• Cross-Cultural Studies
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• v.49
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• pp.303-330
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• 2017

This paper examines the origin of the current Nigerian Yoruba artistic and cultural tradition through ancient artifacts and creation myths centered on $Il{\acute{e}}-If{\acute{e}}$ (or $If{\acute{e}}$) located in the southwestern part of Nigeria and recognition of cultural relativity. In the oral tradition, kingdoms of Ijebu, Oyo, and Benin all have their origins in the ancient city of $Il{\acute{e}}-If{\acute{e}}$, the cradle of Yoruba culture. Their founders were sons of Oduduwa, the god of Yoruba. In this way, kingdoms built around $Il{\acute{e}}-Ife$ were closely connected with culture, religion, and society. In order to understand the Yoruba culture, research on $Il{\acute{e}}-Ife$, the source of their artistic and cultural traditions, is very important. The Yoruba are deeply rooted in $Il{\acute{e}}-Ife$. They have been steadily preserving their artistry since the beginning. They have been using it in their lives to this day for centuries. Their evidences are mythology and Ifa divination system. They are cultural heritages that represent the art of Yoruba and the spiritual culture. Ifa devination system is one of Yoruba traditions associated with Yoruba gods 'Eshu' and 'Ifa'. It has been conducted among the Yoruba until now. If the culture and civilization of Africa, including these Yoruba traditional customs, are deemed illogical and superstitious, it would mislead their efforts to preserve the origin in its original form. If so, one should understand the relativity of other cultures and civilizations and the need for diversity and flexibility of value standards to judge their cultures and civilizations.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.325-330
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• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.203-210
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• 2021

Yuri Vasilyev - actor, director and drama teacher. Russian meritorious artist, winner of the stage "Medal of Friendship" awarded by Russian President Vladimir Putin; academician of the Petrovsky Academy of Sciences and Arts in Russia, professor of the Russian National Academy of Performing Arts, and professor of the Bavarian Academy of Drama in Munich, Germany. The physiological sense stimulation method based on the improvement of voice, language and motor function of drama actors. On the basis of a systematic understanding of performing arts, Yuri Vasiliev created a unique training method of speech expression and skills. From the complicated art training, we find out the most critical skills for focused training, which we call basic skills training. Throughout the whole training process, Professor Yuri made a clear request for the actor's lines: "action! This is the basis of actors' creation. So action is the key! Action and voice are closely linked. Actor's voice is human voice, human life, human feeling, human experience and disaster. It is also the foundation of creation that actors acquire their own voice. What we are engaged in is pronunciation, breathing, tone and intonation, speed and rhythm, expressiveness, sincerity, stage voice and movement, gesture, all of which are used to train the voice of actors according to the standard of drama. In short, Professor Yuri's training course is not only the training of stage performance and skills, but also contains a rich view of drama and performance. I think, in addition to learning from the means and methods of training, it is more important for us to understand the starting point and training objectives of Professor Yuri's use of these exercises.

• Korean Association of Arts Management
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• no.52
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• pp.39-73
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• 2019

The purpose of this study is to explore the issues and alternatives in the promotion of space and exhibition support projects in visual arts, and to suggest an applicable direction of the government grant program. For this study, FGI and in-depth interviews were conducted in the direct beneficiaries of the grant program, the staff of the grant program, and the group of visual arts expert. As a result, the deliberation and selection of the support project should be carried out with sufficient time in consideration of the specificity of the support project. And the project requires to divide into two kinds of the projects based on the understanding of the social role and differentiation of non-profit exhibition spaces and private art museums. For the grant application and assessments, a long-term support is necessary to bring the capability and issues in efficient allocation of the budget, flexibility of budget item, and the budget shortfalls. Furthermore, the reliability between the grant program and beneficiaries needs to form a healthy partnership, and the evaluation criteria and eNARADOEUM system should be more practical and rationally established. Through this analysis, the implications of understanding the specificity of visual arts support projects, establishment of sustainable visual arts creation policies, and budget utilization were derived. Consequently, cultural and artistic support projects were directed to place more emphasis on efficiency than control, direction considering the position of consumers than suppliers, and long-term business planning rather than short-term perspective.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.2
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• pp.194-205
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• 2012

Historically, garments have been spontaneously made with human instinct in order to warm and decorate the body using textiles that have been made and used by various peoples in different cultures. Contemporary garments have been used as a means of warming as well as express individual personality and a desire to pursue beauty. They have a unique formativeness and a symbolic nature according to cultural phenomena that reflect a cultural outcome that expresses contemporary thinking and ideology as well as their aesthetic consciousness. This study globally promotes Chinese opera mask culture and proposes the possibility of creative thinking through the introduction of Chinese opera mask elements into contemporary fashion, expressing them as patchworks. In order to endow artistic value (required in contemporary fashion) this study creates works by analyzing and applying a formative sense seen in patchwork techniques and the characteristics of Chinese opera masks; in addition, it sought the possibility of new expressions in garment designs. The results obtained from the research involve the following. First, the introduction of the traditional patchwork technique to contemporary garments may be a dynamic theme of garment expression and exceed stereotypical ideas that enable the creation of designs attuned to the globalization era. Second, it was possible to pursue independent formativeness which is in harmony with a modern sense through the restructuring of the harmony of colors and practical characteristics found in patchworks. Third, it was possible to demonstrate their artistry and unique effect in the expression of contemporary garments by the expression of the analyzed results of characteristic patterns of Chinese opera masks with a patchwork technique in creating works. Results show that it is necessary to conduct research into a patchwork technique that applies diverse materials as a new method to develop contemporary garment design also as a creative design. In addition, if the analyzed results of the characteristic patterns of Chinese opera masks can be expressed with a patchwork technique, they may be able to exhibit a genuine effect along with the artistry of expression in contemporary garments; thereby, relevant follow-up research should be further continued.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.449-458
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• 2011

The purpose of this study is to analyze the attitudes and perception of Yeosu citizen towards cultural arts and city policy of Yeosu for establishing the culture city. The results of the study shows that first, the citizens of Yeosu is dissatisfied with the local culture and arts. It is necessary to provide a variety of cultural arts space, and the facility for the citizen. Second, the citizens are dissatisfied with their culture and arts policy and administration. For successful promotion of urban cultural art as well as the for successful hosting of the 2012 Yeosu World Expo, the policy to participate of local people in the culture and arts administration should proceed. Third, as the policy of culture and arts city of Yeosu, the established facilities for the World Expo 2012 should be transformed and be leased out for small-scale of local arts and cultural events. Finally, the study shows that opportunities for artistic creation and cultural activities should be available to local artists and the opportunity to participate for the arts is necessary to expand for Yeosu citizens.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.

• Archives of design research
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• v.20 no.1 s.69
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• pp.287-296
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• 2007

Since the beginning of the 20th century, the art has developed its artistic qualities in exercising an influence on the creative elements of the fashion. In this sense, the fashion is one of many methods of which given time's arts, their compositions, and elements can be expressed, recognized, and experienced. In this study, artworks of Roy Lichtenstein, who took the leading, active role of pop artist have been studied. The purpose of this study is to present practical application of the art and aesthetic and artistic application of clothing by studying and applying the factors of Roy's paintings. The conclusion through actual designing is as follows: First, Lichtenstein interested with the characteristic of print media. He combined the image of commercial technique with the traditional painting by using Ben-day dots. Second, he reduces his form and color to the simplest possible elements. Third, by applying Lichtenstein's works to fashion design, we can make creative and aesthetic fashion works. Fourth, his Ben-day dots and stripe was applied to variant dots and stripe pattern in the fashion design. Roy Lichtenstein is expected to continually affect modern fashion and also fashion of the future. Furthermore Lichtenstein's works are expected to be further studied under various methods and ways, and those aesthetic characteristics would be developed and expressed more in fashion design under various perspectives.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.9-20
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• 2017

Camp Page, which has been located in front of Chuncheon Station for about 50 years since 1958, recently opened to the public. Chuncheon City is currently struggling to construct a park on this site due to an uncertainty of general plans and financial difficulties. Accordingly, this research conducted a cognitive survey about site usage with Camp Page users in order to clarify directions for efficient establishment of parks within the former military base. The course of research includes analytical methods such as a survey targeting Chuncheon citizens and tourists both in the field and online, a frequency analysis of 1,360 index samples, a cross analysis and t-test. As a result, firstly, Chuncheon citizens recognized the image of Chuncheon as a city with a fresh, clean lakeshore whereas tourists think of it as a city for sightseeing and leisure. Hence, it was justifiable to conclude that the city should organize various programs for people to enjoy leisure activities while at the same time protecting the environment. Second, the awareness of tourists about Camp Page was relatively low and both citizens and tourists recognize that it was not sufficient enough for enjoyment of free time. The majority answered "space for culture and art and for experiencing the natural environment" when asked about the direction of space creation at Camp Page, which indicates that the site will need to be available both for cultural art and nature experiences. Lastly, it was thought that the direction of developing leisure facilities in Chuncheon city should include the improvement of worn out installations and developing chain products among programs. This research will be able to use fundamental data for the efficient utilization of the returned U.S. military camps that are constantly merging.

• The Journal of Art Theory & Practice
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• no.5
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• pp.197-215
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• 2007

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.