• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.170-181
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• 2021

The purpose of this study is to produce the results of the cultural aspects of the Honam region and present the aesthetic specificity of the traditional dances inherited in the Yehyang Honam region. The research method examined the regional characteristics of Honam dance and the form of Lee Mae-bang, Choi Seon, Jang Geum-do, and Cho Gap-nyeo Salpuri dance, and analyzed the authenticity and dance tendencies of Honam dance through the analysis.The work of understanding the background of local culture and creating cultural values through these representative salpuri dances in Honam region is an attempt to reflect on the essential value of the region as an intangible heritage of the region.

• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.15-37
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• 2011

This study is on dancing dresses of the costumes of Gum-Mu(劍舞, sword dance) in southern, central, and northern region of Korea, focusing on the origin, characteristics and the way of dance. The reason why the Gum-Mu is full of local color is that royal Korean Gisaeng(妓生) and local Gisaeng returned to their hometown and propagated this dance to each regional Kyobang. They combined court sword with each local dance and music and formed the present style of regional Gum-Mu. Dance and music native to area, which has formed today's regional Gum-Mu. The composition of current dancing costume of the sword dance is Jeogori, Chima, Jeondae(戰帶), Jeonrib(戰笠), Kwaeja(快子) Also, The complement colors harmonizing with color of Yin-Yang & Five Elements. which are yellow, blue, white, red, and black, are usually used. And the masculinity in dance were expressed withmore use of blue, and red in the opposite but if a sword dance takes on masculine character, blue color is more used, if feminie character, reddish colors, such as pink and red, are used. Thus, JinJu, Honam, Haeju, Pyeongyang dancing Suit of Gum-Mu feature blue color, Tongyeong, Kyeonggi, Court(seoul)dancing Suit of Gum-Mu feature reddish color.

• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• International Journal of Advanced Culture Technology
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• v.8 no.4
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• pp.153-160
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• 2020

The purpose of this study is to investigate the effect of female college students' participation in dance sports, perception of body attractiveness, and importance of body attractiveness. For this study, female university students residing in Gwangju Metropolitan City and Jeonnam region in 2019 were selected as the population. A total of 350 people were selected as the study subjects, but 170 dance sports participants and 130 non-participants were selected for the study, excluding 50 copies of double written and unfaithful data. After individually entering coded data into the computer, the statistical program (SPSS Windows.20.0 Version) was used. The results obtained through this research process are as follows. First of all, it was found that there was a difference in perception of body attractiveness depending on whether female university students participated in dance sports. Second, it was found that there was a difference in the importance of physical attractiveness depending on whether female college students participated in dance sports. Third, it was found that female college students' perception of body attractiveness has an effect on the importance of body attractiveness.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.82-93
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• 2023

The purpose of this study is to investigate the effect of female college students' participation in dance sports on their perception of body attractiveness and their desire for exercise. In order to achieve the purpose of this study, female college students residing in Gwangju Metropolitan City and Jeonnam in 2022 were selected as the population, and a total of 390 students were selected as study subjects using cluster random sampling. A total of 300 participants, 170 participants in dance sports and 130 non-participants, were selected as study subjects, excluding 90 copies of double entry and insincere data. As a survey tool, the questionnaire whose reliability and validity had already been verified in previous domestic and foreign studies was modified and supplemented to suit the purpose of this study. The collected data were computerized according to the purpose of analysis using SPSS Windows 20.0 Version, a statistical program. The results obtained through this procedure are as follows. First, there were partial differences in physical evaluation according to demographic characteristics. Second, there was a partial difference in exercise desire according to demographic characteristics. Third, physical evaluation was found to partially affect exercise desire.

• (The) Research of the performance art and culture
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• no.23
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• pp.185-212
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• 2011

Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance's unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style's dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance's dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han's dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee's dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation's dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.

• (The) Research of the performance art and culture
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• no.22
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• pp.157-183
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• 2011

This study is to find out the legitimacy and features of Honam Choreography via Lee Mae-bang and Han Jin-ok, two of the masters, and to seek better and more creative ways to pass it down in view of regional particularities. The study looks into the traditional choreography's multi-conceptuality that is derived from various forms of art and lends it its identity with the original notion rooted in Buddhist dancing. Despite the local cultural traits of the Honam area, the fact that Lee Mae-bang is more feminine and Han Jin-ok more masculine shows the two's worlds of dancing have been created from different perspectives, though they are quite common in their roots and locales. The particularities of passing down traditional choreography are given a thought in this study with the distinction and identity taken into account. Also, it will give an opportunity to discuss the importance of localism as aesthetic consciousness and communica tion channel. In any case, there is no doubt that local difference and communica tion make a very important source of culture when we look into the originality of the choreography.

• (The) Research of the performance art and culture
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• no.39
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• pp.775-800
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• 2019

Jeongeup Pungnyu, which can be regarded as a foundation of Hyangje Julpungryu(;string ensemble in Honam Area) best reflects social-spatial characteristics of local Pungryu culture. The close relationship between Daepungryu(wind ensemble) and Julpungryu can be inferred from three points of view. First, Jeongeumun who participated as a musician in the beginning of Hyangje Julpungryu was good at not only performing musical instrument but also dancing. Jeongeumun did not stay in specific musical field. He performed Hyangje Julpungryu, made Daepungryu and used it as dancing music with musicians that participated in Julpungryu. That is why Julpungryu and Daepungryu are not completely separated music. Secondly, according to , Jung Hyungin, who followed the dance of Jeong Jae-Sun with Kim So-Ran, was the first Piri player who learned from Jeongeumun and played Yeongsanhoesang and Samhyeon-yukkak(;wind ensemble). That is, Jeongeup Julpungryu was formed by Jeongeumun and dancer Jung Hyung-in followed Julpungryu and Daepungryu. Based on these findings, it can be inferred that Jeongeup's Daepungryu is fundamentally closely related to Jungeup Julpungryu.

• (The) Research of the performance art and culture
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• no.36
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• pp.137-167
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• 2018

As Gwangju Gwonbeon(meaning of a gisaeng call-office) was representative Gwonbeon in Honam area, it educated gugak(Korean traditional music) from the period of Japanese occupation to 1951, the year of foundation of Gwangju gugak center. As Gwangju Gwonbeon's later self, Gwangju gugak center was also an institution that local influentials interested in the education of gugak of Gwangju region cooperated and built. Therefore, Gwangju Gwonbeon should be considered when premodern and modern history of gugak in Gwangju is mentioned. However, the studies of Gwangju Gwonbeon as well as related studies are still thin. Previous researches related to Gwangju Gwonbeon are mostly focused on the operation and dance of Gwonbeon. However, Gwangju was a region where Pansori was invigorated. According to "Joseonmiinbogam", a record of gisaeng(Korean geisha) in 1918, gisaengs of Gwangju Gwonbeon were specialized in Pansori as compared with those of other regions. In addition, today, there are many master singers of Pansori heard by people, among persons who were educated and a lecturer in Gwangju Gwonbeon; therefore, their oral statement is important materials for understanding transmission of Pansori in Gwangju. Nevertheless, the relationship between Gwangju Gwonbeon and Pansori was not studied yet. Especially, oral statement of master singers of Pansori related to Gwangju Gwonbeon was collected partly, as a result, it is not recognized as valuable research materials. Foundation of Gwangju Gwonbeon and Gwangju gugak center became an important basis for education of Pansori as early private institute educating Korean classical musicians in Gwangju. And it is also meaningful as the trigger that gugak in Gwangju was begun in earnest. Therefore, the purpose of this study is reconstruct activities of master singers who worked in Gwangju Gwonbeon and Gwangju gugak center and is to examine transmission and value of Pansori in Gwangju from the period of Japanese occupation to 1973, collecting oral statement of master singers related to Gwangju Gwonbeon. Finally, this study might be helpful for expanding the interest in Pansori and activating related studies.