• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Journal of Korean Society of Archives and Records Management
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• v.1 no.1
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• pp.19-35
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• 2001

After almost one century of discontinuity in the archival tradition of Chosun dynasty, Korea entered the new age of records and archival management by legislating and executing the basic laws (The Records and Archives Management of Public Agencies Ad of 1999). Annals of Chosun dynasty recorded major historical facts of the five hundred years of national affairs. The Annals are major accomplishment in human history and rare in the world. It was possible because the Annals were composed of collected, selected and complied records of primary sources written and compiled by generations of historians, As important public records are needed to be preserved in original forms in modern archives, we had to develop and establish a modern archival system to appraise and select important national records for archival preservation. However, the colonialization of Korea deprived us of the opportunity to do the task, and our fine archival tradition was not succeeded. A centralized archival system began to develop since the establishment of GARS under the Ministry of Government Administration in 1969. GARS built a modem repository in Pusan in 1984 succeeding to the tradition of History Archives of Chosun dynasty. In 1998, GARS moved its headquarter to Taejon Government Complex and acquired state-of-the-art audio visual archives preservation facilities. From 1996, GARS introduced an automated archival management system to remedy the manual registration and management system complementing the preservation microfilming. Digitization of the holdings was the key project to provided the digital images of archives to users. To do this, the GARS purchased new computer/server systems and developed application softwares. Parallel to this direction, GARS drastically renovated its manpower composition toward a high level of professionalization by recruiting more archivists with historical and library science backgrounds. Conservators and computer system operators were also recruited. The new archival laws has been in effect from January 1, 2000. The new laws made following new changes in the field of records and archival administration in Korea. First, the laws regulate the records and archives of all public agencies including the Legislature, the Judiciary, the Administration, the constitutional institutions, Army, Navy, Air Force, and National Intelligence Service. A nation-wide unified records and archives management system became available. Second, public archives and records centers are to be established according to the level of the agency; a central archives at national level, special archives for the National Assembly and the Judiciary, local government archives for metropolitan cities and provinces, records center or special records center for administrative agencies. A records manager will be responsible for the records management of each administrative divisions. Third, the records in the public agencies are registered in the computer system as they are produced. Therefore, the records are traceable and will be searched or retrieved easily through internet or computer network. Fourth, qualified records managers and archivists who are professionally trained in the field of records management and archival science will be assigned mandatorily to guarantee the professional management of records and archives. Fifth, the illegal treatment of public records and archives constitutes a punishable crime. In the future, the public records find archival management will develop along with Korean government's 'Electronic Government Project.' Following changes are in prospect. First, public agencies will digitize paper records, audio-visual records, and publications as well as electronic documents, thus promoting administrative efficiency and productivity. Second, the National Assembly already established its Special Archives. The judiciary and the National Intelligence Service will follow it. More archives will be established at city and provincial levels. Third, the more our society develop into a knowledge-based information society, the more the records management function will become one of the important national government functions. As more universities, academic associations, and civil societies participate in promoting archival awareness and in establishing archival science, and more people realize the importance of the records and archives management up to the level of national public campaign, the records and archival management in Korea will develop significantly distinguishable from present practice.

• Trans-
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• v.6
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• pp.17-33
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• 2019

The core of Laban Movement Analysis, which is used for academic research purposes, is that the individual's psychological or emotional state through movement is expressed in external motion by internal intention, which is symbolic of internal emotions. In addition, the Laban motion analysis focuses on analyzing the structure of the object of movement and its structure comparatively and analytically with the past or other structures, and the analyzed grammars of the dance ultimately influence each other in psychological, social and cultural aspects 'Relationality' provides clues to be found. It also provides a resource of records in terms of the system implied from the 'momentary nature' of dance, which has educational value as a multidisciplinary research material.

• Journal of Fashion Business
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• v.1 no.4
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• pp.55-66
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• 1997

This study is an indepth analysis of the environment surrounding the evolvement of western make-up culture, its transition during the twentieth century and its cultural characteristics with an aim to analyze people's aesthetic sense during the twentieth century and the western make-up culture which stands as the foremost important measure of its reflection. In order to accomplish this task, I have centered my studies on previous records, documents, articles, magazines, and pictorial data on art and motion pictures all of which involve the art of clothing and make-up. First, 'total fashion' make-up which seeks general harmony of color and figure in order to achieve unified beauty with other elements of beauty such as clothing is emphasized. Second, twentieth century make-up has expressed women's social status and value of each different time culture. Third, make-up has transformed its role from that of expressing only women's beauty to that of expressing resistance and opinion. Fourth, in the midst of material-centered societies spread due to high level of industrialization, development of highly functional make-up(biocosmetics) emerged as people became more conscious of nature and started to aggressively pursue protection.

• Journal of Korean Biological Nursing Science
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• v.17 no.2
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• pp.211-217
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• 2015

Purpose: The purpose of this study is to identify factors influencing the pregnancy rate among unexplained infertile couples who received treatments of assisted reproductive technology (ART) and intra-uterine inseminations (IUI). Methods: The medical records of 24,201 cases of unexplained infertility among a total of 31,684 intrauterine insemination treatment cases, (which benefited by 'National Medical-aid Program for ART in 2011') were used for this analysis. Results: Woman's age (OR=0.94), frequency of IUI (OR=0.86), and treatment type (OR=1.54) were significant factors on pregnancy rates in the logistic regression analysis. Conclusion: Factors, such as the age of the infertile woman, frequency of IUI, and treatment type used to induce ovulation were shown to positively influence pregnancy rate. However, the age of the spouse was not a significant variable. Infertile couples having unprotected sexual intercourse with unexplained infertility had priority. The results demonstrated that about 70% of infertile Korean couples had unexplained infertility. This was a higher rate of unexplained infertility than that of the clinical standard. Therefore, we should assess for causes through future studies. In addition, affective or emotional factors influencing unexplained infertility need to be researched further.

• Korean Journal of Heritage: History & Science
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• v.36
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• pp.335-346
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• 2003

With the development of media and computer, Motion Capture system, recently used in the entertainment and computer graphics, is emerging as a new recording method. Motion Capture is a system that records time-varying position of sensors which are attached to a objects and translates it to 3-D coordinate on computer. The motion of object displays the time-varying positions of each sensors that are graphed, or the line connected man-shaped model's movements on the computer monitor. And by adding computer graphic character to it, the various angled images, which are difficult to be perceived on the stage, can be easily recorded. Recently in Japan, Motion Capture system is being actively studied in order to use it in recording and preserving the intangible cultural assets of dance and art. Especially, Warabiza in Tazawako art village at Akita plays the leading role in this area through the project to symbolize and establish the archive of cultural dance, further, Ritsumeikan Univ. is develops the system for coupling the motion capture system to Labanotation. This article introduces the motion capture and it's related studies in Japan, which are being actively studied as a new recording method of intangible cultural assets.

• (The) Research of the performance art and culture
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• no.33
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• pp.355-374
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• 2016

This paper is a report on the real aspects of Darigut that was performed in Pyungyang in 1955. The data on 1955 Darigut that is kept in a publishing company through a complicated process contains sound source, records of shamanic songs, and various photo data so it is highly valuable. The Darigut that was eventually known to the world through the performance in Seoul in 1981 is meaningful in itself, but it will have a more solid identity through the comparison with the data on the Darigut of 1955. This paper presented the form in which the data on Pyungyang Darigut remains and deduced the original form of Darigut through the comparison with Seoul Darigut. It is expected that this data will be widely publicized and contribute to the study on Korea's shamanism.

• (The) Research of the performance art and culture
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• no.36
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• pp.585-602
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• 2018

This article examines the academic world of Professor Sa jin-sil. This article is not a detailed and rigorous assessment of Prof. Sa's work. During my directly or indirectly meeting with Prof. Sa jin-sil, the writing was based on my experiences. This is why the theme of "participatory observation records" is attached. I was aware that this writing would become a customary and formal funeral speech. Because I thought Prof. Sa also did not want formal and customary writing. The initiation of the participatory observational records that I describe was the literature study of Prof. Sa. What I am about to say in the title of the table of "Known Performance and to Revalue." There I summarized my thoughts on what Prof. Sa contributed to the research of the literature study on traditional performance and my opinion of the justice of the assessment of her contributions. I have not recommitted again about contributions or achievements that have already been widely recognized. What I noticed here was what was to be revalued. I once again stressed the achievements that were not properly evaluated despite their importance and significance. In the ensuing discussion, I looked at Prof. Sa's entirely different academic side. I call the passage "an unexpected result against prejudice." The subjects covered were Prof. Sa's field-contextual studies. Prof. Sa is often referred to as a dramatical history or a traditional performing arts scholar who studies literature. Such an idea is so common that it is easy to overlook field-contextual research results, not literature-based. But I think this is prejudice. That is why the title of the table of contents has the words 'unexpected' and 'prejudice'. Here I actively emphasized and evaluated Professor Sa's achievements in field-contextual studies.

• The Korean Journal of Archival Studies
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• no.53
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• pp.45-77
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• 2017

This study intends to rehabilitate the memories of the social other which have been gradually forgotten in the social events overloaded with the undemocratic violence in South Korea today. This study explores a case of Yongsan Tragedy in 2009 among the most tragic events. It notes the autonomous ways in which activist artists would like to memorize the socio-historical events anew despite the emptiness of public records. In other words, this study considers the Yongsan case to be significant that a group of the public, artists, grassroots activists, religion men got together in solidarity so as to create the contested narratives countering dominant memories and thus to signify the records written by the civil society. Among others, activist artists had documented the unofficial counter-memories of socially alienated peoples in terms of planning a series of artistic events such as opening some gallery exhibitions and performance events, issuing a volume of work books, comics and photographies, online broadcasting, and directing some documentaries. Especially, this paper tends to note the documentation of on-site activist artists to record the counter-memories against social oblivion. By doing so, it finally suggests how we could document the Yongsan Tragedy both to search out the archival implications of today's art activism and to insert those artistic records into the commonly shared counter-memories in a more inclusive way.

• (The) Research of the performance art and culture
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• no.43
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• pp.441-483
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• 2021

The introduction of dongbal[bara] is in line with Buddhism which was transmitted from India through China. Therefore, this paper tracked down the records of dongbal in Indian and Chinese Buddhism, and especially in scriptures and in ritual texts of Korean Buddhism, and studied the functionality and the use of dongbal, and the attributes of Baramu. Among the scriptures that record dongbal, 『Myobeopyeon hwagyeong(妙法蓮華經)』(A.D.406) is the earliest to be translated. The records of bara in the scriptures were written as dongbal(銅鈸) mostly, and that it was used as ritual tool(法具), instrumental offering, and religious ornament(莊嚴物). The oldest record which can verify that dongbal was used in Korea is 『Seodaesajajaeryugijang(西大寺資財流記帳)』(A.D.780). The oldest cymbals-like relic remaining today, the reliquary from the temple Gameunsa built in A.D.628, dates back to the early period of Unified Silla. This indicates that dongbal has been used at Korean temples by the 7th century at least. The records of dongbal(銅鈸) written in cheong-gyu(淸規, buddhist monastic rules) and ritual texts are classified as myeongbal(鳴鈸) and dongbal(動鈸). The letter 'myeong(鳴)' of myeongbal means to make a sound, and thus myeongbal refers to clash and make the sound of the bara. It is verified that myeongbal had certain established rules and methods. It appears that dongbal(動鈸) refers to Baramu(the cymbals dance) since the letter 'dong(動)' means movement or to move. Hence, the concept of movement was added to the signification of myeongbal, and became dongbal(動鈸), and then developed into baramu being transmitted until today. There are 8 types of Baramu transmitted in Korean Buddhist rituals, and they could be classified into purifying ritual, inviting ritual, protecting ritual, offering ritual, bathing ritual, dressing ritual, saluting ritual, and praising ritual according to their attributes.