• Korean Journal of Culture and Social Issue
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• v.22 no.4
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• pp.543-565
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• 2016

The purpose of this study is to understand the experiences in family and the meaning and nature of the family which undergraduate students have when taking over traditional art as family occupation. Five students were selected who majored in traditional art in order to succeed to their family occupation and in-depth interviews with them were conducted according to semi-structured interview guidelines. Collected data were analyzed through Giorgi's phenomenological study procedures and resulted in 65 main meanings, 16 emerging themes and 7 essential themes. These essential themes consisted of 'innate talents in their blood', 'internalization of artistic family traditions', 'impetus given by the family', 'the driving force as a professional artist', 'a life like being imprisoned', 'the wall impossible to go over' and 'family occupations turning into mine .' Based on the results of this study, discussion and implications of the study were presented.

• KOREAN POULTRY JOURNAL
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• v.46 no.1
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• pp.106-109
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• 2014

일본이나 유럽 등에서는 대대로 가업을 이어온 얘기가 심심치 않게 들려오곤 한다. 우리에겐 때로는 부러운 이야기로, 놀라운 이야기로 들리기도 한다. 국내에서 비록 인기 직업은 아니지만 양계2세들이 가업을 계승해 그들만의 큰 꿈을 꾸며 열정과 자부심으로 산업에 뛰어든 이들이 있다. 이제는 부모님이 걸어왔던 길을 동행하며 서로가 좋은 파트너로 자리잡기도 한다. 20여년의 경력을 가진 아버지와 이제 갖 농장운영에 뛰어든 새내기 육계인인 아들이 운영하는 충남 공주에 위치한 눌왕리농장(85,000수 건평 1,287평(약 $4,255m^2$, 부지 4,000평(약 $13,223m^2$)) 이강구 사장 부자(父子)를 찾아가 농장 운영에 대해 들어보았다.

• KOREAN POULTRY JOURNAL
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• v.50 no.1
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• pp.126-129
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• 2018

축산업은 전체 농업 생산액의 약 43%('15년)를 차지하며, 한 해 생산액이 19조 1,257억원에 달하는 농업 핵심 산업이다. 하지만 최근 농가 인구의 지속적 감소와 고령화로 인해서 농업뿐만 아니라 양계업에 인력이 부족해지고 있다. 특히, 육계의 경우 영농승계자의 보유가 37.3%로 축산업 중 다소 낮은 편이다. 이러한 실정에 본지는 가업을 계승해 부모님의 노하우와 자신의 새로운 아이디어로 농장을 운영하는 금안농원 곽동훈 대표를 찾았다.

• (The) Research of the performance art and culture
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• no.40
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• pp.71-109
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• 2020

Nihonbuyo(日本舞踊), a typical traditional Japanese dance, began with kabuki dancing and formed many schools, and was managed by Iemoto system. Iemoto(家元) is the head family of a school of a traditional Japanese art. Iemoto(家元) existed after the establishment of the ancient family system, and it was established as a system during the modern feudal period. Especially in Nihon Buyo, the Iemoto system has developed greatly since the modern era. Iemoto System has has contributed greatly to the succession of traditional arts and has been considered one of the characteristics of Japanese society. Basically, Iemoto system considers it the best authority to pass on the skills of excellent teachers without any distortion. It has various forms depending on the field and the school, but it is an organization with a family structure similar to that of a family with Iemoto at the top. In this article, I examined the establishment and background of the Nihonbuyo and considered the succession of the fame and authority of Iemoto through the system of succession. There are so many schools in the Nihonbuyo world that it is said to be a school kingdom. These schools were divided into kabuki actors, choreographers, female entertainers, ChiutaMai dance(地唄舞) and new dance styles, and the aspect of the Iemoto system was examined through the background and characteristics of each school. While Iemoto system has a positive aspect of inheriting the tradition, there are also many negative criticisms in the art world, such as rigid organizational management, the products of feudal society, the power of Iemoto, and the stalemate of arts. Nevertheless, in a Japanese society that places importance on tradition, the landlady system will not disappear easily. In fact, today, when there are many different art genres in common, young dancers are starting to challenge themselves along with self-examination of Iemoto in order to make the best use of traditional art. We hope that through consideration of the Japanese housekeeping system, it will become a place where intangible cultural properties will be re-acknowledged.