• (The) Research of the performance art and culture
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• no.39
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• pp.197-222
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• 2019

In the paper, this study will be explored in the migration of the mask dance Eunyeul Talchum from North Korea to South Korea after the national division took place. During and after the Korean War, refugees from the Hwanghae province settled in the Republic of Korea who were performers of the three Korean mask dances: Bongsan Talchum, Kangryeong Talchum and Eunyeul Talchum. All of these mask dances are denoted as South Korea's National Intangible Properties under the Cultural Property Protection Law (1962.) However, Eunyeul Talchum is the only asset among these three that settled in Incheon, instead of the capital, Seoul. The purpose of this research is to examine the process of restoring and the idea of transmitting Eunyeul Talchum in Incheon after the division of Korea. As opposed to Bongsan Talchum and Gangryeong Talchum, which are recognized as major socio-ethnic groups, Eunyeul Talchum belongs to a minority. Because not only Eunyeul Talchum is the last Mask Dance which has been nominated as an Intangible asset among the other Hwanghae Talchum but also, most people in the preservation association are comprised of the second-generation refugees from Hwanghae province. During three months of research, the researcher observed the performances and the educational communicating Eunyeul Talchum's cultural legacy. This study included several research methods: open interview, examination of relevant documents, and live performances. Particularly, the researcher conducted interviews with the Human Cultural Property and musicians (including professional/scholarly to lay/untrained) in the Preservation Association. In conclusion, Eunyeul Talchum preservation association is not as preeminent as other Korean mask dances, it has been transmitted by performers from Hwanghae province with its unique masks and instrumental accompaniment. These performers and educators dedication to maintaining Eunyeul Talchum's attributes contribute largely to the Preservation Association's successful settlement in Incheon. Thus, the researcher examines which idea formed to subsist the Eunyeul Talchum preservation association.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.23-42
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• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.

• (The) Research of the performance art and culture
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• no.39
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• pp.549-580
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• 2019

There are many festivals in the region that mainly use traditional performing arts. Traditional performing arts has a story that incorporates the history of the area, and it is easy to build a brand that can be distinguished from other areas through traditional performing arts, so it has conditions that are easy to grow in the local festival it can. In this paper, I researched the relationship between the significance and regionality of regional performing arts, referring to the case where traditional performing arts, which is a joint cultural heritage of East Asia, are transmitted as a festival. The performance art with strong locality has grown into a local festival, and the Kanto Festival (竿燈) held in Akita prefecture in northeastern Japan was selected as a representative example of that area. Along with the Aomori Nebuta Festival and the Sendai Tanabata Festival, the Kanto Festival is called the 3 major festivals in the northeastern part of Japan. It was designated as an important intangible folk cultural property in 1980 and became more famous. It visited Seoul several times after the 2005 Japan-Korea Exchange Festival event. It is widely known as a regional festival that represents Japan. The Kanto Festival, which was a participatory event on a village basis, has faced problems such as the migration and aging of young people since the 1970s. In order to solve this, they led the participation of schools, educational institutions, and various groups beyond the village unit and persuaded the participation to the local companies. They have been steadily promoting free lectures on technical skills and school visit events that induce children's interest. As a result, the number of moths mobilized in the current festival has reached 250, and the Kanto tournament also shows great popularity every year.