• (The) Research of the performance art and culture
• /
• no.40
• /
• pp.111-136
• /
• 2020

Agricultural high schools are undergoing a change their name from the mid-1950s to the 2000s. Although it varies slightly depending on the case, it has been changed from 'rural forests' to 'agricultural farms' or 'agricultural industries' and 'life sciences high schools' in turn. In several aricultural high schools had managed Nongak Department(class), it's guarantees the continuity of Korea's traditional folk art. Examples include entertainment and farming in Honam region of Jeonju aricultural high School in North Jeolla Province, Geumsan aricultural high School in South Chungcheong Province, Gimcheon aricultural high School in North Gyeongsang Province. Therefore, the interpretation and significance of studies should follow. This method of Nongak education in modern school institutions is a new phenomenon in the history of Nongak after modern time, the emergence of a whole new pattern of professional entertainment Nongak after paving and Female-Nongak, as well as local traditional folk music. Education here was conducted in such a way that the best performers of the time were invited as guidance teachers among traditional folk artists. Thus, various local and professional music and entertainment were able to be promoted Apart from the social relations of delay, social progress, and economy, the education of farming and music, which consists of teachers and students in public schools, has provided an environment where unlimited freedom is allowed for art forms. In other words, the conditions for a new performance style experiment and creative fusion were met, and the foundation for the development of professional musical performers who had acquired individualized talents from previous generations was laid down in the context of the phenomenon of active stage music and theater performance of outstanding in the culture of Nongak. In other words, the Department of Agriculture and aricultural high school was a very free space compared to other communities' and economic community's agricultural music in social relationships bound by traditional cultural customs. This is why they have created a new style of performance through a new experiment and a different traditional performance repertoire, and their activities have led to a more stylistic expansion from traditional farming. More importantly, the figures who came across Agricultural Nongak department became the main experts of traditional Korean folk music nowdays. Thus, Nongak Department, operated by the Agriculture and Forestry High School, was a space where would give a very important meaning in terms of Nongak history.

• Journal of Digital Convergence
• /
• v.17 no.9
• /
• pp.343-347
• /
• 2019

As an important branch of decoration of blue and white painting, folk blue and white painting not only has a very long history, but also has a very distinctive folklore and artistry. During the Ming and qing dynasties is an important period, in the development of the folk blue and white painting, the folk craftsmen through long-term study and practice, constantly familiar with drawing technique to master the method, combining folk life form, and folk painting decorative expression aesthetic demand, thus make the painting MinSuXing and artistic expression continuously into the blue and white porcelain painting in the process of development, become an important and indispensable component of ceramic decoration.

• (The) Research of the performance art and culture
• /
• no.19
• /
• pp.161-190
• /
• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• KLA journal
• /
• v.55 no.9
• /
• pp.28-32
• /
• 2014

• Proceedings of the Korea Society of Costume Conference
• /
• 2005.10a
• /
• pp.238-239
• /
• 2005

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.291-319
• /
• 2021

In this paper, I looked for the parts where laughter appeared in the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother of Tongyeong Ogwangdae and Dongrae Yaryu, and investigated the meaning of those parts. Laughter in mask play has made him more tolerant of human injustice and foolishness. I softened the critical content and naturally revealed what I thought should be hidden. Through a short and noisy plot, the opposing forces, the inner conflict of the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother were shown in a realistic and realistic way. The worldview that creates the structure of realism is typically skeptical and ironic, and the worldview that creates the comical structure related to laughter aims for the ultimate emergence of a new order based on unity and harmony. Masking is thought to be a work in the stage of moving from the latter to the former. Therefore, it is judged that laughter in mask play served as an important medium for Korean art thought to have a realist view of the world. This is because various expression methods that induce laughter are working to reveal negativity, reveal the illusion of contemporary values, and naturally expose restraint and taboo suppression. In laughter, there is a path that transforms perception by fusing several elements. There was realism at the end of the pathway to new perception.

• 식품문화 한맛한얼
• /
• v.1 no.2
• /
• pp.123-125
• /
• 2008

1천년 문화유산을 간직하고 있는 강릉(江陵)은 태백준령에서 흘러내리는 맑은 하천이 수놓은 기름진 들녘과 수자원이 풍성한 동해바다를 거느리고 있어 음식문화 또한 다채롭다. 날로 먹어도 꺼릴 것이 없는 청정한 해산물과 반가에 전래해오는 전통한식, 사천 한과를 비롯한 서지마을 질밥과 씨종지떡 등 고유한 민속음식들이 유구한 경지를 자랑한다.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.127-155
• /
• 2018

This paper considers the structure and meaning of the folktale accompaniment of the sound of UlsanSoeburisoree. The review process examined the meaning of each structure of the UlsanSoeburisoree in the preparation process while preparing the main elements of the structural features along with the historical background of the structure. UlsanSoeburisoree is Poongcheol ritual ceremony which means prayer ceremony for the production of iron. The sound of UlsanSoeburisoree is 1-Gilnori 2-Gosa 3-The sound of blowing smelting process 4-The sound of process of iron smelting 5-The sound of tabooline 6-The sound of blowing smelting process 7-The sound of blowing matches 8-The After-party. This structure is in line with the structure of folk play called Gilnory-Gosa-Performance-After-party. This is similar to the basic structure of folk beliefs Cheongsin(請神)-Osin(娛神)-Songsin(送神). Thus, the sound of UlsanSoeburisoree was formulated in a sequential parallel structure. The sound of UlsanSoeburisoree resemble the sacrifice of heaven ceremony since the time of the SamHan dynasty. The sound of the birth of life by physical sacrifice also plays the role of the song of creation of new life. The sound of UlsanSoeburisoree can be seen not only in Korea 's folk culture but also in folk culture of GyeongnamDo area. There are many festivals to pray for the abundance of life for UlsanSoeburisoree. Soil plays an absolute role in the process of producing iron. For those who soak it, the earth is a religious object. Among the folk tales handed down in the Yeongnam area, there are a lot of performances that are passed down through the blending of the people 's affection to overcome the harshness of life. In the case of the sound of UlsanSoeburisoree, it can be said that it was made and mixed with the wind that wanted to go beyond the harshness of life and the spirit of art.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.549-580
• /
• 2019

There are many festivals in the region that mainly use traditional performing arts. Traditional performing arts has a story that incorporates the history of the area, and it is easy to build a brand that can be distinguished from other areas through traditional performing arts, so it has conditions that are easy to grow in the local festival it can. In this paper, I researched the relationship between the significance and regionality of regional performing arts, referring to the case where traditional performing arts, which is a joint cultural heritage of East Asia, are transmitted as a festival. The performance art with strong locality has grown into a local festival, and the Kanto Festival (竿燈) held in Akita prefecture in northeastern Japan was selected as a representative example of that area. Along with the Aomori Nebuta Festival and the Sendai Tanabata Festival, the Kanto Festival is called the 3 major festivals in the northeastern part of Japan. It was designated as an important intangible folk cultural property in 1980 and became more famous. It visited Seoul several times after the 2005 Japan-Korea Exchange Festival event. It is widely known as a regional festival that represents Japan. The Kanto Festival, which was a participatory event on a village basis, has faced problems such as the migration and aging of young people since the 1970s. In order to solve this, they led the participation of schools, educational institutions, and various groups beyond the village unit and persuaded the participation to the local companies. They have been steadily promoting free lectures on technical skills and school visit events that induce children's interest. As a result, the number of moths mobilized in the current festival has reached 250, and the Kanto tournament also shows great popularity every year.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.121-143
• /
• 2021

The Aim of the this paper is to figure out impetus of the Naeseo Traditional Folk art Conservation Association. This Preservation Society derived from Hogaeri farmers' band. Through aging and hollowing out Hogaeri farmers' band got into a period of stagnation. In order to overcome slump villager and people of a township organized a conservation society in 1994. Members restored and directed folk song which from age to age for performance. are designated as cultural asset in 2017. Sutguldeong song is only song in inland area. This song are worthy of notice in . which is consist of various agricultural work songs experienced two changes. Rice-planting songs are characteristic. Especially, Executive playing a central role harden foundation of the Preservation Society. The mainspring of activity is the sense of responsibility. Preservation Society laying emphasis on recruiting new members. Preservation Society is planning to develop curriculum for Jurisdiction elementary and middle school students. This Preservation Society is made up of First generation members and Second generation members. First generation members who are born and bred in Hogaeri have been good friends both in joy and in sorrow Early days of Preservation Society. So, They has a strong family bond. In order to induce membership Members are practicing Nongak, popular folk songs, dancing program. Second generation members are not conversant with a folk song. Nonetheless They have a strong mind on a member line.