• (The) Research of the performance art and culture
• /
• no.20
• /
• pp.213-249
• /
• 2010

Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, "Kyungjanpae", who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.3
• /
• pp.359-370
• /
• 2023

The purpose of this study is to analyze the meaning of picture book reading experience for 2-year-old children using sensory reading media and to suggest a plan to support language ability through meaningful reading. For this study, 35-month-old boys were selected, and data collection was conducted based on participant observation and field record notes at home and analyzed qualitatively. In this study, for about two months from March 20th to April 30th, 2021, all the time of exploring picture books and playing were recorded and the data were collected. The recording time was about 20 hours, and the collected data and field records were transcribed on 108 pages of A4 paper. The results of the study showed that 2-year-old infants were immersed in exploring new media through the experience of reading picture books using sensory reading media, comparing with similar media, and reading picture books using media. In addition, it was found that the emergence of leading reading that selects and reads books by Hans himself, exploration using reading media, and play linked to picture books in everyday life.This can be seen as a result of suggesting that the picture book reading experience of 2-year-olds using sensory reading media is meaningful to the reading experience of infants.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.3
• /
• pp.425-433
• /
• 2023

In this study, we developed a virtual artist play lesson model using gamification concepts and AI-generated art programs to foster creative thinking in freshman art majors. Targeting first-year students in the Digital Media Art Department at Sichuan Film & Television University in China, this course aims to alleviate fear of artistic creation and enhance problem-solving abilities. The educational model consists of four stages: persona creation, creative writing, text visualization, and virtual exhibitions. Through persona creation, students established their artist identities, and by introducing game-like elements into writing experiences, they discovered their latent creativity. Using AI-generated art programs for text visualization, students gained confidence in their creations, and in the virtual exhibitions, they were able to enhance their self-esteem as artists by appreciating and evaluating each other's works. This educational model offers a new approach to promoting creative thinking and problem-solving skills while increasing learner engagement and interest. Based on these research findings, we expect that by developing and implementing educational strategies that cultivate creative thinking, more students will grow their artistic capacities and creativity, benefiting not only art majors but also students from various fields.

• The Journal of the Convergence on Culture Technology
• /
• v.10 no.2
• /
• pp.127-131
• /
• 2024

SW education was conducted for slow youth learners. 6 learners participatd in 8 sessions of an introductory course using several plays and 3 learners who more interested in introductory course participated in deeper course using normal method. After education, we survey and interview from learners, instructors and heads of welfare organizations. Learners showed interest and participated in the fact that they were participating in SW education, which was widely talked about. Learners were found to be more satisfied with introductory course education using play such as board games, and although they initially appeared to participate in unfamiliar learning content with low efficacy, it was observed that their efficacy increased with repetition. Additionally, it was observed that young people with an IQ of 80 or higher had a higher level of interest or interest in SW education than those with an IQ of 80 or lower. we discussed that there were not many opportunities to directly use the SW education content for youth who are slow learners in work or real life. We suggest this should be a focus education on the use of digital media - online meeting apps, office SW etc.- to improve digital literacy for life and work and that research on this should continue.

• The Journal of Korean Academy of Sensory Integration
• /
• v.8 no.1
• /
• pp.15-26
• /
• 2010

Objective : The purpose of the study is to investigate and compare multi-cultural families in terms of mother' s attitude on child-rearing and their children's sensory processing ability. Methods : 19 multi-cultural families and 38 ordinary families were investigated and all the targeted families had children aged 3 to 7 years. Data were collected by a questionnaire asking general characteristics of mother-child; mother's attitude on rearing; and child's sensory processing ability, the Korean-translated version of Short Sensory Profile [SSP], and the Mother nurturing attitude. Data analysis has been done by Descriptive Statistics for subject characteristics and by Mean-Whitney U test for comparison between multi-cultural family group and ordinary family group. Results : There are significant differences between the two family groups in terms of the rearing attitude, especially in sub-item 'refusing(p=.000)'and 'autonomous(p=.000)'. Result of the SSP also indicate significant differences between the two groups in total score(p=.002) and sub-items such as taste/smell sensitivity(p=.004), movement sensitivity(p=.021), underresponsive/seeks sensation(p=.010), auditory filtering(p=.016), low energy/weak(p=.003), visual/auditory sensitivity(p=.029). Conclusion : The results of this study well describe differences between multi-cultural families and ordinary families in maternal child-rearing attitude and sensory processing ability of the children. It is suggested to collect data regarding adaptation of multi-cultural families and their child development through more profound qualitative studies in further.

• The Journal of the Korea Contents Association
• /
• v.13 no.3
• /
• pp.414-427
• /
• 2013

The purpose of this study was to examine the effects of cultural tourism festival's experiential elements on brand value and festival image. The object of this study was the participants of Ganggyeong Fermented Seafood Festival. 260 questionnaires were distributed and analyzed 251 collected questionnaires with SPSS18.0. The results of this study are summarized as followings. First, cultural tourism festival's experiential elements influences brand value, and playfulness, placeness and deviation among the variables of experiential elements positively influence. Second, uniqueness, contents, and functionality of variables of brand value positively influence festival image. It showed that when the organizer offered exciting experiential program which the participants didn't experienced, it influenced brand value and festival image more positively.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.269-305
• /
• 2016

in the conclusion, appealing ways of expression regarding a wider and more variated range are to be tested and it is stressed the necessity of this to be shown to the general public through an ongoing constructive research on the originality of contents arising from the diversity of music genres And, concerning dance music, it is also pointed out the necessity of in-depth research on the rhythms that take into account the universal emotions of the general public to create diverse music that harmonizes with the dance and can be enjoyed by all. In the world of music, just a simplest attempt can bring about many changes. Depending on the identity of those who lead it, that change's appearance or shape may also be different. Moreover, changes arisen from testing simplified rhythms will let experts to create new music. K-Pop is to test, more than anything, diverse strategies and new changes to be selected by such a wide public. However, such changes ought not to degenerate into mere imitations and can neither become obsolete. The reason lies in the fact that the current efforts for the sake of diversification and creativity of K-Pop genre might well remain as the traditional elements of the K-pop of the future.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.513-557
• /
• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.285-320
• /
• 2020

This study aims to examine the processes of changes of the two main roles, Sangjwa(the young Buddist monk) chum and Omjung(the monk with a boil on his face) chum, performed in Yangju Byeolsandae Nori, on the basis of Chumsawi (dance-movement). Above all, having studied many artistic remains performed by Jo jong sun, Jung han gyu, Park jun seup, Kim sung tae from 1929 to 1942, two main roles, in which Geodeureum chum is now an essential part in almost all performances, were then played only in Kkaekki chum to Taryong Jangdan without performances of Geodeureum chum. In case of Sangjwa chum, players had performed ad libitum and without restraint only on the basis of five sorts of Kkaekki chum's movements. In Omjung chum, witty remarks along with the drama had become more important factors than dances. Let alone two main roles, other parts then also showed no big changes in dance performance. Performers just tried to maintain its slender existence within stifling atmosphere because of oppressions and restraints during the Japanese imperialism. After the restoration of independence in 1945, Kim sung tae and his disciples made a great effort on the restoration of Talnori. During the Korean war, many players also endeavored to keep a good track of Talnori, teaching and training their young followers. Especially performers such as Park jun seup, Park sang hwan, Kim sung tae, and Lee jang sun put much more efforts on restoring Talnori. From that time, Geodeureum chum began to appear in two main roles' performances. In Sangjwa's performances, Byeogsa ritual dance, which was performed to Taryong Jangdan, changed into performances to Yeombul Jangdan, and Kkaekki chum -originally slow and ritual dance, became very fast and active one. Geodeureum chum, called Yongteulim, was added in Omjung chum, so that dance had more important role in performance. Even at this time, dance movements were not clearly and completely organized and arranged, because Geodeureum chum's performance was not clearly defined as orderly dance movements but was regarded as just a movement. After Geodeureum chum being designated as a cultural treasure, Lee byeong kwon took over the task from Park sang hwan, Sangjwa chum's performer, so Geodeureum chum became much more well organzied, arranged and orderly. Geodeureum chum played by Sangjwa had almost the same order of scenes and movements as Geodeureum chum played by Yeonnip. Based on this performance, the order of dances and movements was consistently arranged and settled. Following Park jun seup's performances, Jangsam was more widely applied and used in Omjung chum than ever before, so Omjung chum became much more organized and arranged. Well-arranged Omjung chum had also almost the same dances and movements as Nojang chum's. Yeonnip and Nojang's performances were not directly and intentionally studied and applied to two main roles in Yangju Byeolsandae Nori. Players seemed to borrow those parts naturally through many times of performances. Through their persistent efforts, Jangdan and dance movements have more clearly and completely been organized, establied, and improved through many years' performances. And dance movement can be performed exactly to Jangdan, so we have more complete and orderly types of dance movements. Thanks to many performers' efforts, Sangjwa chum has been established as one that only top performer can play, and Omjung chum has become an integral part in Yangju Byeolsandae Nori.

• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.413-439
• /
• 2011

This study aims to look for the proper directions of following and developing Gyeonggi sinawi dance in the fashion of Kim Sukja by closely examining its kinds and patterns. First, its characteristics and education reality were investigated. Second, the seven kinds of Gyeonggi sinawi dance Kim Sukja allegedly handed down (according to the 121st Report of the Intangible Cultural Assets) were concretely examined. Third, the composition of each dance pattern was studied. Fourth, various beats used in Gyeonggi sinawi dance were revealed. The late Kim Sukja had outstanding artistic talent and ability in Gyeonggi sinawi dance movements, musical composition, gayageum accompanied singing, and pansori episodes. Behind her were master singer Kim Seokchang (grandfather), father Kim Deoksun (belonging to Hwaseong Artist Board), shaman-mother Jeong Gwiseong, and great dancer Jo Jinyeong. Kim sukja's seven Gyeonggi sinawi dance types were bujeong nori, teo beollim, jinsoe, jeseok, kkaekkeum, ollimchae, and dosal puri (designated as Important Intangible Cultural Asset in 1990). Such beats as seopchae (dosal puri), mori, bal ppeodeurae, bujeong nori, ollimchae, jinsoe, and teo beollim (ban seoreum) were mainly used in Gyeonggi sinawi dance. In sum, Kim Sukja's dance was more than an individual's dance to represent the cultural types and life at that time in Gyeonggi-do and be a very important academic historic material. Therefore, it is the responsibility of the present generation to hand down and develop such invaluable traditional cultural materials.