school even though Salpurichum, which is passed down today, has passed through the first half of the 20th century. We can classify the data in which the tradition aspect of Salpurichum can be researched, into before and after the 1930s, the former is very faint but the latter is a national data at the national level so it is considered they can give a certain degree of trust in understanding the tradition. Even though the data before 1930s is insufficient but it possesses the historical value that tells the phenomenon of that time, this study intends to analyze while reflecting many socio-cultural contexts as much as possible, tries to understand the situation since the 1930s through the actual investigation of the survey report.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.122-134
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• 2019

This study aims to conceptualize characteristics of the Korean traditional dance, and to categorize and analyze the recognition of experience of passing down education of Seungmu(Buddhist Dance), Salpurichum(Exorcism Dance) and Taepyeongmu(Dance of Peace). Dividing into groups of two: an experienced person twenty years or more in the Korean dance and a person who completed the traditional dance three years or more, three groups were selected. We connected the characteristics of the traditional dance experienced in passing down education with the recognition experience in the training courses. Categorizing thematically the process and the recognition of experience in the passing down education program, we attempted mutual group discussion and inductive area analysis on the basis of in-depth interview, tutorial discussion and analysis contents. As a result of this study, first, the characteristics of the Korean traditional dance that graduates of the program by repertory empathize were the experience of the sinmyung(the excess of mirth) and improvisation, the supreme self-controlling beauty and the best beauty of expression. Second, the recognition of experience in the passing down education program runs as follows: Interacting in the centre of the process, new education system for transmission, and formation of social discourse for appreciation. Conclusionally, the experience and the new vision for transmission of passing down education of the traditional dance are required to be based on the appreciation of the rationality of mutual communication and recognition of experience.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.31-48
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• 2013

It goes without saying that Yi Mae-Bang, as the sole owner of two of the intangible cultural assets including No. 27 Seungmu in 1987 and No. 97 Salpuri Chum, is a top-notch Korean traditional dancer. Moreover, in regards to traditional clothing, he is also known as the only traditional dancer who directly performs on stage as well as analyzes traditional clothing in order to apply them into his own dance performances by designing and producing them to meet his artistic spirit. In order to examine how Yi Mae-Bang's unique and creative stage clothing was developed, and what kind of process it went through to possess its unique style, which draws the attentions of people with its harmony of beauty and dance, this research first examined the change of the composition through the yearly picture data. Before 1984, the composition of the Salpuri Chum clothes changed by putting on 'Jeogori' on the 'Mudong-Bok' without the 'Kweia' (sleeveless), and in 1999 'Mudong-Bok' became widened with the decoration of embroidered hem making it more attractively colorful. after 2000 it became more splendidly adorned by embroidering hem on widened Mudong-Bok and tucking 'Kweja' in the layers which created silhouette like a dress that is seemingly wider and luxuriant than a skirt. One of notable features of Yi Mae-Bang's Salpuri is that its cloth and cuff ribbons are lightly colored in different colors enclosing the tip part. As for the ribbons, it was also changed as time went by from direct-cutting of the cloth just like the A-line of Mudong-Bok to drawing a diagonal line less than 5cm above the ribbon and 8cm below the ribbon so that it takes the form of getting widened as it gets to the lower part, and its length was also elongated in proportion to that of the bottom of Mudong-Bok.