• Journal of Korea Game Society
• /
• v.5 no.1
• /
• pp.45-52
• /
• 2005

This paper is re-lighting(reputation) that Ki-saeng is a artist in Chosun age to concern with history, social lives, role, art school of Ki-saeng and Ki-saeng and also is re-light and analysis educate system, rules, curriculum, time table of teaching, graduated album, photos of art school of Pyongyang Ki-saeng. And the using these traditional culture materials of Ki-saeng can create various digital contents of game contents, animation, drama, film and characters. Specially, it is propose to use culture contents that creation and pick out of beauty, talent, social system and art school of Ki-saeng in Chosun age willing to use concept design, scenario of game, animation, drama and film etc.

• The Journal of the Korea Contents Association
• /
• v.13 no.1
• /
• pp.398-408
• /
• 2013

The purpose of this study was to discuss how college students who participated in a liberal dancesports class were to relieve stress and academic performance was affected. The participants was conducted on eight college students who took part in a liberal dancesports class. The data was collected via in-depth interviews and participant observation from $19^{th}$ April to $20^{th}$ August 2012. The interviews was flexible, lasting between one and two hours. The results are as follows: First, the students were motivated to take the classes because they were fun and joy, inspiration from the mass media, and the encouragement of fellow participants. Second, the students enjoyed dancing together in a spirited and energetic manner. Third, the students stated that major causes of stress were over gaining suitable employment, long distance commuting and tuition fees ets. While this study has provided positive conclusions, it is suggested that any future research in this field should target male and female students from a variety of geographical regions with a wide range of concerns and interests.

• (The) Research of the performance art and culture
• /
• no.33
• /
• pp.303-328
• /
• 2016

This paper identifies the life of Kim Jung Hyun who was so called kisaeng, a beauty and entertainer in modern times and serves as the study considering what kinds of dances she played going through modern times and the significance works in Korea Dance illustrated guide bear in terms of dance history. Kim Jung Yun who was designated as an important intangible cultural asset for her Korean traditional narrative song in the northwestern provinces (Number twenty-nine. designated in 1971) devoted herself to Korean classical music area after having been designated as cultural asset and became a stranger in dance area. However, in Kisaeng call-office, she had been estimated to learn dancing under the great dancer, Lee Jang Sin, and make efforts on dance activity until the early 1960's. Her works derived from such learning and creation activity came to be part of Korea Dance Illustrated Guide. This study aimed at studying Kim Jung Yun in addition to her works who had not received attention so far but worked on positive lines and made a significant accomplishment in modern dance history in order to reveal her importance status in modern dance history.

• (The) Research of the performance art and culture
• /
• no.20
• /
• pp.213-249
• /
• 2010

Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, "Kyungjanpae", who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.33-60
• /
• 2018

This article is to present that the research on the Mudang Gut Chum should be within the context of the performance of Mudang Gut and examines its meanings and implications with focus on Seoul Mudang Gut Chum and Hwanghae-do Mudang Gut Chum. Seoul and Hwanghae-do Mudang Gut Chums do not exist in the form of simple dance or movement. They feature continuity while serving the function of revealing the existence of spirit and sometimes show the process of the spirit joining the Gut ritual, which means that the Mudang Gut Chum should not be understood as the dance itself only. Instead, care attention should be paid to the status of the tune of Gut where the dance is placed, relationship between the gut and the spirit, and the flow of narrativity. Also, the Mudang Gut Chum has a lot to do with the tune. Looking at the Mudang Gut Chum simply focusing on dancing steps, and the movement of feet and/or hands fails to gain an accurate understanding of the fundamentals of the Mudang Gut Chum. Closely connected to the tune, which is also associated with the grade of the spirit, the dance shows a variety of performances conducted by entering the Gut ritual of the spirit. In that respect, complex views on the Mudang Gut Chum are required. The same applies to the hereditary shaman Mudang Gut as well. The Korean Mudang Gut Chum has a slight difference between the Gangshinmu gut and the hereditary gut but is in basically the same aspect. The Gut Chum holds its meaning in the flow of gutgeori (tune or dance performed during exorcism, a shaman song) and delivers its own meaning in connection with the tune. It is definitely meaningful to focus on the individual movements of a dancing shaman but one should be able to derive the network of meanings that such movements have within the performance of the gutgeori, which means that intensive studies on the field performance and circumstances should be completed before studying the Mudang Gut Chum. In addition, the Mudang Gut Chum discloses the characteristics of the performance group. The Mudang Gut Chum exists in a complex manner. With respects to the status of the spirit, it shows the characteristics of the performance group. It represents the progress of Gut while closely connected with the tune. Therefore, the way of describing the Mudang Gut Chum should be far more than just simply keeping the dance notations. With this in mind, one should investigate and record the Mudang Gut Chum.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.121-143
• /
• 2021

The Aim of the this paper is to figure out impetus of the Naeseo Traditional Folk art Conservation Association. This Preservation Society derived from Hogaeri farmers' band. Through aging and hollowing out Hogaeri farmers' band got into a period of stagnation. In order to overcome slump villager and people of a township organized a conservation society in 1994. Members restored and directed folk song which from age to age for performance. are designated as cultural asset in 2017. Sutguldeong song is only song in inland area. This song are worthy of notice in . which is consist of various agricultural work songs experienced two changes. Rice-planting songs are characteristic. Especially, Executive playing a central role harden foundation of the Preservation Society. The mainspring of activity is the sense of responsibility. Preservation Society laying emphasis on recruiting new members. Preservation Society is planning to develop curriculum for Jurisdiction elementary and middle school students. This Preservation Society is made up of First generation members and Second generation members. First generation members who are born and bred in Hogaeri have been good friends both in joy and in sorrow Early days of Preservation Society. So, They has a strong family bond. In order to induce membership Members are practicing Nongak, popular folk songs, dancing program. Second generation members are not conversant with a folk song. Nonetheless They have a strong mind on a member line.

• Korean Journal of Heritage: History & Science
• /
• v.38
• /
• pp.5-42
• /
• 2005

Based on a field investigation of intangible cultural asset # 2, author Sir Shin Seok-bong of Daejeon Metropolitan Cityinvestigated the music of Antaek-gut, which is the base and core of Anjoon-gut, and found the following musical features: A Jang-gu(drum) and Kkoaengkwari(gong) were used to recitethe Sutra(kyungmoon) of Anjoon-gut. The Jang-gu, located on the right side, played an accompaniment role with regular beats when the Sutra was recited. The Kkoaengkwari, located on the left side, played the role of covering the caesura of the Sutra passages, so it is played with various rhythmic variations in accordance with Kojang(鼓杖). This is one way of playing Korean national classical music that has temporary caesuras, depending on the rector's bre! ath or the contents of a Sutra during the Sutra chanting, with the Jang-gu covering the pause with its variation. In other words, when being played in concert, the instruments that play the main melody are at rest while another instrument takes its turn to play the main melody as a form of prolonged sound. The rhythmic cycles of the sutras of Antaek-gut recited with this instrumental accompaniment consist of five types; a) Woemarch-jangdan (a single beat) of 4 meter by 3 bit, b) Dumarch-jangdan (two beats) of 8 meter by 3 bit, c) Saemarch-jangdan (three beats) of 4 meter by 3 bit with a fast tempo, d) Mak-gojang, uniform beats with a standardized rhythm, and e) incomplete beats deviated from the regular beats. Sir Shin Seok-bong chanted Chang (唱), a traditional native song which he called 'Cheong (淸)' with a cycle of 'Dumarch-jangdan' throughout the places of Antaek-gut. Only 'Toesonggyung' a chant for the gate that was the last location of the Antaek, was chanted with a cycle of 'Woemarch-jan! gdan'. In addition, 'Saemarch-jangdan' and 'Mak-gojang' that had comparatively faster tempos than the former two jangdans, were played without a chant when a female shaman was dancing and catching her spirit-invoking wand. The 'Saemarch-jangdan', particularly, was played while dancing began at a relatively slow tempo, then proceeded at a violent tempo and then back again to the slow tempo. This shows one of the representative tempos of our music with a slow-fast-slow tempo. The organizational tones were 'mi-la-do'-re'', and its key tones of 'mi-la-do'' were performed with perfect fourth and minor third, which was the same as those of Menari-tori. However, it did not show a typical Sigimse, an ornamental tone, of Menari-tory, whose first tone, 'mi', is vibrated and its Sigimse is gliding down from the tone 're' to 'do'. That is because the regional tone-tori of Chungcheong-do have a relatively weaker musical expression than that of Gyeongsang-do. In addition, the rhythmic types in accordance with the words of a song for the Antaek-gut music had a comparatively faster tempo than the other sutras. Also, it was only with 'Toesonggyeong' that the tone 'la' continuously appeared throughout the melody and showed 'a syllabic rhythm', while other places consisted of either a 'syncopation' or 'melismatic' rhythm. Finally, according to a brief investigation of the tone organization in accordance with each sutra, the tone 'la' was given more weight. The tone procedure showed a mainly ascending 'la-do'' and the descending 'la-mi' with minor third and perfect fourth. Also, the overall tempo proceeded with M.M.♩.=116-184, while the tempo for the Gut proceeded with M.M.♩.=120-140, which was suitable for reciting a Sutra.

• Korean Journal of Heritage: History & Science
• /
• v.38
• /
• pp.43-107
• /
• 2005

A ritual ceremony accompanied by a song and dance is called as Kagura in Japan. The word Kagura is originally derived from Kamukura, which means the place where spirits reside. However, later it came to refer to the whole process of the ritual ceremony itself. Through the field studies, this paper examines Takachiho-kagura, helded in Takachiho, known as the village of myths, located in northern Miyazaki-ken in Japan. Kagura takes place all night through in each and every village in Takachiho and it normally runs from the end of November when the harvest season ends until early February the next year. One ordinary house is especially chosen for this ceremony, in which Kagura performs 33 repertoires. Takachiho-kagura is sometimes called as Yokagura, since the performance takes place over-night. A song and dance is performed by ordinary village people called hoshyadong, who inherited Takachiho-kagura. Currently, the ceremony is held in more than 20 villages and designated by the government as "Important Intangible Folk Cultural Property" in Japan. Takachiho-kagura follows the example of rituals held in Sada shrine in Izumo, which is now eastern Hiroshima-ken. It is the dance using a bell, a sword, a fan, which signify Norimono and is usually combined with mask-play called as Shinno. From the shrine of village, itwelcomes the gods who defense their village, called Ujikami and other 8 million gods, called Yaoyorozunokami, in Kagurayado, where Kagura of 33 repertoires is played in order. Kagura starts from dances for attendance of the gods, Hikomai, Daidono, Kamioroshi, performs dances of Amanoiwato, the gate of heaven's cave in Japanese myths, Dazikara, Uzume, Dotori, and continues dances for the old ghosts Shibahiki, Yatsubachi mixed with acrobatics. Finally, this performance ends with dances to send off the gods, Hinomae, Gurioroshi, Gumooroshi, until the dawn the next morning. This paper explores Takachiho-kagura from the perspective of folk performance with ethnography. These days, ecstasy and oracle do not happen in Takachiho-kagura. However, it kept the old form of folk performance as Kagura held in ordinary house. Especially, in Takachiho, remarkable venue of the Japanese myths, Takachiho-kagura is developed artistically. The first field study was held in Gokamura, Iwato-zone and Ashakabe, Mitai-zone between December 6th and December 12th 1997. Afterwards, the second field study was conducted in the area of Shiba and Ashakabe from December 17th until December 19th 1997 and from December 1st until December 10th 2000.