• Journal of Families and Better Life
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• v.19 no.6
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• pp.95-112
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• 2001

The purpose of this study was to develop an Imaginary Audience Reduction Program and examine the effectiveness of using the program on improving female adolescents' self-esteem. Based on the results from the study, 10-session-Imaginary audience reduction program was developed. Then the researcher conducted the Imaginary Audience Reduction Program for 72 female adolescents from 4, May 2000 to 7, July 2000 at the girls'middle school in Daegu. For examining the effectiveness of using the program, the research instruments were Self-Esteem Inventory(SEI; Coopersmith, 1967) and New Imaginary Audience Scale(NIAS; Lapsley, FitzGerald, Rice & Jackson, 1989). The research instruments used for pre-post-follow up tests. The Data were analyzed by Repeated Measure ANOVA. There were statistically significant differences in self-esteem and Imaginary audience. Results revealed that adolescents who took the Imaginary Audience Reduction Program consistently reported the improvement of their self-esteem level and the reduction of their Imaginary audience level. The implication of study findings will be discussed.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.