• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• Korean Journal of Culture and Social Issue
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• v.11 no.1
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• pp.85-108
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• 2005

This study was to conceptualize Palzha and investigate Palzha inference as mode of self-view. In general, people would like to attribute their unhappy and unfortunate life events or histories to Palzha which is given by the supernatural being. According to analysis of interviews and open-ended responses concerning on Plazha, Palzha indicated 'luck', 'uncontrollable situation', or 'fate' given by the supernatural being. In study 2, we conducted an analysis of the relationship between locus of control belief and Palzha attribution. More having external control belief, more tending to attributing the rugged life events or histories, and unexpected fortunate events to Palzha. Consequently, Palzha as mode of self-view on everyday events or life-events indicated it is likely to be another dimension of attribution on negative as well as positive life events in Korean culture.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.221-251
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• 2017

This study attempts to examine the problem of properties mentioned in Shin Jae hyo's adapted version of Baktaryeong through the property related behavior of the characters, and discuss Shin Jae hyo's view of properties and his contemporary perception problems. As a result, in Baktaryeong, Nolbu takes the shape of a rich farmer in the existing text with grain centered accumulated properties, and of a wealthy man who is skilled in money management and growth as an economically well-informed person. In contrast, Heungbu is a poor peasant isolated from his own farm without enough property to minimally survive, representing the alienated poor who can not adapt to the currency economy led by the Nolbu people. This adaptation could have been a product of Shin Jae hyo's own view of property. Through the detailed description of Baktaryeong, it can be seen that he found it difficult to observe too much, but he thought that interest in property and money seemed basically to be affirmed in human life. In addition, in terms of issues of the poor, he found that the economic efforts of the lower classes and the care of the rich should be needed for the poor. However, he was forced to put the sense of crisis and the self defense consciousness as a wealthy family of middle class in the local society under the rapidly changing circumstances of the time into the text. That is, Baktaryeong included his own diagnosis of the present reality by drawing the issue of wealth and poverty in existing Heungboga(jeon), which is perhaps more appropriate for reality based on Shin Jae hyo's own view of properties.

• (The) Research of the performance art and culture
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• no.40
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• pp.269-305
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• 2020

Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.

• Journal of Naturopathy
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• v.12 no.1
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• pp.24-30
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• 2023

Background: Arirang is a UNESCO Intangible Cultural Heritage and intangible cultural property No. 129. However, research on the origin of Arirang in Seoul is still narrowly conducted, and it is necessary to investigate it academically. Purpose: This study is to clarify the research on the origin of traditional Arirang in Seoul area on a theoretical basis. Methods: I searched various documents to find the source of Arirang in Seoul. Results: The record of 'Arirang' was first confirmed as 'Arirang Taryeong(song)' in 'Hanyang-ga' in Maecheonyarok (Maecheon's history) by Hwang (1894). After that, Hulbert (1896) published the first modern sheet music and lyrics of <A-ra-rung> on music paper. In addition, Lee Sang Jun (1914) edited <Old Korean Folk Songbook, First volume> and recorded the lyrics and score titled 'Arirang Taryeong' on page 25 and the long Arirang Taryeong. Conclusions: Literally, the origin of 'Arirang in Seoul' is 'Arirang Taryeong' first recorded in 'Hanyang-ga' of Maecheonyarok. Arirang song, which originated in Hanyang, can be called Seoul Arirang. It is suggested that Seoul Arirang has a very high value as a protected cultural heritage of Seoul because of its historical and cultural characteristics.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.113-138
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• 2008

Because of difference of syntactic construction, Lee dong- baek's divides into two parts. Though each parts show different principles of thinking, they aim same communicational purpose. The first half of that quotes set phrase of Chinese classical literature and folklore shows principles of expression that represent object by present cultural well-acquainted informations. It reflects process of thinking basing on cultural identity in pursuit of harmonious communication with listener. In the latter half of the work, the object is presented by mimesis and sensuous description. It implicates intention of making correspondence between linguistic sign and object, and shows principles of expression that present more directly by strengthening the motivated between sign and object. Based on discussion above, I hope we will find a clue to make contents of Korean expression education. We will convert these principles of pursuing cultural universality to make sympathy in communication and pleasure of that, or of representing object substantially to make correspondence into the contents of Korean expression education.

• The Science & Technology
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• v.35 no.11 s.402
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• pp.14-15
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• 2002

대선후부 토론 - 관심도 높은 <대선후보 과학기술 정책포럼> '과학자질' 검증 등으로 반영해야/ 신선한 충격 - 평연구원의 노벨상, '연구환경 타령' 자세 버려야

• Korean Journal of Heritage: History & Science
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• v.22
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• pp.419-460
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• 1989

화순군을 구(旧)한말까지의 행정구역을 참고로 하여 동복방면, 화순방면, 능주방면으로 나눈다면 남면의 수몰지역은 동복면, 이서면, 북면과 더불어 동복방면에 든다. 동복방면은 섬진강유역의 문화권인데 비해 화순, 능주지방은 영산강유역의 문화권이 된다. 상여소리는 위의 세방면이 서로 큰 차이가 없다. 회닫는 소리가 경기도나 강원도에 비해 현저히 미발달(未發達)된 것은 몇 년 후에 보통 이장을 하는 관계로(토질상, 관습상) 봉분을 다시 파헤쳐야 하기 때문에 회닫을 필요성이 적은 탓으로 해석된다. 북면 원리엔 정월보름에 액막이로 하는 달구질소리가 있다. 모찌는 노래가 따로 없고, 잘 부르질 않는다. 바닥풀소리가 있다. 화순군의 대표적인 논매는 노래는 논매는 양산도이다. 수몰지역의 논매는 노래로는 양산도 및 산아지로고나, 사호소리, 세월이 가 있다. 산아지로고나는 섬진강유역의 대표적인 논매는 노래이며 사호소리는 능주지방 및 화순읍, 동면녹음에선 나오지 않았다. 반면에 세월이는 화순, 능주방면에서 나왔고 동복방면 녹음때엔 안나왔다. 화순군의 논매는 노래로는 그 밖에 아리시고나 마디여, 사하뒤여, 매화타령, 매화가, 노방가, 방애, 더덜기, 난초타령 등이 있다. 아리시고나 마디여는 영산강유역(함평 무안 나주 영암군)이 본고장인 것으로 보이는 논매는 노래로 화순군에서는 북면에서만 나왔다. 장원질 노래로는 사하디여, 풍년가, 두려소리, 뚜룸마, 일반농부가, 양산도, 산아지로고나, 성주, 덩기, 얼쭝덜쭝, 사호소리 등이 쓰인다. 줄메고가는소리로는 "위야허허"가 보성군과 마찬가지로 일반적이며 그 밖에 능주면 만인리의 어기야자자뒤여 가 있다. 기타의 노동요로는 주로 광의의 농요가 수집되었으며 작도소리, 나무내리는소리, 맷돌노래 등이 주목된다. 씨름판 노래로는 썸바타령, 개골, 논매는 양산도 곡(曲)등이 쓰인 것으로 나타났다. 동물요(動物謠)로 거무, 이, 천룡와깨비 등이 수집되었다. 그 밖에 판굿노래, 팽이치기, 연날리기, 등잔가세 등이 주목된다. 논매는 노래는 매화가를 제외하곤 거의가 멕이고 받는 가창방법이며 [표 3]의 46곡(曲)중 1/4 정도만 꺾는 음의 효과(効果)가 있는 곡이다. 솔(라)도레미'의 선법인 것은 44%에 달하며 그중 7할이 기음의 4도윗음인 도에서 종지하되 이를 퇴성한다. 기타에 대해서는 [표 3, 4, 5] 참조.

• (The) Research of the performance art and culture
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• no.39
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• pp.749-774
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• 2019

In the situation where the interest of the academics related to the Hyangje Samhyunyukgak is increasing, the task of identifying the identity of the Hyangje Samhyunyukgak should precede. In this paper, we will discuss the characteristics of the Hyangje Samhyunyukgak distinguished from the court style Samhyunyukgak. First, we will discuss the characteristics of instrument organization. In the form of the Hyangje Samhyunyukgak, the composition of the musical instrument is flexible. Depending on circumstances such as the geographic region or the composition of the player, the set of instruments were added or reduced. The second part relates to composition of music. Among the various pieces of music, a piece of music to be selected in a specific situation is music pieces related to the use of the piece of music in depth. In this phenomenon, the music with the greatest change is Geosangak(거상악). The music played as Geosangak repertoire showed various musical pieces that are related to various situations in different regions. Finally, I would like to discuss the problems related to the origins of Hyangje Samhyunyukgak music. Compared to the songs of Ginyeombul(긴염불), Gutgeori(굿거리), and Taryeong(타령), it is difficult to totally exclude the relationship from the local music genre. And I could guess that such a common denominator was closely related to the Jangdan.

• (The) Research of the performance art and culture
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• no.41
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• pp.133-156
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• 2020

This is a paper that examines the meaning and changes of how Dalgang Song, a parenting song, is accepted in pansori works and how it plays a role in the narrative of the work. In Chapter 2, Compared the lyrics of Dalgang-Dalgang in actual parenting scene and Dalgang-Dalgang in Pansori's work. As a result, the songs in Pansori, show some differences in lyrics, but most of them kept the narrative structure intact. Among them, Gangreung-maehwa-ga maintained the phrase "Dalgang-Dalgang" in front and back, making the least changes. Simcheong-ga and Jeokbyeok-ga maintained their epic structures, but the the front and the rear phrase turned into a "Uh huh, Doong doong". And Dalgang-Dalgang was sung mostly by its mother or grandmother at the actual parenting scene, but the song in Pansori, was all sung by men. Dalgang song in Pansori, had a mostly Gyemyeon melody due to the genre characteristics of Pansori. Also Dalgang-Dalgang for actual parenting, was sung with a leisurely, soft beat. But Dalgang song in Pansori's works were sung rhythmical with Jungjungmori rhythm or Jajinmori rhythm to maximize joy. In Chapter 3, I discussed the roles and meanings of Dalgang song contained in Pansori. Dalgang-Dalgang of Simcheong-ga appeared in the crucial process of Sim Hak-kyu's return to will of life through Simcheong after the death of his wife. In Jeokbyeok-ga, Dalgang song also appeared as a tool to recall the happy memories with his son. On the other hand, Dalgang-Dalgang of Gangreung-maehwa-ga played a role of expressing affection for relationships between men and women, not between parents and children. This is beyond the original meaning of parenting, which means the hedonistic and excessive affection of Mr. Gol. The desire to change a relationship between a man and a woman into between parents and children is also found in Kim Yeon-soo's Chunhyang-ga. This change is an example of how the role and meaning of Dalgang song has changed dramatically as it was inserted into pansori. And the reason why Dalgang-Dalgang was so important in the narrative of Pansori was because of The lyrics of the song contain the love of the baby.