• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.217-253
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• 2020

This study analyzes the principles of the 'Earthly Paradise' (仙境, the realm of immortals), 'Virtuous Concordance of Yin and Yang' (陰陽合德), and the 'Reordering Works of Heaven and Earth' (天地公事) while combining them with Joseon art. Therefore, this study aims to discover the context wherein the concept of Taiji in 'Daesoon Truth,' deeply penetrates into Joseon art. Doing so reveals how 'Daesoon Thought' is embedded in the lives and customs of the Korean people. In addition, this study follows a review of the sentiments and intellectual traditions of the Korean people based on 'Daesoon Thought' and creative works. Moreover, 'Daesoon Thought' brings all of this to the forefront in academics and art at the cosmological level. The purpose of this research is to vividly reveal the core of 'Daesoon Thought' as a visual image. Through this, the combination of 'Daesoon Thought' and Joseon art will secure both data and reality at the same time. As part of this, this study deals with the world of 'Daesoon Thought' as a cosmological Taiji principle. This concept is revealed in Joseon art, which is analyzed and examined from the viewpoint of art philosophy. First, as a way to make use of 'Daesoon Thought,' 'Daesoon Truth' was developed and directly applied to Joseon art. In this way, reflections on Korean life within 'Daesoon Thought' can be revealed. In this regard, the selection of Joseon art used in this study highlights creative works that have been deeply ingrained into people's lives. For example, as 'Daesoon Thought' appears to focus on the genre painting, folk painting, and landscape painting of the Joseon Dynasty, attention is given to verifying these cases. This study analyzes 'Daesoon Thought,' which borrows from Joseon art, from the perspective of art philosophy. Accordingly, attempts are made to find examples of the 'Virtuous Concordance of Yin and Yang' and Tai-Ji in Joseon art which became a basis by which 'Daesoon Thought' was communicated to people. In addition, appreciating 'Daesoon Thought' in Joseon art is an opportunity to vividly examine not only the Joseon art style but also the life, consciousness, and mental world of the Korean people. As part of this, Chapter 2 made several findings related to the formation of 'Daesoon Thought.' In Chapter 3, the structures of the ideas of 'Earthly Paradise' and 'Virtuous Concordance of Yin and Yang' were likewise found to have support. And 'The Reordering Works of Heaven and Earth' and Tai-Ji were found in depictions of metaphysical laws. To this end, the laws of 'The Reordering Works of Heaven and Earth' and the structure of Tai-Ji were combined. In chapter 4, we analyzed the 'Daesoon Thought' in the life and work of the Korean people at the level of the convergence of 'Daeesoon Thought' and Joseon art. The analysis of works provides a glimpse into the precise identity of 'Daesoon Thought' as observable in Joseon art, as doing so is useful for generating empirical data. For example, works such as Tai-Jido, Ssanggeum Daemu, Jusachaebujeokdo, Hwajogi Myeonghwabundo, and Gyeongdodo are objects that inspired descriptions of 'Earthly Paradise', 'Virtuous Concordance of Yin and Yang,' and 'The Reordering Works of Heaven and Earth.' As a result, Tai-Ji which appears in 'Daesoon Thought', proved the status of people in Joseon art. Given all of these statements, the Tai-Ji idea pursued by Daesoon Thought is a providence that follows change as all things are mutually created. In other words, it was derived that Tai-Ji ideology sits profoundly in the lives of the Korean people and responds mutually to the providence that converges with 'Mutual Beneficence.'

• Journal of Practical Agriculture & Fisheries Research
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• v.24 no.3
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• pp.15-24
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• 2022

In 2000, a total of 23,794ha of forest was lost due to the East Coast forest fire, and about 70% of the damaged area was concentrated in Samcheok. In 2001, artificial restoration and natural restoration were implemented in the damaged area. This study was conducted to understand the current vegetation structure 21 years after the restoration of forest fire damage in the Samcheok, Gumbong Mountain area. As a result of classifying the vegetation community, it was divided into three communities: Quercus variabilis-Pinus densiflora community, Pinus densiflora-Quercus mongolica community, and Pinus thunbergii community. Quercus variabilis, Pinus densiflora, and Pinus thunbergii planted in the artificial restoration site were found to continue to grow as dominant species in the local vegetation after restoration. As for the species diversity index of the community, the Quercus variabilis-Pinus densiflora community dominated by deciduous broad-leaf trees showed the highest, and the coniferous forest Pinus thunbergii community showed the lowest. Vegetation in areas affected by forest fires is greatly affected by reforestation tree species, and 21 years later, it has shown a tendency to recover to the forest type before forest fire. In order to establish DataBase for effective restoration and to prepare monitoring data, it is necessary to construct data through continuous vegetation survey on the areas affected by forest fires.

• Journal of Wetlands Research
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• v.25 no.1
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• pp.35-47
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• 2023

Korean facility horticulture and hydroponic cultivation methods increase, requiring the management of waste water generated. In this study, the amount of fertilizer contained in the discharged waste liquid was determined. By evaluating this as a price, it was suggested to reduce water treatment costs and recycle fertilizer components. It was evaluated based on the results of major water quality analysis of waste liquid by crop, such as tomatoes, paprika, cucumbers, and strawberries, and in the case of P component, it was analyzed by converting it to the amount of phosphoric acid (P₂O₅). The amount of nitrogen (N) can be calculated by discharging 1,145.90kg·ha^-1 of tomatoes, 920.43kg·ha^-1 of paprika, 804.16kg·ha^-1 of cucumbers, 405.83kg·ha^-1 of strawberries, and the fertilizer content of P₂O₅ is 830.65kg·ha^-1 of paprika, 622.32kg·ha^-1 of tomatoes, 477.67kg·ha^-1 of cucumbers. In addition, trace elements such as potassium (K), calcium (Ca), magnesium (Mg), iron (Fe), and manganese (Mn) were also analyzed to be emitted. The price per kg of each item calculated by averaging the price of fertilizer sold on the market can be evaluated as KRW, N 860.7, P 2,378.2, K 2,121.7, Ca 981.2, Mg 1,036.3, Fe 126,076.9, Mn 62,322.1, Zn 15,825.0, Cu 31,362.0, B 4,238.0, Mo 149,041.7. The annual fertilizer loss amount for each crop was calculated by comprehensively considering the price per kg calculated based on the market price of fertilizer, the concentration of waste by crop analyzed earlier, and the average annual emission of hydroponic cultivation. As a result of the analysis, the average of the four hydroponic crops was 5,475,361.1 won in fertilizer ingredients, with tomatoes valued at 6,995,622.3 won, paprika valued at 7,384,923.8 won, cucumbers valued at 5,091,607.9 won, and strawberries valued at 2,429,290.6 won. It was expected that if hydroponic drainage is managed through self-treatment or threshing before discharge rather than by leaking it into a river and treating it as a pollutant, it can be a valuable reusable fertilizer ingredient along with reducing water treatment costs.

• Journal of the Daesoon Academy of Sciences
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• v.30
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• pp.163-199
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• 2018

Jeon-gyeong was published under the command of Dojeon Park Wudang in 1974. The scripture consists of 7 parts and each part has 17 chapters. The earliest record of Gucheon Sangje (1871~1909) can be found in Jeungsan Cheonsa Gongsagi, which was published by Lee Sangho (1888~1967) in 1926. The book was the first oral literature that he created by collecting information and materials on Jeungsan as he personally met with many direct disciples of Gucheon Sangje. In 1929, after three years, Lee complemented the book with additional materials and published the first edition of Daesoon Jeon-gyeong. It was a form of didactic literature stylistically presented as scripture. Lee continued this long journey of work by revising and publishing 6 editions of Daesoon Jeon-gyeong until he published the last one in 1965. The chapter titled, "Cheonji-gongsa (Reordering Works of the Universe)" from Daesoon Jeon-gyeong as the sixth chapter out of a total of 13 chapters in the first edition, but in the last edition, it appears as chapter 4 out of a total of 9 chapters. Here it is shown that the last edition has been shortened when compared to the first edition. Also the number of verses in the chapter has largely increased by almost twice its original size over the 37 years; as it was 81 in the first edition, 94 in the second, 148 in the third, 151 in the fifth, and 175 in the sixth. In this paper, I studied how the verses of "Gongsa (Reordering Works)" from the Jeon-gyeong, which was first published in 1974, have been revised in comparison to the chapter titled "Cheonji-gongsa" from the Daesoon Jeon-gyeong. As the result of comparing each verse of "Gongsa" from the Jeon-gyeong to those of "Cheonji-gongsa" from all six editions of the Daesoon Jeon-gyeong, I could find the following revisions or changes. First, when "Cheonji-gongsa" from the Daesoon Jeon-gyeong is compared to "Gongsa" from the Jeon-gyeong, it can be seen that the number of verses has been changed and some contents have been deleted or added. Second, the sixth edition of the Daesoon Jeon-gyeong has 69 more verses than the Jeon-gyeong, and most of the additions were made in the chapters titled "Haengrok (analects)," "Gyoun (conveyance of teachings)," and "Yesi (forseeing)". These additions show how the verses regarding religious and predictional teachings developed over the years. Third, the verses from "Gongsa" from the Jeon-gyeong contain many descriptions from chapter 2, "Enlightenment of Dao and Miraculous Deeds of Cheonsa (Heavenly Teacher)," chapter 3, "Followers in the Dao School and Precepts," and chapter 5, "Opening of New World and Paradise," from the 6 th edition of the Daesoon Jeon-gyeong. This indicates that "Cheonji-gongsa (Reordering Works of the Universe)" was related to miraculous acts, enlightenment to Dao, teachings given to the followers, the opening of new world, and the building of a paradise. Fourth, some chapters in the section "Cheonji-gongsa" from Daesoon Jeon-gyeong are omitted in "Gongsa" from Jeon-gyeong, and "Gongsa" has some new contents that were not included in previous texts. This shows that there had been adoptions of different materials in the process of transmission.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.71-100
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• 2017

This study focuses on examining 'the Supreme God and Celestial Worthy of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin', which Daesoon Jinrihoe believes in as the highest divinity. The name of this divinity was first found in Chinese Daoist scriptures. This study starts by considering the global propagation of virtue and then research connected to this topic. There are two alternative names for this divinity in relation to his human avatar, Kang Jeungsan, the subject of faith in Daesoon Jinrihoe. One is 'the Lord God of Great Creation in the Ninth Heaven' meaning the divinity before assuming a human avatar, and the other is 'the Celestial Worthy of Universal Transformation' the same divinity after he discarded his human avatar and returned to his celestial post. To understand how the belief system of Daesoon Jinrihoe differs from that of Daoism, it is necessary to study the divinity's change from being 'the Lord God of Great Creation in the Ninth Heaven' to becoming 'the Celestial Worthy of Universal Transformation'. If this distinction is not made clear, it brings about confusing arguments concerning the term 'Supreme God (Sangje)' as used in Daoism and Daesoon Jinrihoe. In order to offer a specific explanation, this study suggests three possible directions. The first hypothesis is that although these two names, 'the Celestial Worthy of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin' from Daoism and 'the Supreme God of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin' from Daesoon Jinrihoe, are similar, they actually have nothing to do with one another. The second hypothesis is that they are in fact the same divinity. Lastly, the third hypothesis is that they are closely connected, however, the former (the Celestial Worthy of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin) is a position needed to fulfill the mission of Jeungsan, whereas the latter (the Supreme God of the Ninth Heaven Who Spreads the Sound of the Thunder Corresponding to Primordial Origin) is a name received after the human avatar passes and the deity returns to the Noebu, 'the department of lightning'. These hypotheses face certain problems such as arbitrary mixing, the need for the theoretical clarity, and argumental weakness. Therefore, by leaving some unresolved questions, this study encourages future follow-up studies.

• Journal of Intelligence and Information Systems
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• v.28 no.1
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• pp.45-68
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• 2022

The central and local governments of the Republic of Korea provided information necessary for disaster response through wireless emergency alerts (WEAs) in order to overcome the pandemic situation in which COVID-19 rapidly spreads. Among all channels for delivering disaster information, wireless emergency alert is the most efficient, and since it adopts the CBS(Cell Broadcast Service) method that broadcasts directly to the mobile phone, it has the advantage of being able to easily access disaster information through the mobile phone without the effort of searching. In this study, the characteristics of wireless emergency alerts sent to Seoul during the past year and one month (January 2020 to January 2021) were derived through various text mining methodologies, and various types of information contained in wireless emergency alerts were analyzed. In addition, it was confirmed through the population mobility by age in the districts of Seoul that what kind of influence it had on the movement behavior of people. After going through the process of classifying key words and information included in each character, text analysis was performed so that individual sent characters can be used as an analysis unit by applying a document cluster analysis technique based on the included words. The number of WEAs sent to the Seoul has grown dramatically since the spread of Covid-19. In January 2020, only 10 WEAs were sent to the Seoul, but the number of the WEAs increased 5 times in March, and 7.7 times over the previous months. Since the basic, regional local government were authorized to send wireless emergency alerts independently, the sending behavior of related to wireless emergency alerts are different for each local government. Although most of the basic local governments increased the transmission of WEAs as the number of confirmed cases of Covid-19 increases, the trend of the increase in WEAs according to the increase in the number of confirmed cases of Covid-19 was different by region. By using structured econometric model, the effect of disaster information included in wireless emergency alerts on population mobility was measured by dividing it into baseline effect and accumulating effect. Six types of disaster information, including date, order, online URL, symptom, location, normative guidance, were identified in WEAs and analyzed through econometric modelling. It was confirmed that the types of information that significantly change population mobility by age are different. Population mobility of people in their 60s and 70s decreased when wireless emergency alerts included information related to date and order. As date and order information is appeared in WEAs when they intend to give information about Covid-19 confirmed cases, these results show that the population mobility of higher ages decreased as they reacted to the messages reporting of confirmed cases of Covid-19. Online information (URL) decreased the population mobility of in their 20s, and information related to symptoms reduced the population mobility of people in their 30s. On the other hand, it was confirmed that normative words that including the meaning of encouraging compliance with quarantine policies did not cause significant changes in the population mobility of all ages. This means that only meaningful information which is useful for disaster response should be included in the wireless emergency alerts. Repeated sending of wireless emergency alerts reduces the magnitude of the impact of disaster information on population mobility. It proves indirectly that under the prolonged pandemic, people started to feel tired of getting repetitive WEAs with similar content and started to react less. In order to effectively use WEAs for quarantine and overcoming disaster situations, it is necessary to reduce the fatigue of the people who receive WEA by sending them only in necessary situations, and to raise awareness of WEAs.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• (The) Research of the performance art and culture
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• no.38
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• pp.349-383
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• 2019

This discussion is focused on Donghaeanbyulsingut's 'gutchum-pan to pray'. 'Gutchum-pan to pray' is repeated in almost all of the geori in Byulsingut, so it is a crucial chum-pan that can never be disregarded in understanding Byulsingutchum. Meanwhile, it supposes that Donghaeanbyulsingut is grounded on the activity of producing 'praying (words) and dance (motions)' within its relationship with the structure of capitalistic society along with the context of traditional rituals. The motion that is newly generated as a response to the concrete expression of 'praying' conducted by a mudang (a shaman), that is, the expression coming from the inside associated with the praying is seen as gutchum. This dance is bound to be in competition and interest among shaman groups, and they tend to influence one another. If praying leads to dance, a mudang can gain profits from capital as well as the value of labor. When the mudang succeeds in forming a bigger bond of sympathy with her praying, the object of praying gets more eager to select byulbi and dances a heoteunchum (impromptu dance) more vigorously. This means that a mudang's ability to perform a ritual is associated with the object of praying's consumption. With his impromptu motions, the object of praying comes to go into 'the field of consumption' within the structure of capitalistic competition before he is aware of it. Behind the communication that praying leads to dance, a lot of things are associated with one another organically. 'Gutchum-pan to pray' is generated by the continuous movement of diversity and unity that the time has within the ritual of the mudang and the object of praying. It continues to create the future 'self' that is different from the present 'self', and it means that he expects variability from the present 'self' through 'gutchum-pan to pray'. The mudang also prays for him arranging the variability of the other (the object of praying) inside her labor. In a big picture, of course, the mudang expects the variability of herself, too, which is connected to the value of her labor. The variability that they expect forms a crucial axis that determines where the flow of time and space that the 'gutchum-pan to pray' has is directed to. The contents of praying are directly related with the villagers' lives, and what leads to dance is mostly related with their jobs. This implies that what the mudang experiences in her everyday consuming activity is directly associated with the villagers' activity for earning money. In other words, the contents of that praying change constantly according to the flow of capitalistic economy. Also, those striving to respond to it before anyone else also expect better life for them by substituting their self to the 'gutchum-pan to pray' eagerly. If so, who are the ones that generate 'gutchum-pan to pray'? This can be understood through relationship among mudangs, relationship between the mudang and villagers, and also relationship among villagers. Their relationships can never be free from the concepts like labor in capitalistic society, consumption and expenditure, or time; therefore, they come to compete with the other, the present self, or the better self within the diverse relationships. This gets to be expressed in any ways, words or motions. And the range that covers the creation of either group or individual 'gutchum-pan to pray' in the village is the village community. Outside the range, it is upsized to the competition of the village unit, so individual praying may become diminished more easily. Although mudangs pray in each geori, it does not mean all praying leads to dance. Within various relationships between mudangs and villagers, 'gutchum-pan to pray' comes to be generated, repeated, and extinct. As it is mitigated to more positive competition, it does not lead to gutchum any longer. In other words, repeating 'gutchum-pan to pray' previously created has turned the object of praying into the state different from the former. Also, the two groups both have experienced the last step of Byulsingut, and at that point, praying does no longer lead to dance. In other words, from the position of the shaman group, it is the finish of their labor time and ritual performance, and from the perspective of the villagers, it means the finish of consuming activity and participation in a ritual. The characteristics of 'gutchum-pan to pray' can be summarized as follows. First, it goes through the following process: competition in the village group → competition in the group → competition among individuals. Second, repeated praying does not lead to 'gutchum'. Third, in the cases of praying for each of the occupation groups, the mudang can induce a bond of sympathy from the objects of praying directly, and this lead to dance. Fourth, the group that fails in being included in the category of praying gets to be alienated from 'gutchum-pan to pray' repeatedly.

• (The) Research of the performance art and culture
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• no.23
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• pp.281-312
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• 2011

The aim of this study is to examine various life conditions of actors of Joseon periods in unofficial historical stories. Yadam Literature(Korean unofficial historical stories) had been collected Sadaebu(the past Korean nobility and Confucian intelligentsia) among the people that stories had been handed down orally. and they had been wrote them. So Yadam Literature was heterozygous between the folk culture and the ruling class. And it was mixed and adapted legends and folktales, adding literary imagination. had a decisive role to cultivating novel that owed much to prosaic inspiration during A. D. 18~19. Besides, set a high value on excellent novel itself. Yadam Literature had a verisimilitude because it described a contemporary reality as it was founded on freely prosaic inspiration. In those days, so called Suchok and Seunggwangdae had performed Uhee(a comic theatrical performance) in Joseon periods. Suchok was the lowest class of people and Seunggwangdae was performing Buddhist monk in that time. Uhee had performed three kinds of comedies. One satirized and insinuated kings. Other satirized corrupt officials, too. Another had mimic everything. It is famous at that time as a king knew repertoire. Confucian scholars very were fond of Uhee in those ages. Because they favored a criticism of Uhee's satire. They thought that it gave people good lesson or instruction. Heri Bergson said that comic and Humor included lesson. At that time, those thought were universal in the world whether east or west. At any rate, I classify six kinds of types Uhee in Yadam Literature. First, satirizing and accusing corrupt officials. Second, an actor who use a satire in order to appeal secure a government position of his lord to a king. Third, shamans and actors who use a satire in order to appeal sufferings themselves to a king. Forth, actors and performing Buddhist monks that skillfully mimic anything. Fifth, describing actor's extremely miserable life. Sixth, wit and humor of actors. The contents of Uhee were various. Korean traditional actors adeptly dealt with aspects comic of wit, satire, humor, etc. Sometimes they used changeable transition them. By doing that, a great number of people enjoyed fully the sense of freedom. Korean traditional actors were the lowest class of people. They had lived extremely miserable life. But they had been exist as actions, interactions, and relationship in society those days. they were not only open to people, but also might foster community to peoples.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.