• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.51-59
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• 2024

Qiang ethnic group is one of the fifty-six ethnic minorities in China, and Qiang embroidery, as an important achievement of Qiang's intangible cultural heritage, is the precipitation and testimony of the history and culture of the Qiang ethnic group. However, with the development of the times, traditional and ancient Qiang embroidery is facing a dilemma due to the problem of a single form of communication. Therefore, it is necessary to add new communication media for Qiang embroidery to help it spread and develop better. In this paper, we extract the core representative patterns of Qiang embroidery, use the "shape grammars" as the rules of morphological changes, and generate new decorative pattern patterns with the characteristics of Qiang embroidery by adding, deleting, mirroring, rotating, and other relevant rules of changes, and combine the new patterns with the rules of formal beauty to combine the layout, which is then applied in the design of different cultural creations and products. The new patterns are combined with the rules of formal beauty and applied in the design of different cultural and creative products. To provide a quantitative method for the digital protection of Qiang embroidery in the new era of Chinese traditional art, and also provide new ideas for the industrialization application.

• Russian Language and Literature
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• no.67
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• pp.155-173
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• 2019

After the October Revolution, the Soviet Union created a theory of creating letters for people who did not have scripts, and the task of applying this theory to the actuality emerged. As a result of this activity, the number of languages that have obtained the scripts exceeds the number of scripts created throughout Europe. At that time, most of the people of the Soviet republics spoke only mother tongue, and it had only oral form. In the shortest time, a scripts system for the Soviet people's mother tongue was to be created to approach and educate a large number of people to the achievements of international science and culture. At that time, Russians, Ukrainians, Georgians, and Armenians had developed and had a script system that fit their language. The languages of Tatars, Kazakhs, Kyrgyzs, Uzbeks, Turkmen, Tajiks and Azerbaizans had not well suited to Turkic languages, based on Arabic characters reflecting Semitic characteristics. For some minorities such as the Yakuts and the Chubashians, the Cyrillic-based notation had already been established before the revolution, but about 50 peoples, especially all northern peoples, had no scripts. As we see above, not only peoples who did not have not scripts before the revolution, but also scripts for all ethnic groups of the Soviet Union, which had previously been based on Latin, Arab or Jewish scripts, were created to access and educated large numbers of people within the shortest time to the achievements of world science and culture. The principle of markings for the people without the Soviet Union was to represent the unique notes of the ethnic languages by considering the unique phonetic components of the ethnic language as much as possible while observing the unity required for the Soviet ethnic characters, approaching the actual literary language and actually creating supplementary letters.

• Journal of Digital Convergence
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• v.19 no.3
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• pp.379-385
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• 2021

Tattoo, which has been 5000 years' history is the symbol of the collective society. It was used as one of the methods not only to defense and camouflage but also to decorate themselves. In modern society, tattoo culture is either limited to ethnic minorities or be used as a decorative element of personal preference. Among them, the Chinese ethnic minority, the Dai, is still maintaining its tattoo culture, but gradually faded. Hence, the necessity of protecting the tattoo culture of the Dai is essential. The procedures and methods of this study were conducted by analyzing an antique book, explore residential areas, data research, and data collection through interviews. According to research, the tattoo culture of the Dai has been consistently passed down through traditional tattoo pictorial books, the memories of tattooists, and the stories of people who got tattoos. However, the Dai's traditional culture and customs are influenced by the China political reform between 1952 and 1956, confirming that the size of tattoo culture was reduced than before and evanesces. As a result, in order to inherit the ethnic minorities Dai's tattoo heritage, records of tattoo culture are required. Besides, it is considered that the records of tattoo culture and interpretations of tattoo culture by tattooists and the people who got a tattoo due to aging in the future should be studied.

• Journal of Korean Society of Rural Planning
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• v.23 no.4
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• pp.1-13
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• 2017

베트남 북부 산악지형에 거주하는 소수 부족민들의 생계개선이 베트남 정부의 정책적인 지원 사업에도 불구하고 현재까지 뚜렷한 성과를 내지 못하는 것으로 알려져 왔다. 특히 지속가능한 개발 및 인적자원개발을 목표로 하고 있는 베트남 경제사회개발정책(2011~2020)의 하위전략인 신농촌 개발정책(New Rural Development)에 의한 사업들이 적절히 수행되고 있는지 의문이 대두되었다. 한편, 베트남 라오까이성 행복프로그램은 한국 코이카 재원으로 새마을운동 경험과 정신을 바탕으로 설계되었으며 심각한 빈곤상태에 있는 성내 8개 소수부족민 마을에 마을특성과 주민 의견이 반영된 개발계획을 수립하고 계획실행의 주체인 마을주민들과 현장 공무원에게 다양한 훈련 사업들을 제공하였다. 본 연구는 생계개선에 대한 이론 고찰과 함께 한국 및 베트남의 농촌개발 경험사례 분석을 바탕으로 프로그램의 다양한 역량강화 사업들이 8개 소수부족 주민들의 의식변화와 생계자산 향상에 어떠한 영향을 끼쳤는지 알아보았다. 본 연구결과는 프로그램에서 제공한 다양한 역량강화 훈련들이 주민의식의 긍정적인 변화와 소수 부족민들의 생계자산에 대하여 상당한 만족도를 가져왔는바, 신농촌 개발정책은 직접자재 위주의 지원을 줄이는 대신 주민들의 자신감 고취를 위한 주민의식 교육과 주민들의 생계활동 능력향상을 위한 다양한 훈련 사업을 확대해야 함을 보여준다.

• Journal of the Economic Geographical Society of Korea
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• v.21 no.2
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• pp.119-138
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• 2018

The Hmong people are one of the largest ethnic groups in Vietnam. They traditionally practice shifting cultivation for their daily subsistence. This group has a traditional governance system as well as strong clan and kinship relationships that occupy an important role in maintaining Hmong culture and livelihoods. The state's approval of the legitimate and statutory law for the Nature Reserve largely excluded local rights of access to and the use of natural resources. This study focusses on Hmong responses to the state interventions of the establishment of the Nature Reserve as well as forest land allocation. Based on Scott's contribution of Moral Economy (1976), the authors argue that local responses function as a 'risk-averter' against state intervention. Meanwhile, the intra and inter-ethnic relationships based on the 'subsistence ethic' help locals successfully mitigate state intervention. These findings help the state rethink their interventions, which have been constructed with very little respect for local differences or the desires of ethnic peoples. Furthermore, the main findings, which reveal that not only the intra-ethnic relationship but also the inter-ethnic relationship among ethnic minorities can play an important role in maintaining the Moral Economy, are expected to deepen the previous understanding on the Moral Economy, which has previously constrained its scope to the intra-ethnic relationship.

• Korean Journal of Comparative Education
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• v.27 no.3
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• pp.213-238
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• 2017

This paper aims to point out that the contemporary textbook is a common cognitive construct, and that the realistic drawings in the textbooks have played an important role in shaping the world recognition. The main subjects of this study are the racial-ethnic illustrations of elementary school geography textbooks, published by the Japanese Ministry of Education, the Japanese Government-General of Taiwan and Korea, the educational association of Manchu. By comparing the same factors in various textbooks, it examines how the temporal and spatial recognition of the world is adjusted by visual representation. The main findings of this study are three fold. First, the world was introduced to the extent of the sum that the census and the classifications of racial and ethnic groups were adopted. And the world appeared later in the year supported by the racial and ethnic minorities. Second, the expressive style of racial and ethnic groups changed from an emphasis on a heterogeneous part as an object of scientific observation in the early stage to a later one with a life culture similar to the reader. Third, racial ethnic illustrations have been used differently depending on the publishing region in the Empire, giving readers in different regions with different images of the same category. In many cases, it was possible to know the politics of representation and the use of certain racial ethnic illustrations. The textbooks of the first half of the 20th century gave great recognition to the people who could not meet with the readers by using the illustrations. A child in the mainland is aware of his position in a "viewing position" while viewing various empire people through the textbook. On the other hand, in the textbooks of the colonial children, they stood in the position of 'being seen', and showed a change in internalizing the position of the mainland along with the expansion of the empire.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.185-205
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• 2015

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yi tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery or $appliqu{\acute{e}}$ pattern have a high artistic value in that its shapes are diverse, splendid and each one has its own peculiar elegance. As for the research method, I examined the Yi tribe's history, culture, traditional costumes and patterns through related books, research papers and inter web sites. As for the result, the Yi tribe's costumes consisted of a jacket, trousers or a skirt, an apron and a belt. Although the favorite color of the costume is black color, there are splendid embroidery or $appliqu{\acute{e}}$ decorations with the colors of red, yellow, green and purple on the chest or shoulder part of a jacket, the adjusting lines, cuffs or a part of a trousers and aprons. Patterns in their traditional clothing also show details that depict traditional cultural ideas that have long been formed in various fields, such as aesthetics, religion, philosophy, and customs. Moreover, most patterns displayed in their traditional clothing contain nature motifs and represent unique and beautiful designs; some patterns are even reminiscent of abstract paintings by modern artists. In conclusion, the traditional patterns of Chinese ethnic minorities reflect the values and notions of these races as well as decorative magnificence and a unique spiritual image. In other words, traditional patterns indicate the spiritual depth or symbolic stories beyond mere formative beauty.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.776-792
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• 2023

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people's clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe's shamanistic practices and lifestyle.

• Journal of Fashion Business
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• v.6 no.6
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• pp.89-104
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• 2002

In this thesis I have tried to compare the lines, colors and shapes of the Chinese ethnic minorities of the Moi and the Baek who live in the southwestern region of China and that of Korea. From a functional point most of the clothing in this region were separated between a top and a bottom and used colors in the collar, sleeves and lines to emphasize the decorative and pragmatic use of the clothes. The Chinese southwestern dress style had no limits on the use of color or shapes between class and rank. This was also true of the colors and shapes that were used. On the other hand the Koreans, although having the same structure, used different colors and shapes in proportion to the Joe-go-ri and Baji combination and the Jeo-go-ri and Chima combination.

• English & American cultural studies
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• v.14 no.1
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• pp.169-191
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• 2014

This explores an African American male poet, Etheridge Knight, and his poems. He died in 1991 and had been wounded in the battle field during the Korean War (1950-1953). Particularly, engaged in the war as a boy soldier, due to his wound, he had turned to a drug addict. Despite his experience in the war, Knight didn't write poems much about the war and wartime experience. Rather than war experience, for Knight, the prison gave him a strong motivation to be a poet with Gwendolyn Brooks' help. Further, Korean scholars are not familiar with contemporary African American poets, and my study is an introduction of those poets. Since in Korea researches on African American poets have been relatively rare, it is needed to sincerely work on those poets. The none-white writers, above all, penetrate the undercurrent of canonized American poets and poems. By examining Knight's poems, I eventually align a notion of the ethnic with racial minorities in the U. S.