• The Journal of the Korea Contents Association
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• 제14권1호
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• pp.128-138
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• 2014

Local festivals quite often give their visitors and local residents a good opportunity to experience the regional culture thoroughly. Also, the festivals empower the cultural pride and communal sociality, and create new jobs improving local economy. In Korea, more than 700 local festivals are held every year. Each festival is organized and operated upon all different purpose and mission. It is unfortunate, however, that many festivals fail to balance between making profits and accomplishing their purpose. Festival's marketing plan and content management should be cohesive, but at the same time, they also should be different depending on the festival's purpose and program. Especially in case of performance natured festivals, the role and function of festival directing should be more weighed on content management. Namhaean Byeolsingut is one of performance natured festivals, in which its archetype or primitive form is well maintained. This study observes the primitive form of NB from the director's viewpoint, and then provides a solid foundation on how those main characteristics of NB could be applied to invigorating local festival directing. The directing suggestions here are motivated by NB's ritual, performative, and play form.

• (The) Research of the performance art and culture
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• 제19호
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• pp.88-123
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• 2009

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 "Hanjanggun Nori" in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut - Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut - Ex: 'Hanjanggungut' or 'Keungut' 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is 'Hanjanggungut,' and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.

• Cartoon and Animation Studies
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• 통권14호
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• pp.129-150
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• 2008

The article concerns the relationship between the animation festival and the regional cultural industries. In particular, the article studies the WAF(Web Animation Festival) case, in which has hold since 2004 by the Gwangju Information & Culture industry Promotion Agency in the city of Gwangju. The WAF case will be examined in terms of the promotion of the selected web cartoons and animations in the festival competition. As a result, the competion festival has been managed in connection with the support programs for the promotion of the regional cultural industries. In the process, the Gwangju Information & Culture industry Promotion Agency has sought to connect the selected arts works with the CEOs in the field of content business and media business. The article concludes the WAF need to be reestablished in the context of the development of the Gwangu cultural industries cluster and the reinforcement of the international exchange and networking through the grand project of Asian Cultural Capital Gwangu.

• (The) Research of the performance art and culture
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• 제37호
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• pp.95-125
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• 2018

While myriads of small and large festivals are being organized in many regions across the country after the successful establishment of local governments around 2000, the undeniable fact is that the identity and purpose of such events are not properly reflected in their programs. This paper carefully examines the 2017 Jeonju International Sori Festival as an exemplary case of a local performing art festival to contribute to the improvement of performing art festivals in the future. In particular, it focuses on a musical program with respect to the composition, content, meaning, and direction that can effectively reveal the identity and intention of a festival. The most significant accomplishment of the 2017 Jeonju International Sori Festival is that it presented a local cultural resource, Pansori, in various ways not only to manifest its identity but also to satisfy both the enthusiasts of such musical genre and the general audience. The achievements of the 2017 Jeonju International Sori Festival through the performing art program can be summarized as follows: first, it created a new image of traditional music; second, it realized the desire to rise above regional and generational demarcations through cultural communication; third, it provided a stage for budding and local artists; fourth, it served as a vehicle for summoning the public; and last, it was conducive to expanding the spectrum of potential audience. This paper has limitation in covering the subject of the improvement of performing art festivals because it analyzed only one event. In follow-up studies, a more objective discussion should be performed by further analyzing the 2017 Jeonju International Sori Festival in comparison with various other performing art festivals.

• The Journal of the Convergence on Culture Technology
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• 제1권4호
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• pp.79-86
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• 2015

Cheongpungho and riversides are located in the center of South Korea Jecheon Peninsula, cheongpungho be formed by a chungju hydroelectric dam built in 1984 has now been changed as a freshwater lake created by the center of the South Han River upstream over the past 30 years. Recent Jecheon-sigovernment is developing the entertainment and natural healing resorts for the future, this research is using remote sensing techniques and field survey plan in comparison to the feasibility study of the cultural festival of the area was conducted in geographic research and analysis very effective to conduct the natural environment and terrain analysis by aerial photography and remote sensing techniques that can be proven integration and cultural content, in the riverside area of future business creation and tourism resources of the facilities and events in the new brand through research It was envisioned. As a result, we propose a new direction for the future of cultural tourism to participate in the new state-of-the-art digital imaging technology to traditional cultural content in fusion experiments to be more multi-cultural festival is formed.

• Journal of the Korean association of regional geographers
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• 제7권1호
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• pp.67-82
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• 2001

Recently, local traditions and cultural assets have been rediscovered and developed as resources in local societies of Korea and a great deal of effort has been made to develop event tourism. Based on this renewed interest, this study chose as a case the Wang In Cultural Festival in Kurim-ri, Yongam, and examined the background of the early Wang In Cultural Festival and its evolution up to the present focusing on. the festival program. In Cultural Festival first began as the Wang In Cherry Blossom Festival in 1993 with a budget of 50 million won, and has been developed into a large-scale festival with a budget of 340 million won, attracting 500,000 visitors in 2000. Together with such evolution, there has been a great change in the organization and content of the Festival program. The most important change began in the 1997 which included a religious service for Confucian scholars called 'Chunhyang Grand Festival for Dr. Wang In' as a core program. Since then, festival programs related to Dr. Wang In have greatly increased in number. A decisive change became prominent when the festival promotion system was transferred from the Kunseo Young Men's Association during the early period(1993-1996) to Youngam-gun in 1997. It is true that the Wang In Cultural Festival, which began as a purely regional festival initiated by a non-governmental organization, changed a lot in terms of its scale and program when Youngam-gun emerged as a strong leading group in 1997. However, not enough consideration has been given to institutional devices and procedures that are required for the local culture to take a firm root in the community through the festival. Therefore, in order to solve such fundamental problems, a permanent non-governmental organization is required for festival preparation. In addition, in order to promote overall progress of the community and an increase in the quality of the cultural environment of the local society through the festival, it is necessary to discover and promote recognition of cultural groups in the community.

• Trans-
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• 제4권
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• pp.37-63
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• 2018

Dance films, which started together as a combination of dance and video technology, have evolved into a new genre. Overseas, from early 1950s, experimental dance films have been produced and the dance film association is organized along with many dance film festivals are being held. However, it has not been long since the perception and creativity of the genre of dance films in Korea. Under these circumstances, holding of the 'Seoul Dance Film Festival' and experimental approaches by 'Dance Film Project' are important for the development of domestic dance films. Therefore, this paper explores the concept and development of dance films, the status and features of various overseas dance film festivals and the 'Seoul Dance Film Festival'. This paper also explores the roll and function of 'Seoul Dance Film Festival' and 'Dance Film Project', and their expected benefit along with possibilities of prosperity of domestic dance film. 'Dance Film Project' is the educational and experimental venue for producing of dance films, and the 'Seoul Dance Film Festival' is a platform for producing dance film makers, show of works, dialogue with audiences, international exchanges, and distributions. The dance film festival embodies the value of the past and current flow of the dance film and is intrinsic to the existence of a live content that can be predicted the future aspect of its roll. The two groups mutual growth and development are expected to play a positive role in the development of domestic dance films.

• Journal of the Korea Convergence Society
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• 제8권7호
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• pp.183-189
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• 2017

This research aims to inquire about local festival culture contents of France which are considered a successful case of cultural contents industry and will make a diagnosis regarding the applicability and concomitant problems in our country. It reviews French local festival and culture contents, represented by Bordeaux wine Festival. This research analyses the structure of storytelling and the emotional factors as communication and experience tool of historical and cultural resources in terms of cultural semiotics. The findings are as follows: First, it is about a strategy linked with historical and cultural resources as a package touristic product made of the tradition, history, cultural heritage, arts and winery experience. Second, it is about a storytelling strategy. The status of Bordeaux wine holds a splendid story originated in long historical background and benefits of nature. Third, it is about a strategy oriented to communication and experience. Fourth, it is about a strategy inducing fun and fantasy. A festival is a form of a play, and the play is the culture itself. The revitalization of local festivals which allow the increment of one's most personal happiness index is estimated to have the most crucial values and significance. Finally, the cases of European local festivals are considered to be worth benchmarking in many different domains in the sense that they create new contents by making interesting stories adapted from the past history.

• Korean Journal of Oriental Medicine
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• 제15권1호
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• pp.49-54
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• 2009

Objectives : The study aims at assessing information on cultural festivals of Korean medicine. Method : We investigated data about the National Festival collected from asking the Ministry of Culture, Sports and Tourism, Efestival of YonhapNews, Driving Korea of KBS and JOINS. Result : Since the 1990s, cultural festivals of Korean medicine are increased. The festival of the ginseng was the most. 5 cultural festivals held on The Chungcheongnam-do are the best in cultural festivals of Korean medicine. 65% of cultural festivals was held in the fall. In the budget of the cultural festivals in Korean medicine, the most were 1~5 hundred million won. Conclusions : We wish to propose a model for developing cultural semiology and visual literacy, with the Korean medicine. Subsequently, it is expected that such a model can underpin the importance of developing coherent edutainment content while illustrating the true meaning/value of local festivals.

• Journal of the Korean Society of Costume
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• 제62권8호
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• pp.118-133
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• 2012

A historical research on the costume of memorial service officials during the period of late 18th century, King Jeongjo period, is performed for an accurate reconstruction of the memorial service for King Danjong, which is a part of King Danjong Cultural Festival held at Yeongwol. This paper summarizes the results of the research as follows: 1. Jangneung memorial service is held only on Hansik day and the procedure follows the rule based on Gukjooryeui(國朝五禮儀). The service was first held in 1791 for King Danjong and his royal followers. 2. The rule based on Chunkwantonggo(春官通考), defines the king's tomb memorial services and attendees. King Danjong's memorial service follows the rule regarding its attendees and the attendees include high-ranking local government officials, local confucian scholars, and service men. 3. The costume of attendees for the King Danjong's memorial service is as follows: 1)Dangsangkwan(堂上官) and Danghakwan(堂下官) wear Sangbok(常服), which consisted of Samo(紗帽), Heukdanllyeong(黑團領), Pumdae(品帶), and black boots(黑靴). 2)Local confucian scholars wear their uniform consisting of Yukeon(儒巾), Dopo(道袍), Sejodae, and black boots. 3)Service men wear their uniform consisting of Jeonjakeon(典字巾), red-robe with rounded collar called Hongui(紅衣), Kwangdaw hoe(廣多繪), and Uuhae(雲鞋).