• Journal of Korea Game Society
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• v.5 no.1
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• pp.45-52
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• 2005

This paper is re-lighting(reputation) that Ki-saeng is a artist in Chosun age to concern with history, social lives, role, art school of Ki-saeng and Ki-saeng and also is re-light and analysis educate system, rules, curriculum, time table of teaching, graduated album, photos of art school of Pyongyang Ki-saeng. And the using these traditional culture materials of Ki-saeng can create various digital contents of game contents, animation, drama, film and characters. Specially, it is propose to use culture contents that creation and pick out of beauty, talent, social system and art school of Ki-saeng in Chosun age willing to use concept design, scenario of game, animation, drama and film etc.

• (The) Research of the performance art and culture
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• no.36
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• pp.137-167
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• 2018

As Gwangju Gwonbeon(meaning of a gisaeng call-office) was representative Gwonbeon in Honam area, it educated gugak(Korean traditional music) from the period of Japanese occupation to 1951, the year of foundation of Gwangju gugak center. As Gwangju Gwonbeon's later self, Gwangju gugak center was also an institution that local influentials interested in the education of gugak of Gwangju region cooperated and built. Therefore, Gwangju Gwonbeon should be considered when premodern and modern history of gugak in Gwangju is mentioned. However, the studies of Gwangju Gwonbeon as well as related studies are still thin. Previous researches related to Gwangju Gwonbeon are mostly focused on the operation and dance of Gwonbeon. However, Gwangju was a region where Pansori was invigorated. According to "Joseonmiinbogam", a record of gisaeng(Korean geisha) in 1918, gisaengs of Gwangju Gwonbeon were specialized in Pansori as compared with those of other regions. In addition, today, there are many master singers of Pansori heard by people, among persons who were educated and a lecturer in Gwangju Gwonbeon; therefore, their oral statement is important materials for understanding transmission of Pansori in Gwangju. Nevertheless, the relationship between Gwangju Gwonbeon and Pansori was not studied yet. Especially, oral statement of master singers of Pansori related to Gwangju Gwonbeon was collected partly, as a result, it is not recognized as valuable research materials. Foundation of Gwangju Gwonbeon and Gwangju gugak center became an important basis for education of Pansori as early private institute educating Korean classical musicians in Gwangju. And it is also meaningful as the trigger that gugak in Gwangju was begun in earnest. Therefore, the purpose of this study is reconstruct activities of master singers who worked in Gwangju Gwonbeon and Gwangju gugak center and is to examine transmission and value of Pansori in Gwangju from the period of Japanese occupation to 1973, collecting oral statement of master singers related to Gwangju Gwonbeon. Finally, this study might be helpful for expanding the interest in Pansori and activating related studies.

• (The) Research of the performance art and culture
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• no.33
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• pp.303-328
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• 2016

This paper identifies the life of Kim Jung Hyun who was so called kisaeng, a beauty and entertainer in modern times and serves as the study considering what kinds of dances she played going through modern times and the significance works in Korea Dance illustrated guide bear in terms of dance history. Kim Jung Yun who was designated as an important intangible cultural asset for her Korean traditional narrative song in the northwestern provinces (Number twenty-nine. designated in 1971) devoted herself to Korean classical music area after having been designated as cultural asset and became a stranger in dance area. However, in Kisaeng call-office, she had been estimated to learn dancing under the great dancer, Lee Jang Sin, and make efforts on dance activity until the early 1960's. Her works derived from such learning and creation activity came to be part of Korea Dance Illustrated Guide. This study aimed at studying Kim Jung Yun in addition to her works who had not received attention so far but worked on positive lines and made a significant accomplishment in modern dance history in order to reveal her importance status in modern dance history.

• (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.