• Journal of Korea Entertainment Industry Association
• /
• v.13 no.2
• /
• pp.111-122
• /
• 2019

The advent of the Fourth Industrial Revolution provides new civilized convenience, while the humanistic ecological environment is at stake. Therefore, looking at our culture and arts ecological foundations is ultimately for the preparation of a rich life for the future. Therefore, establishing a desirable cultural ecosystem begins with an enduring tradition of traditional art.This study examined the dancing characteristics of gabbigochanong-ag, which maintains the nongsapul-inong-ag performance pattern. Two field studies and image analysis studies showed that gabbigochanong-ag maintained the characteristics of traditional nong-ag, which strengthened the solidarity and cooperation of village community members and shared community identity. gabbigochanong-ag encourages the participation of the members of the village community through mechanistic dance movements based on soundness, imitative dance movements with minimal movement, repetitive dance movements, and communicative dance movements, As a result of the change, the members of the group were attracted to each other. Although gabbigochanong-ag was not sophisticated or sophisticated, it had a dancing structure that could create aesthetics and marginal aesthetics of slowness from the swiftness and convenience of civilization and bring harmony among the members of the community with warm emotion.

• Korean Association of Arts Management
• /
• no.50
• /
• pp.147-175
• /
• 2019

Gentrification is the process by which a working class or other disadvantaged area of a city changes into a middle class residential or commercial district. Gentrification, which has received much attention in arts management in recent years as part of a concern with urban regeneration, carries a generally negative connotation. In this paper, we interrogate this negative view of gentrification to explore ways arts entrepreneurship can convert the perceived threat of gentrification into opportunity. To this end, we examine the Mullae Cultural Salon in the gentrifying district of the Mullae Creative Village. Through a literature review of gentrification and arts entrepreneurship, we propose seven elements of art entrepreneurs responding to gentrification as an analytic framework for research. Our findings indicate that arts entrepreneurs were able to extend the maturity phase of gentrification and thus enhance the cultural and artistic value of the region for other artists and arts entrepreneurs.

• The Journal of the Korea Contents Association
• /
• v.15 no.12
• /
• pp.234-246
• /
• 2015

When the Information age led by media comes, The literature yielded its prominence to visual media, and the Korean literature also faced a crisis, prompted by decreased demand for it. In this reality, literature festivals which have increased rapidly since 1995 and currently number at least 110, when the local government system was launched, played an important role in promoting literature to the society. This thesis has selected Manhae Festival, one of the most vibrant and successful, as the case study to analyze its present status and accomplishments to derive ways for improvement which can be used to promote policies on literature. Manhae Festival which celebrates Manhae Han Yongun, a poet and an independence activist, also became one of the top literature festivals through Manhae Grand Awards and various cultural, art and academic events, despite being held in Inje County, Gangwon Province, a remote location. Based on this study, in the near future, Manhae Village, as a complex cultural venue, as a If we can make the place into complex cultural space and with additional policy support by gaining political supports like designation as Slowcity and special zone of culture and tourism, and pursuing glocalization by making Manhae into a star brand, Manhae Festival will cement its current position as a successful literary festival. It has very meaningful since most of literature festivals operate in small scale. Now, we need to develop literature festivals into local ones by attracting larger popularity. Meanwhile, a more comprehensive study, in the future, is needed with special emphasis on successful literary policies and their precedents in other countries.

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.783-837
• /
• 2018

This study examines the lives and the performances of the people who participated in Songpa Sandae-nori(a korean traditional mask dance drama) before and after the designation as cultural heritage, and reviews the changes and the inheritance patterns of the mask dance which appeared in the lives of the performers. Chapter 2 reviewed previous debates about the derivational theory and the players of Songpa Sandae-nori before the flood in 1925, and discussed on awareness and the characteristics of the performers found through the review. Then the study went on to the inheritance patterns of the drama before the designation, focusing on the figures of Dolmari(a name of village in Songpa, Seoul) players who led the stage after 1925. As a result, the missing part of the activities and the lives of Dolmari performers have been more clearly identified, especially about Lee Beomman, Yeo taesan and Eum Joongeun(the main performers of Songpa Sandae-nori). Chapter 3 is about the inheritance patterns of the cultural heritage after the designation, and Heo Hoyoung was the main focus of the discussion. The researches so far have admitted his great contributions to the designation of cultural asset, although they have not proved how. After investigating various records and combining the testimonies of his students and locals, Heo Ho-young was found that he did not only gave plays of Songpa Sandae-nori but also actively engaged in the field of various traditional arts. Furthermore, jokes, dances, and masks left by him are considered to be evidences to reassess his performances.

• (The) Research of the performance art and culture
• /
• no.20
• /
• pp.213-249
• /
• 2010

Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, "Kyungjanpae", who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.6
• /
• pp.221-233
• /
• 2019

The purpose of this study tries to show the effectiveness of integrated theater education for low-grade students who lack social skills with the direction of art education based on 'theatrical and educational theater' and 'theater therapy' in the revised curriculum in 2015. To do this, the researcher organized a theater camp organized by the social, cultural and arts education institute in Seoul for a total of 12 low-grade elementary school students for four weeks, and had a presentation session. In addition, the researcher observed the behavioral changes of the participating children to verify the social development of the theater education and after the conclusion, the final results were obtained through the in-depth interviews of the participants' parents and teachers. As a result, it was found that Social Skills Rating System(SSRS)' test, teachers' observation logs, interviews, and responses of participating children, which are the main subjects of this activity, had a great effect on improving their sociality and relationship. Therefore, the researcher tried to prove through this paper that theater education is effective in enhancing social skills as creative, personality and convergence education in preparation for the 4th industrial era and that it is important to solve communication problems such as the absence of human relationships.

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.205-231
• /
• 2021

Noung-kun(a farmer as a soldier) Parade, one of the Choseon folk plays/dramas, was recorded in its chapter titled of the booklet 'Guk-Geuk-Yo-Ram', which was published in 1932 by Waseda University Tsubouchi Memorial Theater Museum in Tokyo, Japan. The general understanding on the Korean culture of that era was that 'there is no theater in Choseon'. However, a few examples of existence of Korean theater were recorded in the book mentioned above, which was mainly the record of Japanese theater. This study specifically focused on a 'famers' parade' recorded in the chapter 'Traditional theater'. Seok-ha Song, a folklorist, revealed that the Noung-kun parade recorded in that book is a cultural asset of Ulsan. On the basis of these records, this study asserts that the Noung-kunParade is an intangible cultural asset of Ulsan, which had been performed by the local residence of fishing villages during the Japanese Colonial Rule. Therefore, the outcomes of this study would be as follows: First, the clear understanding of Ulsan traditional village festival. Second, the festival is named as 'Ulsan Noung-kun Parade' on the basis of the previous records researched in this study. Finally, I have laid a foundation for full restoration and embodiment of this intangible heritage of Ulsan.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.581-607
• /
• 2019

Noting that exorcism play and mask play are different in their ritual nature, this paper aims to examine their ritual through the social drama theory of Victor Turner, a cultural anthropologist. Turner views every incident in human history as a social drama and interprets it based on the four-step structural theory of breach, crisis, redressive action, and reintegration. In particular, he believes that the redressive phase takes place through a ritual solution rather than a legal or political solution in the village community. Based on such Turner's theory, Chapter 2 analyzes Yeonggamnori, Jeju's typical exorcism play, and explains the process leading to reintegration in accordance with peaceful ritual. Chapter 3 then analyzes the Puppet Play on the same principle and examines that redressive action is being resolved through a sacrificial ritual in the case of this play. Chapter 4 checks whether the results from the previous two plays show similar aspects in other traditional plays. To this end, the exorcism play will be analyzed for Jeju's Seocheon Flower Play, Junsangnori, Segyeongnori and Sanshinnori, while the mask play will include Bongsan Mask Dance, Yangju Byeonsandae Play, Goseong Ogwangdae and Hahoe Mask Dance. As a result of these studies, it is the main point of the study to prove that exorcism play and mask play are different in their ritual nature. However, this research is only in the stage of seeking differences in its ritual, and the review on the historical and social causes of differences is left as a research task at a later date.

• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.5-43
• /
• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• Korean Institute of Interior Design Journal
• /
• v.24 no.3
• /
• pp.15-29
• /
• 2015

Social and cultural impact of postmodernism in the seek for diversity and to respect the individual's personality and character was the center of human-centered thinking. This also affects the design area, as well as architecture, interior design. It is because of interactive interior design that reflects the lives and relationships with people. Thus, in modern society, people to meet the diverse needs have created a third space. Today's commercial space in the flow to a variety of users and is trying to provide comfort. To go to stores often offer lifestyle and proceeding to the next stage of life. Space for the creative force is trying to become getting better space. Collaboration is refer to phenomenon that two or more objects meet to collaborate. Collaboration is can be classified of space, art, low/high, high concept and star collaboration. And this study has been studied mainly collaboration. Space collaboration is can be classified of experiential, the third space, brand passes and landmark. Space collaboration elements rearranged to the standards of interior design theory, analysis, and marketing of space, commercial space, with previous studies of the spatial elements were extracted. The purpose of this study in the field of interior design space analysis method for the verification of collaboration theory is that to develop. Thus, the space collaboration has been developed to fit the field of interior design, and commercial interior spaces will be helpful for applying.