• KIEAE Journal
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• v.9 no.3
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• pp.61-68
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• 2009

Gwangju Metropolitan Government & Ministry of Environment have signed a model city in response to Climate Change agreement. The agreement calls for Gwangju to cut greenhouse gas emissions 10% below 2005 levels by 2015. Gwangju has seen this agreement as an opportunity to cut pollution and conserve the environment as well as to reinvigorate local economy. According to policy of Gwangju, Gwangju held design competition for Gwangju City Arboretum on march, 2009. The purpose of design competition was to give a wide publicity to Gwangju as Hub City of Asian Culture and construct carbon-neutral arboretum in accordance with the policy of 'Low-Carbon and Green Growth'. First of all, a design concept of arboretum is 'winding, round, overlay 'to reflect the landscape of Nam-do which is surrounded by mountains and river flows through the village. Second, the arboretum has five different places with these themes - Forest of Festivals, Health, Nature, Nostalgia, Education and Future. Each place has a symbolic theme park and different flow planning respectively. Third, the most critical point is that the arboretum is a carbon-neutral park. Gwangju arboretum will soon be developed in metropolitan sanitary landfill and constructed as the O2 arboretum based on low carbon strategy. Fourth, the O2 arboretum suggests specialized issue : 'Energy Saving', 'Recycling System', 'Green Network', 'Water System(rainwater maintenance and wetland development)'. Besides, main buildings(greenhouse, visitor center, Nam-do experience exhibition hall, and forest museum) is designed in consideration of harmony with topography character, surroundings. Also, planting will be a multilayer plant based on native landscape trees in consideration of function and the growth characteristics.

• Fashion & Textile Research Journal
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• v.12 no.2
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• pp.156-161
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• 2010

To improve the standard of living of its citizens, local festivals is located in one axis of the new culture. These symptoms shows that there is increasing awareness of traditional culture such as Hanryu. The purpose of this study is to develope the presentative Dress of Andong International Maskdance Festival to stimulate curiosity and participate easily. 24 villages in Andong were present to represent appropriate Dress of Maskdance Festival which have been announced through the fashion show. The characteristics of the maskdance dress which presented in this study has the purpose of making the specialties of each village to tourism resources. Characteristics of the maskdance dress which designed to blend on the mask was as following. (1) Maskdance dress should shown well and must have strong durability of strenuous exercise in maskdance (2) Maskdance dress should be able to get the sympathy of the spectators. (3) Maskdance dress should be sympathetic as modern costumes. (4) Aesthetics as custumes and requirements as product must be met. (5) Acceptance of Andong region's traditional beauty is required. (6) Maskdance dress is likely to require long-term use. (7) Maskdance dress must be able to accommodate a variety of body conditions. Through customer satisfaction survey of 158 spectators and 48 members of fashion show, the relevance of masks and costumes, aesthetic and motility of costumes, commercialization potential, especially costume' motility and functional fitness of clothing sizes was highly evaluated. So maskdance dress or stage costumes as long-term development is likely to be considered. And continued research is needed.

• Journal of the Korea Society of Computer and Information
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• v.20 no.1
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• pp.39-48
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• 2015

In this research the problems and ways to improve the three mural villages and how to make use of digital contents have been sought. Three ways of solutions were searched for the problems. Firstly, The geographical and cultural advantages of the villages were not in practical use, so in long term, making proper brands of the villages is recommended. Secondly, most of the paintings are wall paintings. So in the aspects of esthetics, more wall paintings are encouraged to be made with ceramic works. Lastly, there should be various festivals in connection with the villages. Various smart phone applications should be prepared for easier use of digital contents such as sights, foods, and accommodation, Mural villages have become one of attractions for both local and foreign tourists. More tourists should feel free to visit the mural villages.

• (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.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.3
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• pp.82-91
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• 2007

Rural areas dominate country landscape, where the population is rich in traditional and natural heritage. Dangsan forests and Rural community forests (RCF) have been maintained by local residents for hundreds of years. However, many of these forests have been disturbed, and only small amount of Dangsan forests and the RCF remain due to the efforts of local residents. Recently, the remnants of Dangsan forests and RCF have been regarded as living traditional landscapes representing the cultural and rural background of Korea. But the value of Dangsan forests and the RCFs has not been recognized by many. This study aims to understand the characteristics and management status of Dangsan forests in Sungnam-ri, Wonju. Sungnam-ri has four villages, each of which is bordered by a Dangsan forest at the riparian buffer. Sungnam-ri has been selsected as a site for a rural village development project by the Ministry of Agriculture & Forestry of Korea. Sunghwanglim (the Upper Dangsan forest) is designated as Natural Monument No.93 and entrance is limited in this area. The size of Sunghwanglim is $21,133m^2$, and the major tree species are Kalopanax pictus (Dangsan tree, Divine tree), Pinus densiflora, Abies holophylla, Acer triflorum, Ulmus davidiana, Fraxinus rhynchophylla and Quercus serrata. In total, 124 trees with more than 40 cm in DBH are at this site. As for cultural activities, the Dangsan festival is held on April 8th and September 9th of the lunar calendar at shrines in the forests. Although other Dangsan forests are smaller than Sunghwanglim, they also have similar cultural activities. The landscape of the Dangsan forests have been managed for several hundred years by the local people, and they intend to continue maintaining the Dangsan forests for the purpose of festivals and other cultural activities. The findings in this study suggest that Dangsan forests have the potential for the development of rural villages and for the improvement of cultural and natural landscapes in Korea.

• (The) Research of the performance art and culture
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• no.18
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• pp.449-480
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• 2009

In this paper, I tried to study the change of the Chinese performing arts market during the 10th 5year development plan, from year 2001 to year 2005 by both of the quantitative and qualitative analysis, because it's really the time when we need to understand the growing market of chinese culture along with the development of the Chinese cultural industry. During that period, the Chinese government developed the policy to establish a healthy cultural market and strengthen it's cultural power; the parts who product the piece of performing arts including the performing troupes, the theatres and the production companies were consolidated and became familiar to market through the reformation of the organization; and the audience who consume the performing arts and entertainments still shows very Chinese characteristics in the cities and villages. In the village, the audiences invite the troupe to play their local theatre in many occasions of their life according to their traditional beliefs, also somehow to show their wealth. The fact that the local governments and the companies are very important consumer groups in China is also very 'Chinese' characteristics. It means that Chinese performing arts are still more or less under the influence of the political ideas. Nonetheless it is worthy of notice that Chinese performing arts not only develope the new contents in very creative way and also try to learn the knowhow of the excellent items of foreign countries by inviting them to the festivals or organize a co-productions on the basis of the upgraded cultural power through the 10th 5 year development plan.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.93-101
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• 2010

This paper aims to analyze success factors for the construction of Supdari(a traditional wooden bridge to connect small streams temporarily), which is a citizens' initiative project to revitalize local community in Jeonju-River, Jeonju City. Recently Supdari has been restored for the use of belongings in local festivals. But Jeonju-River Supdari was designed and built to unite local citizens and connect river-divided villages. This project shows how investing social capital like Supdari makes the community vitalize through citizen's active participation. As a citizen leading project, there were several critical factors for sucess. At first, there were some noticeable ways to encourage local citizen's participation in online and offline. In the online, the Supdari internet cafe introduced what is a Supdari, how to make it and where we build using various media of UCCs and photos. In the offline, the small scaled model of Supdari was made and exhibited in the entrance of the village and related several seminars were hosted to discuss how to construct Supdari with citizens, local assembly men and public officials together. The Second is the movement to restore traditional and cultural resources for the community recovery triggered the supports from local councils and many civic groups. Civic groups supported ecological and structural expertise to guarantee environment friendly and stable construction. And local councils mediated citizen's and administrative office's opinions. The third is flexible administrative management to help citizen's ideas to be realized. Officials extended setting period of Supdari on the condition with the civic-control safety management.

• (The)Study of the Eastern Classic
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• no.72
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• pp.299-327
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• 2018

The objective of this study is to examine the regional distribution of Ssireum(Traditional Wrestling) of South and North Korea in the Japanese colonial era. The conclusions of this study are as follows. First, the "Joseon ui hyangto orak(Folk play in Joseon)" showed the record of performing 272 times of Ssireum in 226 regions of the whole nation. Second, the Ssireum of South Korea could be divided into five regions. Seoul/Gyeonggi-do performed Ssireum the most in Dano, Baekjung, and Chuseok while Chungcheong-do performed Ssireum in Baekjung and Chuseok. Jeolla-do and Gyeongsang-do performed Ssireum in Chuseok while Gangwon-do performed Ssireum in Dano and Chuseok. Third, the Ssireum of North Korea could be divided into three regions. All the Hwanghae-do, Pyeongan-do, and Hamgyeong-do performed Ssireum the most in Dano. Fourth, as the period when Ssireum was held the most in the whole nation, Dano, Baekjung, and Chuseok could be pointed out. Ssireum has the characteristics of large-scale play between village communities or regions, instead of individual game. Thus, the Ssireum that was played as a sport event under certain rules for a long time was settled down as a folk play of regional festivals such as Dano, Baekjung, and Chuseok. Fifth, as a folk play and a representative play of seasonal customs, Ssireum was distributed in the whole nation and handed down till today under the regional deviation of South and North Korea. Sixth, the unidentified regions of South Korea that did not perform Ssireum were six places including five dos such as Gapyeong Gyeonggi-do, Boseong Jeollanam-do, Jeju-do, Gunwi and Cheongsong Gyeongsanbuk-do, and Inje Gangwon-do. The regions of North Korea were six places including three dos such as Pyeongyang, Yangdeok, Gangdong, and Gaecheon of Pyeongannam-do, Bakcheon Pyeonganbuk-do, and Dancheon Hamgyeongnam-do. Total 12 places in eight regions were included. Seventh, the number of total items of play names presented in the "Joseon ui hyangto orak(Folk play in Joseon)" was about 6,400 types. Out of them, about 1,300 types were the items including how to play while about 5,100 types were the items presenting the play names only without explanations. Especially, in case of Ssireum, the periods of the lunar calendar were only specified in each region. Unfortunately, it was not possible to check the contents about the actual performance methods and types of Ssireum as they were omitted.