• (The) Research of the performance art and culture
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• no.35
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• pp.405-439
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• 2017

In this article, I suggest issues and tasks in transmission of Gyeonggi Province folk songs after thorough study of designation of Gyeonggi Province folk songs as intangible cultural asset, reproduction and transmission. Intangible cultural assets are classified into seasonal playing and songs. Originally, category or extension of folk songs is above mere songs and it also embraces personal lives as well as village communities. Intangible assets of folk songs are folk art, group events and non-stage events at the same time based on tradition, history, uniqueness, characters of field value. Gyeonggi Province has 9 intangible assets now because of the revocation of several assets (All Gyeonggi Province, Hwasung, Gwacheon) within five years after initial designation of 13 assets in 1998. They are mostly distributed in the north Gyeonggi region where is close to the DMZ and delay in development seems to have enabled the preservation. Most of the intangible cultural assets are farming songs and weeding which show characteristics of Gyeonggi Province. Most of the designees are who performed excavation, recovery, excluding a few cases without designees on designation, and almost all the designee passed away. Number of cases have been revoked because transmission was not completed or some cases were transmitted to groups rather than specific designees. Subscription concert, the biggest and most representative event, is performed once a year with all of the 9 intangible cultural assets in the original complete forms of the designation. Intangible cultural assets are classified into seasonal playing and songs. In general, current performance of the intangible cultural assets and folk songs are same as the originally designated forms and are not in varied forms other than folk songs like songs for rice-planting and weeding. Funeral songs are transmitted in Yangju and Yangpyeong. In terms of the operation, preservation societies having training centers have been performing more constant activities for preservation including lecture, performance and transmission. Members are quite aged and the societies are suffering from lack of support fund for reproduction and transmission. Problems in reproduction and tasks for the transmission I would like to suggest are like followings. First, preservation and value of the cultural assets. Second, new understanding of designation and revocation of the intangible cultural assets. Third, record of performance and sound source. Fourth, liaison with local communities. Fifth, organization of professional resources and establishment of systematic support and management.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.99-111
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• 2012

This study intends to explore the collaborative expression in the modern fashion design by analyzing the collaboration of motifs symbolizing Korean cultural identity. As for the data research, in order to examine the expressional objects of collaboration in the collections of the fashion designers from Korea and overseas who have applied the Korean culture among their collections posted on the Internet sites, www.firstview.com, and www.style.com from 2005 to 2012 were collected for analysis. 923 pictures used in the analysis sheet. As for the research method, the content analysis method was used. In the modern fashion design, the collaborative expression in the motifs symbolizing Korean cultural identity are limited to tangible expression, intangible expression, integrated expression. The results of this study were as follows. First, in the tangible expression, traditional tangible assets are used in the shapes, items, colors, materials, patterns and details to symbolize uniquely Korean image. The intangible expression, the applicability for Korean intangible assets include the master's (intangible cultural assets) and the craftsmanship of the modern designers being collaborated onto the contemporary customs to express the Korean traditional culture in a realistic or an abstract trend. The hybride expression, it is to represent Korean thoughts and values using the tangible elements. Second, The expressivity of collaboration of each year mostly shows integrated expression, intangible expression and tangible expression were shown respectively. The trend of seasonal collaboration expressivity was muchly the integrated expression in most seasons, and intangible expression and tangible expression followed respectively. It is recognizable that the expressivity of collaboration of each designer was; integrated expression was muchly shown in Lie Sang Bong and Lee Young Hee's works, Duri Jung showed much of intangible expression, and much tangible expressivity was shown in Carolina Herrera.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.29 no.2
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• pp.199-224
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• 2018

Intangible cultural heritage is a collection of community wisdom and talents and it has artistic and cultural values of the nation. And because it represents an identity of the country, it is an important records information resources that we must be inherited from generation to generation. Korea's intangible cultural heritage system has developed with the aim of preserving and transmission, but now it is necessary to take an creative approach as a resource as a resource for cultural diversity and utilization in an intangible cultural source. Therefore, it is important to maintain systematic management of intangible cultural heritage records information resources in order to continuously preserve, but it is also important to establish a basis for continuous use. The purpose of this study is to propose improvement plans for the archival information services of domestic intangible cultural heritage. We analyzed the status of the archival reference services of intangible cultural heritage institutions in consideration of the characteristics of intangible cultural assets. In-depth interviews were conducted with the responsible person to collect opinions and requirements during the service. We suggested the improvement plans through drawing out implication on problems and direction of archival information services for intangible cultural heritage.

• Proceeding of Spring/Autumn Annual Conference of KHA
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• 2011.04a
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• pp.197-202
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• 2011

The purpose of this study was to investigate the current situation of physical and intangible assets, and to analyze the use of planning in a new cultural space creation project areas. For this study, literature survey, filed survey and participant observation methods were used for data collection. The results were as follows. 1) The project's characteristics had a variety of space utilization's scope. It was to emphasize the organizations and participants in the human side. 2) There are the pumping stations, mokgammak, mills, barbershops, marketplaces etc in physical assets, and it was worth the historic or agricultural facility. 3) The using plans of three kinds in hardware facilities, software programs, human ware(human abilities)are linked to each other organically. 4) The problems in the project's process include the administrative and institutional factors rather than planning matters.

• Korean Journal of Heritage: History & Science
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• v.36
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• pp.335-346
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• 2003

With the development of media and computer, Motion Capture system, recently used in the entertainment and computer graphics, is emerging as a new recording method. Motion Capture is a system that records time-varying position of sensors which are attached to a objects and translates it to 3-D coordinate on computer. The motion of object displays the time-varying positions of each sensors that are graphed, or the line connected man-shaped model's movements on the computer monitor. And by adding computer graphic character to it, the various angled images, which are difficult to be perceived on the stage, can be easily recorded. Recently in Japan, Motion Capture system is being actively studied in order to use it in recording and preserving the intangible cultural assets of dance and art. Especially, Warabiza in Tazawako art village at Akita plays the leading role in this area through the project to symbolize and establish the archive of cultural dance, further, Ritsumeikan Univ. is develops the system for coupling the motion capture system to Labanotation. This article introduces the motion capture and it's related studies in Japan, which are being actively studied as a new recording method of intangible cultural assets.

• (The) Research of the performance art and culture
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• no.43
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• pp.405-440
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• 2021

The members of the holding group 'YangjuByeolsandae-nori' (National Important Intangible Cultural Heritage) were divided into two groups in 2010. This means that the internal groupwhich has been going on since the previous period exploded. The subject of the researchis to deal with thedisruption. The first purpose of the research is to record the cause·deployment·ending of the 'YangjuByeolsandaeTalnori'. The second purpose of the research is to reviewthe appropriateness of the administrative measures taken by the Cultural Heritage Administrationin intervention. The thirdpurpose of the research the Cultural Heritage Administration's contribution to the establishment of principles to cope with group disruption. The fourth purpose of the researchis to serve as a reference to the resolution of the disruption of other preservation groups. The result of the research suggests that the administration should recognize that the conflict of the ownership over the group must be resolved in order to boost the overall success of the project, and must establish and respond to the principles. The content is a reconstruction of the explanation. To deal with divisions is also considered to be a field of study. The research which deals directly with the main researcher's problems is put forward in hopes of contributing to the study and contributing to society.

• International Journal of Knowledge Content Development & Technology
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• v.13 no.4
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• pp.119-137
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• 2023

In this study, it was intended to explore a way to build a DB which links the resources and areas and regions already registered as cultural assets in connection with a project which is newly building local culture and arts resources. Towards this end, this study first identified the type and scale of existing local culture and arts resources that could be linked. Following which, to link the local cultural resources and collected cultural assets, this study investigated the websites such as the Cultural Heritage Administration's National Cultural Heritage Portal, municipal and provincial tangible cultural festivals, municipal and provincial intangible cultural assets, and Gyeonggi Memory. Furthermore, this study identified the amount of information sources to be built and the current status of each information source to identify detailed information sources. Finally, the metadata of local culture and arts resources were presented by classifying them into material and publication data metadata, document metadata, audiovisual metadata, oral recording metadata, village information metadata, and personal information village information metadata.

• Korean Institute of Interior Design Journal
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• no.38
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• pp.266-273
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• 2003

The culture is a product of the century, and so a worldwide-recognized cultural legacy is like an incorporeal property owned by a country. It is a new legacy created In new environment conditions among countries. The meaning of this study is to give wider publicity to our intangible cultural properties through active database research. There are a significant number of museums that manage tangible cultural properties at a national level, but we can find that most stay very superficial in the aspects of database protection, classification system, and demonstration method. This is a critical physical factor that makes it difficult to create an information-oriented management system, or to manage intangible cultural properties as incorporeal entities. The preservation of tangible cultural properties may be a more proper approach of handing down valuable national characteristics to posterity In that they can show those characteristics more readily. Unlike tangible cultural properties, the preservation of intangible cultural properties requires a different approach and process. They are treated as a category of human cultural assets because of their incorporeity and formlessness. Since those intangible cultural properties to be preserved and quantified at a national level, it is an important consideration in the study on cultural properties. The objectives of this study are to present the intangible products by making the best use of the information society's merits; rediscover human elements constituting those products; ultimately help promote our cultural succession and development by databasing such human elements.

• Korean Journal of Heritage: History & Science
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• v.36
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• pp.299-312
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• 2003

Gangneung Danoje does not only have the longest history but also is the largest folk festival in Korea. However, during its long history Gangneung Danoje has not always been the way as it is today. As records reveal, since the Chosun dynasty and through Japanese rule, it has gone through numerous variations and registration processes in order to become a national designated major intangible cultural asset. Especially after it has been appointed as a national major intangible cultural asset Gangneung Danoje has under gone through variety of transformations. First of the few changes is the citizen-lead characteristic. As Gangneung Cultulral Center took charge of Danoje this trait has become prominent. Hereby Chosun dynasty's government lead system has transformed into a civilian lead festival. Second alteration is the enormous scale of expansion and the variations of the characteristic of the festival because of it. Dano event has increased annually from 12 events in 1974 to 58 events by 1999. As the scale of Danoje enlarged the promoters found solutions by providing diversified events in order to satisfy peoples' various aspirations from the festival. However this solution lead to a diversion - from participating festival to a spectating festival. And the last change that occurred is the awareness of the need to develop Danoje into an international festival. This is rather a desire from the government than of the people. In 1994, Korea visiting year as an opportunity this consciousness grew active. For instance, the invitation of mass foreign folk performance in 1999 seems to conform to this policy. The intention to make Gangneung Danoje not only to represent Gangneung but also to represent Korea's folk event can be witnessed. As we enter 21st Century this inclination for international festival has strengthened. Gangneung government has shown enthusiasm to find the future of Danoje by inviting external service corps to assess Danoje. The current inclination appears to be increase its value as an international festival through UNESCO cultural property registration and having this as a foundation make Danoje become an international cultural tourist product. The judgment of this will be made after Gangneung International Folklore Festival 2004.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.35-50
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• 2022

The Korean cultural heritage protection act, enacted in 1962, is known to have been enacted in imitation of the Japanese cultural heritage protection act. The Japanese law differs from the current law dealing with intangible cultural heritage, folklore materials, and buried cultural properties. The Japanese law was enacted in consultation with the GHQ, and reflected the historical issues at the time of the enactment. Recently, in Japan, GHQ documents have been released and so research on the cultural heritage protection act is carried out. Therefore, it is necessary to understand the meaning and achievements of the Japanese cultural heritage protection act before comparing it with the Korean law. GHQ stipulated the emperor as a symbolic entity in the Japanese constitution and prescribed the country as a liberal democracy. Influenced by this, the cultural heritage protection act was enacted to identify the people's cultural heritage. Accordingly, the cultural heritage protection committee is a private and independent organization in Japan. The committee designates cultural heritage assets, and it operates as the national museum and the cultural heritage research institute. This system was a part of policy changes shifting cultural heritage management to the private sector. Since many cultural heritages are associated with the imperial family, museums were managed by the imperial family. Meanwhile, the Japanese house of councillors persuaded GHQ, which was negative about including intangible cultural heritage in the cultural heritage protection act. The purpose of this idea was to provide the system of the government support for Japanese imperial court music and dance. In addition, folk materials were included with the consent of the GHQ in that they represent the cultural heritages and the academic achievements of the people at the time in Japan. According to the Korean Law, the subject of designation of cultural heritage is the government, and the cultural heritage committee acts as an advisory body with its limited functions. In the early days, the committee confused the concept of intangible cultural heritage and folklore materials. This was because the concepts of cultural property was borrowed from Japanese law and applied to the Korean law without a full understanding. In response, the cultural heritage committee urged the ministry to investigate the current situation in Japan. The cultural heritage committee, mainly consisting of folklore scholars, was confused about the concepts of intangible cultural heritage and folklore materials, but the concept became clear when the enforcement regulations of the cultural heritage protection Act was enacted in 1964.