• (The) Research of the performance art and culture
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• no.23
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• pp.105-158
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• 2011

Due to the system of sending selected hyanggi(local entertaining woman) to the government office in Seoul after the abolition of the system of gyeonggi(entertaining woman in capital area) during the reign of King Injo(1595~1649), the kyobang-jeongjae(local dance performed for the provincial government office) had gotten into the court to be performed at the royal banquet as gungjung-jeongjae(court dance), one of which was seonyurak(dance of boating). It used to be performed for finale of the royal banquet in the late Joseon Dynasty and appeared in several uigwes(record for royal banquet) since its first appearance in the wonhaeng-eulmyo-jeongri-uigwe, documented in 1795, the 19th year of the reign of King Jeongjo. Considering that the yeoggi(female entertainer) responsible for the court dance, seonyurrak was the seonsanggi(selected entertaining woman from provinces) from the northwestern provincial villages such as Euiju, Ahnju, and Seongcheon etc., we can assume that the baettaragi, one of kyobang-jeongjaes whould have been getting into the court to become the seonyurrak as court dance. The baettaragi, kyobang-jeongjae of northwestern province that affected the development of the court dance, seonyurak was created as performance executed by entertaining women of kyobang(local supervisory office for entertaining women) on the basis of the fact that the envoy of Joseon dynasty to the Ming dynasty could not help but taking a sea route when Amaga Aisin Gurun had a grip on the northeastern area of China during the shift of power from Ming to Qing. There had been a lot of banquets for envoys in the northwestern province because of its geographical feature as gateway to trip to China and the baettaragi used to be performed by entertaining women belonged to local provincial office to consolate the sadness of separation with those who destined to depart to China and to hope for their safe return. The kyobang-jeongjae, baettaragi of northwestern province is recorded as performance with sorrowful song to put the pain of parting into work, according to many related documents. It puts together painted boats as props, the march of a couple of dancer dressed up as soldier with marching music called gochiak, the song and musical accompaniment before getting on boat, the dramatic expression of sailing, and the farewell song praying for safe return etc. It turns the situation of dispatching envoys for China by sea into performance with combination of music, song and dance. Created in this way, the kyobang-jeongjae, baettaragi had been performed at the various banquets for envoys departing for China and it affected the formation of court dance or gungjung-jeongjae called seonyurak through the activities of selected local entertaining women. It also exerted influence on other similar performance in provincial area because of the returning home of the selected local entertainers who finished their performance in Seoul and it had been performed with different variation at local banquet including locality in it.

• Korean Journal of Ecology and Environment
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• v.56 no.3
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• pp.207-217
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• 2023

This study was conducted to investigate the current status of seagrass species in the Nakdong River estuary from May to June 2023. To survey the seagrass habitat area, the Nakdong River estuary was divided into seven zones. Aerial photography using drones was conducted to find seagrass areas, GPS tracking was carried out on foot in the intertidal zone and by boat and SCUBA diving in the subtidal zone. To analyze the seagrass status, we measured the morphological characteristics, shoot density, and biomass of representative seagrass species in each zone. Four seagrass species were found in this area: Zostera japonica, Z. marina, Ruppia maritima, and Phyllospadix japonicus. The distribution areas of each species was 338.2 ha, 92.9 ha, 0.9 ha, and 1.4 ha, respectively, with a total area of 432.5 ha. Z. japonica was widely distributed in most of the tidal flats and mudflats of the Nakdong River estuary, while Z. marina was restricted to Nulcha-do, Jinu-do, and Dadae-dong. R. maritima occurred within the habitat of Z. japonica in Eulsukdo and Myeongji mudflats, and P. japonicus inhabited rocky areas in Dadae-dong. The shoot density of each species was 4,575.8±338.3 shoots m^-2, 244.8±12.0 shoots m^-2, 11,302.1±290.0 shoots m^-2, and 2862.5±153.5 shoots m^-2, respectively. The biomass of each species was 239.7±18.5 gDW m^-2, 362.3±20.5 gDW m^-2, 33.3±1.2 gDW m^-2, and 1,290.0±37.0 gDW m^-2, respectively. The results of this study revealed that Z. japonica was dominant in the Nakdong River estuary. In particular, Z. japonica habitats of Eulsukdo, Daema-deung, and Myeongji mudflats were identified as the largest in Korea. The Nakdong River estuary is an important site of ecological, environmental, and economic value, and will require continuous investigation and management of the native seagrasses.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.15 no.1
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• pp.41-50
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• 2010

We have developed an in-situ benthic chamber (BelcI) for use in coastal studies that can be deployed from a small boat. It is expected that BelcI will be useful in studying the benthic boundary layer because of its flexibility. BelcI is divided into three main areas: 1) frame and body chamber, 2) water sampler, and 3) stirring devices, electric controller, and data acquisition technology. To maximize in-situ use, the frame is constructed from two layers that consist of square cells. All electronic parts (motor controller, pA meter, data acquisition, etc.) are low-power consumers so that the external power supply can be safely removed from the system. The hydrodynamics of BelcI, measured by PIV (particle image velocimetry), show a typical "radial-flow impeller" pattern. Mixing time of water in the chamber is about 30 s, and shear velocity ($u^*$) near the bottom layer was calculated at $0.32\;cm\;s^{-1}$. Measurements of diffusivity boundary layer thickness showed a range of $180-230\;{\mu}m$. Sediment oxygen consumption rate, measured in-situ，was $84\;mmol\;O_2\;m^{-2}\;d_{-1}$, more than two times higher than on-board incubation results. Benthic fluxes assessed from in-situ incubation were estimated as follows: nitrate + nitrite = $0.18\;{\pm}\;0.07\;mmol\;m^{-2}\;d^{-1}$ ammonium $23\;{\pm}\;1\;mmol\;m^{-2}\;d^{-1}$ phosphate = $0.09\;{\pm}\;0.02\;mmol\;m^{-2}\;d^{-1}$ and silicate = $23\;{\pm}\;1\;mmol\;m^{-2}\;d^{-1}$.

• The Journal of the Acoustical Society of Korea
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• v.28 no.4
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• pp.343-355
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• 2009

In order to restore the identity of sound environment and expand the sound culture of a region, the purpose of this study are to excavate the resources of soundscape and find out the plans for the preservation and promotion of soundscape resources peculiar to the region. For this purpose, this research is conducted through an interview survey of residents and an observation survey using listening walk in Hongdo, one of the southwesten island of Korea. The results of survey confirm that there are so many sounds to hear around Hongdo island, those are, natural sounds such as the song of the birds, the roar of the waves, the whistling sounds, the shriek of the seagulls, and the pebbles sounds washed away by the waves, and artificial sounds such as the steam-whistle signals, the ship's broadcasts, the voice of tourists, the sounds of church bells, lighthouse sirens etc. The results suggest that it is necessary to consider several ways for restoration of an unique soundscape in Hongdo island, those are, improvement for efficient management of a ship's broadcasts in public areas, removal of a ferry in Hongdo swimming beach, management of Dangsanje (a religious service), preservation of a lighthouse siren and a foghorn, restoration and improvement of underground stream, management and control of public fish market, restoration of brooklet, management of cooperative system for a fish market, restoration of PoongO-Gut (a ritual for a large harvest) and a skate festival, management of a Hongdo sports meeting, sound quality modification of a boat whistle, restoration of orientalia such as a funeral bier, ecosystem preservation activity of the shore and ocean, and promotion of amenity for fascination and vitality in a rural community. Also, a sound map is drawn up for many tourists so as to realize the importance of sound environment and identity of soundscape and to gain their experience at first hand in Hongdo island.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.62-82
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• 2019

Taking the three Wuyi-Gugok Drawings, 『A Picture Showing the Boundary Between Mountains and Rivers: A』, 『Landscape of the Jiuqu River in the Wuyi Mountain: B』 and 『Eighteen Sceneries of Wuyi Mountain: C』, which were produced in the mid-Qing Dynasty as the research objects and after investigating the names recorded in the paintings, this paper tries to analyze the scenic spots, scene types and images in the literature survey. Also, based on the number of Scenic type and the number of Scenic name in each Gok, landscape richness(LR) and landscape similarity(LS) of the Gugok scenic spots, the cognitive characteristics of the landscape in the 18th century were carefully observed. The results are as follows. Firstly, according to the description statistics of scenic spot types in Wuyi Mountain Chronicle, there were 41 descriptions of scenery names in the three paintings, among which rock, peak and stone accounted for the majority. According to the data, the number of rocks, peaks and stones in Wuyi-Gugok landscape accounted for more than half, which reflected the characteristics of geological landscape such as Danxia landform in Wuyi-Gugok landscape. Secondly, the landscape of Gugok Stream(九曲溪) was diverse and full of images. The 1^st Gok Daewangbong(大王峰) and Manjeongbong(幔亭峰), the 2^nd Gok Oknyeobong(玉女峰), the 3^rd Gok Sojangbong(小藏峰), the 4^th Gok Daejangbong(大藏峰), the 5^th Gok Daeeunbyeong(大隱屛) and Muijeongsa(武夷精舍), the 6^th Gok Seonjangbong(仙掌峰) and Cheonyubong(天游峰) all had outstanding landscape in each Gok. However, the landscape features of the 7^th~9^th Gok were relatively low. Thirdly, according to the landscape image survey of each Gok, the image formation of Gugok cultural landscape originates from the specificity of the myths and legends related to Wuyi Mountain, and the landscape is highly well-known. Due to the specificity, the landscape recognition was very high. In particular, the 1^st Gok and the 5^th Gok closely related to the Taoist culture based on Muigun, the Stone Carving culture and the Boat Tour culture related to neo-confucianism culture of Zhu Xi. Fourthly, according to the analysis results of landscape similarity of 41 landscape types shown in the figure, the similarity of A and C was very high. The morphological description and the relationship of distant and near performance was very similar. Therefore, it could be judged that this was obviously influenced by one painting. As a whole, the names of the scenes depicted in the three paintings were formed at least in the first half of 18^th century through a long history of inheritance, accumulated myths and legends, and the names of the scenes. The order of the scenery names in three Drawings had some differences. But among the scenery names appearing in all three Drawings, there were 21 stones, 20 rocks and 17 peaks. Stones, rocks and peaks guided the landscape of Gugok Streams in Wuyi Mountain. Fifthly, Seonjodae(仙釣臺) in A and C was described in the 4^th Gok, but what deserved attention was that it was known as the scenery name of the 3^rd Gok in Korean. In addition, Seungjindong(升眞洞) in the 1^st Gok and Seokdangsa(石堂寺) in the 7^th Gok were not described in Drawings A, B and C. This is a special point that needs to be studied in the future.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.9 no.1
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• pp.1-18
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• 1973

For regulating the depth of midwater trawl nets towed at the optimum constant speed, the changes in the shape of warps caused by adding a weight on an arbitrary point of the warp of catenary shape is studied. The shape of a warp may be approximated by a catenary. The resultant inferences under this assumption were experimented. Accordingly feasibilities for the application of the result of this study to the midwater trawl nets were also discussed. A series of experiments for basic midwater trawl gear models in water tank and a couple of experiments of a commercial scale gears at sea which involve the properly designed depth control devices having a variable attitude horizontal wing were carried out. The results are summarized as follows: 1. According to the dimension analysis the depth y of a midwater trawl net is introduced by $$y=kLf(\frac{W_r}{R_r},\;\frac{W_o}{R_o},\;\frac{W_n}{R_n})$$) where k is a constant, L the warp length, f the function, and $W_r,\;W_o$ and $W_n$ the apparent weights of warp, otter board and the net, respectively, 2. When a boat is towing a body of apparent weight $W_n$ and its drag $D_n$ by means of a warp whose length L and apparent weight $W_r$ per unit length, the depth y of the body is given by the following equation, provided that the shape of a warp is a catenary and drag of the warp is neglected in comparison with the drag of the body: $$y=\frac{1}{W_r}\{\sqrt{{D_n^2}+{(W_n+W_rL)^2}}-\sqrt{{D_n^2+W_n}^2\}$$ 3. The changes ${\Delta}y$ of the depth of the midwater trawl net caused by changing the warp length or adding a weight ${\Delta}W_n$_n to the net, are given by the following equations: $${\Delta}y{\approx}\frac{W_n+W_{r}L}{\sqrt{D_n^2+(W_n+W_{r}L)^2}}{\Delta}L$$ $${\Delta}y{\approx}\frac{1}{W_r}\{\frac{W_n+W_rL}{\sqrt{D_n^2+(W_n+W_{r}L)^2}}-{\frac{W_n}{\sqrt{D_n^2+W_n^2}}\}{\Delta}W_n$$ 4. A change ${\Delta}y$ of the depth of the midwater trawl net by adding a weight $W_s$ to an arbitrary point of the warp takes an equation of the form $${\Delta}y=\frac{1}{W_r}\{(T_{ur}'-T_{ur})-T_u'-T_u)\}$$ Where $$T_{ur}^l=\sqrt{T_u^2+(W_s+W_{r}L)^2+2T_u(W_s+W_{r}L)sin{\theta}_u$$ $$T_{ur}=\sqrt{T_u^2+(W_{r}L)^2+2T_uW_{r}L\;sin{\theta}_u$$ $$T_{u}^l=\sqrt{T_u^2+W_s^2+2T_uW_{s}\;sin{\theta}_u$$ and $T_u$ represents the tension at the point on the warp, ${\theta}_u$ the angle between the direction of $T_u$ and horizontal axis, $T_u^2$ the tension at that point when a weights $W_s$ adds to the point where $T_u$ is acted on. 5. If otter boards were constructed lighter and adequate weights were added at their bottom to stabilize them, even they were the same shapes as those of bottom trawls, they were definitely applicable to the midwater trawl gears as the result of the experiments. 6. As the results of water tank tests the relationship between net height of H cm velocity of v m/sec, and that between hydrodynamic resistance of R kg and the velocity of a model net as shown in figure 6 are respectively given by $$H=8+\frac{10}{0.4+v}$$ $$R=3+9v^2$$ 7. It was found that the cross-wing type depth control devices were more stable in operation than that of the H-wing type as the results of the experiments at sea. 8. The hydrodynamic resistance of the net gear in midwater trawling is so large, and regarded as nearly the drag, that sweeping depth of the gear was very stable in spite of types of the depth control devices. 9. An area of the horizontal wing of the H-wing type depth control device was $1.2{\times}2.4m^2$. A midwater trawl net of 2 ton hydrodynamic resistance was connected to the devices and towed with the velocity of 2.3 kts. Under these conditions the depth change of about 20m of the trawl net was obtained by controlling an angle or attack of $30^{\circ}$.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.