• Journal of Fisheries and Marine Sciences Education
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• v.4 no.1
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• pp.30-46
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• 1992

Korea's first exploratory tuna fishing was done with a used longliner in 1957. Then the commercial fishing has been made steady headway since the 1960's and grown up to one of major tuna fishing countries in 1970's. The tuna fishing aimed primarily at acquiring foreign currency, then tuna was exported directly from the overseas fishing base. Tuna, however, has been gradually favored by Koreans as high-proteined foods according to the growth of GNP since the 1970's. In 1980, the canned tuna began to be produced and sold at home. And so the demand of raw tuna for cannaries has steeply increased not only for home but also for abroad, and stimulated the development of tuna purse seine fishery. The author carried out a study on the development of tuna purse seine fishery in Korea and countries concerned-the United States and Japan-because it is recognized to be significant for the further development of this fishery. Just as purse seining was originated in the United States, so tuna purse seining was also pioneered by Californian fishermen in the west coastal waters of the United States (Eastern Pacific Ocean). They started to produce the canned tuna in the early 1900's, and the demand for raw tuna began to be increased rapidly. In those days, tuna was mostly caught by pole-and-line, but the catch amount was far away from the demand. To satisfy this demand, they began to try out fishing tuna by the use of purse seine which had been born in the eastern waters in the 1820's and applied to catch white fishes in the western waters of the United States in those days. Even though their trial was technically successful through severe trial and error, a new problem was raised on the management of tuna resource and the preservation of porpoise which was occassionally caught with tuna. Then the Inter-American Tropical Tuna Commission (IATTC) was established by countries neighboring to the United States in 1950 and they set up the Commission's Yellowfin Regulatory Area (CYRA) and regulated the annual quota for yellowfin. Then, American owners tried to send their seiners to the Western African waters to expand the fishing ground in 1967 and to the Centeral-Western Pacfic in 1974, and the fishing ground was widely expanded. The number of the United States' purse seiners amounted to about 150 in 1980, but the enthusiasm was gradually cooled thereafter and the number of seiner was decreased to 67 in 1986. The landing of tuna by purse seiners in the United States after 1980 maintains 200 thousands M/T or so with a little increase despite the decreasing of domestic seiners. This shows that the landing by foreign seiners are increasing, compared with the landing by domestic seiners are decreasing. In Japan, even though purse seining was introduced in 1880, they had fished tuna by longline and pole-and -line until the tuna purse seining was introduced from the United States again. In the 1960's, Japanese tuna seiners made the exploratory fishing in the South-western Pacific and West African waters with a limited success. In 1971, the government-funded research center "JARMRAC" conducted the exploratory fishing which extended to the Central American waters, the Asia-Pacific Region and the South-western Pacific. It had also much difficulties, till they improved the fishing gear adaptable to the new fishing condition in the South-western Pacific. Japanese government has begun to licence 32 single seiners and 7 group seiners since 1980 and their standard has lasted up to now. The catch in the Pacific Islands Region amounted to 160 thousands M/T in 1986. Korea's tuna purse seine fishery was originated in 1971 by Jedong Industrial Co., Ltd. with three used tuna purse seiners purchased from the United States, and they began to fish in the Eastern Pacific, but failed owing to the superannuation of vessel and the infancy of fishing technique. The second challenge was done by Dongwon Industrial Co., Ltd. in 1979, with one used seiner purchased from the United States, and started to fish in the Eastern Pacific. Even though the first trial was almost unsuccessful but they could obtain the noticeable success by removing the vessel to the South-western Pacific in 1980. This success stimulated the Korean entherprisers to take part in this fishery, and the number of Korean tuna purse seiners has been increased rapidly in accordance with the increased demand for raw tuna. The number of vessels actually at work amounted to 36 in 1990 and they operate in the South-western Pacific. The annual catch of tuna by purse seiners amounted to 170 thousands M/T in 1990 and ranked to one of the major tuna purse seining countries in the world.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.