• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.46-57
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• 2018

Fashion is a cultural element expressing general and common aesthetic awareness in a relevant region in the relevant times. On the aspect that shoes are also a part of fashion reflecting the unique aesthetic awareness of Korea, this paper aims to analyze the aesthetic awareness contained in the aesthetic features observed in the traditional boots. The aesthetic features in terms of the form were the balanced usage of each element including curves, straight lines, simple shapes, contrast colors and materials, and the application and ideological significance as the symbol of social position and status in terms of the contents. Aesthetic awareness pursues the beauty of moderation through the compromise between curves and straight lines, as both elements accept each other's features and keep balance without inclination to one element. Next, solid and void are naturally expressed by appropriately adjusting the expression on colors, materials and shapes through the harmony of composure and techniques. While traditional boots were used as the sign indicating social position and status as the unity of spirit and a thing, they pursue the value of rhythmic vitality by giving spiritual meaning to a thing.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.4-17
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• 2014

The more income and free time people have, the more interest in cultural heritage they get to improve the quality of life. In light of this, Local governments put more effort to create colorful events using their cultural heritage resources, and the central government also starts to implement policies to enhance the value of cultural heritage. To keep those efforts on utilizing cultural heritage, however, several issues seem to be addressed in advance. Firstly, it needs to define the concept of cultural heritage utilization that could cover its current policy trend. Secondly, the utilization methodology should be categorized and classified. Therefore, the study for those issues should be carried out to utilize the cultural heritage efficiently and systematically. This study contains the current status of the relevant policies and projects; the trend and meaning of the utilization. And, in this study, the cultural heritage utilization was defined as all activities producing positive effects or influences by cultural heritage such as enjoying cultural heritage values and creating additional profits. Furthermore, the cultural heritage utilization was categorized according to several criteria; the value, the objective, and the type of cultural heritage utilization. Finally, the final part of the study includes proposals on the future policy direction of cultural heritage utilization.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.191-200
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• 2014

This study aims to analyze the current status of government-designated cultural heritage that are protected as sacred natural sites, focused on natural monuments and scenic sites, and provide basic research for these cultural heritage to be included in the protected area category. First, among natural cultural heritage that are designated and protected by Cultural heritage Protection Law, there are 40 scenic sites and 126 natural monuments that have been selected as sacred nature sites. Second, the study showed that sacred nature sites are sacred places that have been long associated with happiness and misfortune of the villagers, including Dangsan Forest, Seunghwanglim(Forest), and, as physical environment and combination of cultural value, rules, and attitude and belief system toward the land that protect the people. The unique folk beliefs of the region provide strong protection of the place. Third, although the natural monuments of old and large trees are not included in the protected area as they are recognized sparsely, but can be designated as world protected area as protected areas are set around sacred nature sites. Fourth, in order to be included in IUCN category, sacred natural sites of scenic sites will need to be managed by specific categories of each area according to the interior status of the designated areas and maintain the sustainability of the natural heritage by protecting both physical and spiritual elements.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.74-95
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• 2009

Folk villages have higher historic and cultural values than other villages and contain considerably many traditional elements today. In Korea, there are seven folk villages that are under the protection of the Cultural Properties Protection Act. Unlike other kinds of tangible cultural assets individually appointed according to the act, those folk villages are protected by the act in entirety including the houses and auxiliary structures inhabited and used by the villagers. Since the act covers the entire villages, the residents are not allowed to repair or renovate their structures and accordingly suffer from huge limitations in everyday life with housing life under the biggest restrictions. Being appointed as a folk village is positive from the perspective of preserving the village. However, it is negative to the villagers because of the limitations to their housing lives. While common people lead a convenient life by the introduction of high technologies in modern society, they do not get to benefit from such technologies for the cause of preserving the traditional culture. Upon the appointment, they are subject to all sorts of building regulations and under huge direct and indirect influences of those regulations across many different aspects of life including housing life. Thus the residents of folk villages do have many complaints about the act. It is only natural that there occur conflicts between the state, which tries to preserve the traditional culture according to the act, and the residents, who pursue convenience in life. At the same time, it is natural too that the residents have the desire to pursue convenience in daily life. Thus they renovate their houses illegally. The government agencies are aware of that, however, it is not right for them to enforce the act and restrict their daily lives. Their tacit approval of such illegal renovations is the product of compromises between the residents' right to their private property and the state's policies of cultural asset protection. The residents try to renovate their houses within the limit that will not call for legal restrictions from the government agencies. The government allows for renovations as long as they are within the minimum limit. It is the result of efforts for the state and the residents to stitch up and compromise their own complaints.

• Journal of agriculture & life science
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• v.46 no.4
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• pp.31-39
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• 2012

In this study, biodiversity was classified as 4 sectors (genes, species, ecosystems, and cultures) and overall 14 indicators were subdivided by the classification criterion of 4 sectors. Among those 14 indicators, monetary evaluation was conducted for 11 indicators that can be quantified in economic perspectives. Results show that negative economy effects (forest degradation, forest fire, forest damage caused by diseases and insects, deforestation, and cost under the assumption with the adoption of the Nagoya Protocol to be compensated for traditional knowledge) by reducing forest biodiversity were evaluated as 254.5 billion won annually. Also, Bioindustry, indigenous species, forest production, protection area, and income associated with mountain village were considered as positive economy effects and their annual economic value was 6.72 trillion won. Net annual benefit by maintaining forest biodiversity was about 6.5 trillion won.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.128-135
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• 2013

The purpose of this study is a suggestion that it is a way for conservation and management the Namgye Seowon's heritage value based on its landscape visibility and land use; Namgye Seowon is a world heritage registration object. To do this, We had done a field investigation and a literature examination. The investigations are as following; first, setting protection zone through a comprehensive approach beyond uniform cultural properties protection zone is to note current intellectual situations as well as the place related to the locational characteristics and figures of Namgye Seowon. It's to set fore seeable section of landscape by analyzing visibility focusing through on Pungyeongnu, and it consider with protection zone and the present condition of land use. Especially, external view of landscape in Namgye Seowon is visualized with Baekam-san in the distance view of it and Cheonhwang-bong in Daebong-san and nearby large soundproof walls and the towers acts as an impediment factor to the view of landscape. In addition, to recover the original view of landscape of the Namgye Seowon, reckless plans focusing the authenticity of the world heritage should be limited and in case of the vegetation landscape, restoration and maintenance will be made through historical research literature. Through this study, researches on Namgye Seowon and several seowons will be done actively and its aims are to become the framework of landscape conservation and management measures to meet world heritage criteria.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.107-117
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• 2019

This paper establishes and propagates the value of the play through the study of the transition process of the yesan play from 1920 to the present, presents an alternative through the unique theatricality of the region and aims to activate it. The theater divided the theater into Yecheon, Chungnam Theater Festival, and Youth Theater Festival, which are currently active, and focused on Yedang International Performing Arts Festival, which is the only one in Yesan. The details of the performance due to the loss of data were not specified as much as possible, but the contents of the yesan play before 1990 were reviewed using the eupji and Myeonji. It also starts with a lack of diversity in plays in the developing direction of Yesan. Children's plays should be dismissed for simple commercial purposes, or the value of traditional Korean plays should be compared to Western ones, to promote the development of local plays through the natural characteristics and the basis of traditional culture, and to sustain the continuity of extreme economic performance and performances through the development of repertoires. Infrastructure deployment can be cited. The in flow of specialized actors and the use of art administrators creates a stable theater environment and activates the reeducation of local actors to promote theatrical imagination. It is also an urgent task to develop a new theatrical form by introducing experimental theatrical methods of young artists in the overseas performance business of theater troupe Yechon. Finally, Yedang International Performing Arts Festival should be characterized and differentiated from other festivals.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.34-43
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• 2022

This study compared the characteristics of cultural heritage in China and Vietnam, which have developed in the relationship of mutual geopolitical and cultural influence in history, and the following conclusions were made. First, the definition of cultural heritage in China and Vietnam has similar meanings in both countries. In the case of cultural heritage classification, both countries introduced the legal concept of intangible cultural heritage through UNESCO, and have similarities in terms of intangible cultural heritage. Second, while China has separate laws for managing tangible and intangible cultural heritages, Vietnam integrally manages the two types of cultural heritages under a single law. Vietnam has a slower introduction of the concept of cultural heritage than China, but it shows high integration in terms of system. Third, cultural heritages in both China and Vietnam are graded, which is applied differently depending on the type of heritage. The designation method has a similarity in which the two countries have a vertical structure and pass through steps. By restoring the value of heritage and complementing integrity through such a step-by-step review, balanced development across the country is being sought through tourism to enjoy heritage and create economic effects. Fourth, it was confirmed that the cultural heritage management organization has a central government management agency in both countries, but in China, the authority of local governments is higher than that of Vietnam. In addition, unlike Vietnam, where tangible and intangible cultural heritage are managed by an integrated institution, China had a separate institution in charge of intangible cultural heritage. Fifth, China is establishing a conservation management policy focusing on sustainability that harmonizes the protection and utilization of heritage. Vietnam is making efforts to integrate the contents and spirit of the agreement into laws, programs, and projects related to cultural heritage, especially intangible heritage and economic and social as a whole. However, it is still dependent on the influence of international organizations. Sixth, China and Vietnam are now paying attention to intangible heritage recently introduced, breaking away from the cultural heritage protection policy centered on tangible heritage. In addition, they aim to unite the people through cultural heritage and achieve the nation's unified policy goals. The two countries need to use intangible heritage as an efficient means of preserving local communities or regions. A cultural heritage preservation network should be established for each subject that can integrate the components of intangible heritage into one unit to lay the foundation for the enjoyment of the people. This study has limitations as a research stage comparing the cultural heritage system and preservation management status in China and Vietnam, and the characteristic comparison of cultural heritage policies by type remains a future research task.

• (The) Research of the performance art and culture
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• no.20
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• pp.63-94
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• 2010

Research on Gong Ok-jin's choreography and its artistic value is still insufficient in the academia of Korea. Her life cannot be said even or smooth - she was born into an artist family with abundant innate talent and sensitivity, feeling joy and sorrow as a gypsy artist begging for food, facing and overcoming the crisis of her trademark deformed dance during the period when she played the solo performance of Changmugeuk, making a transition to the animal dance and finally to the sick dance getting her health back from the long struggle against disease. Her life, however, has always been an artistic expression and we can know that art has been the consolation and driving force of her life. In the Korean artistic tradition that integrates music, singing and dancing, it is beyond doubt that the third has been rather secondary compared with the first two. In the Changmugeuk, however, Gong Ok-jin focuses on each movement of hers, commensurate with the humorous witticism and the traditional opera of pansori. What is her message in such painstaking movements? She puts gestures ahead of words and continues them, reminding her audience of the meaning of dance and driving it into them. Especially, her deformed dance, unprecedented in choreographic history, is hard to understand if you do not sympathize with Koreans' innermost emotions. If you are to understand it, you should first feel what emotions are in Koreans' mentality to be expressed in the form of choreographic elements and what artistic values they carry. This study, in this context, is to reflect upon the original choreographic form of her Changmugeuk solo and to overview Korean dance's unique emotional values with regard to the way Korean choreographic subject matters and traditions are passed down.