• (The) Research of the performance art and culture
• /
• no.34
• /
• pp.9-42
• /
• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.71-106
• /
• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.157-186
• /
• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• Korean Journal of Heritage: History & Science
• /
• v.43 no.4
• /
• pp.4-23
• /
• 2010

Danggol, in other words the hereditary shaman, is a person who is performing the Gut(the Korean shamanistic ritual) as the job but fortuneteller simply tells someone's fortunes. Nowadays most of fortunetellers think their works are wholly managed the Gut as the holy jobs. But Generally this kinds of jobs, we think it is lower than ordinary people's level of education in the korea. Actually we can meet eleven fortunetellers who have a college diploma out of them, so we can know that their education's level is increasing gradually. On the other hand a house of fortunetellers is the place where can lead the way of our lives in the method of seeing one's past life or making predictions of someone's coming events etc. Gradually this place seems to be separated with a private home, so the most of them is managing as the monthly rent. Consequently this houses are heavily located at the Gyerim five-way crossing, the Yang-dong Dakjeonmeory street, Jungheung-dong local culture street area. Each fortunetellers have the different ways of fortune-telling because this methods are decided by their one's characters. So their fortune-telling time and its time required for a task is far different. The methods of telling it is very much different in accordance with the learning fortuneteller or spiritualistic fortuneteller. But the process of fortune-telling is common like as a preparatory stage, carrying a Jumsa(fortune-telling) stage and acting by a Jumsa stage. These steps are sequential but linked together. There are six special features of fortune-telling culture in Gwang-Ju. 1. The role of a fortuneteller and Bosal(spirit-descended shaman) runs at the same time. 2. The house of fortune-telling is doing Gutdang(ritual house)'s works. 3. Its location are heavily collectivized at the specific districts. 4. The learning fortuneteller are increasing gradually. 5. The youth are growing use in the fortune-telling house. 6. There are many person that are visiting this house because of individual problems not their family's problems.

• The Journal of the Convergence on Culture Technology
• /
• v.5 no.3
• /
• pp.61-70
• /
• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.1
• /
• pp.175-183
• /
• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.9-59
• /
• 2017

This article describes the entertainment business system from 1907 to the first half of the 1920's. The entertainment business began at the time of Empire of Korea with the Imperial Theater called Hyeomnyulsa, which was supported by the emperor's authority and national system and run by the imperial court, especially Gungnaebu. However, after closing the imperial theater, many commercial theaters have been born since 1907, the role of the subject who dominate the entertainment business has been subdivided into financialist and agent. The financialist was replaced by civilians and the capacity of the agent has been strengthened after the introduction of Yeongeukgaeryanglon. In this condition the entertainment business had to be rationalized. In addition, before and after 1912, as the businessmen took part in the entertainment business instead of the government officials and social leaders, the role of entertainment business developed and became equipped with a modern system. Financialist who utilized economic capital was subdivided into the proprietor of a theater, investors, and bosses in the process of mobilizing the necessary funds for the construction, renovation, and repair of the theater, and agents who used cultural capital to practice and maintain performances, on the other hand played a role in expanding the diversity of the show in and outside the theater. In the theatre there was Chongmoo, Johapjang, Chwiche, and Jwadang of Gisaengjohaps, Sinpageukdans, Gyeongseonggupabaeujohap and various XXX Ilhaeng were outside the theater. They participated in the their own way. The financialist and agent used to set up cooperative relations and conflicts. The entertainment business was deepened and developed in the process of resolving the conflicts. However, Performance market could not grow as well as the possibility of a system equipped after 1915. This is because the Japanese imperialists limited the growth of the economic capital and cultural capital of the Koreans and even the composition of social capital. For this reason, Chosun's entertainment business system has grown in proportion to the absolute growth of the box office industry, but it has not developed as much as its potential capacity.

• (The)Study of the Eastern Classic
• /
• no.55
• /
• pp.265-291
• /
• 2014

Cheongeumrok is the journal of Gwonwoo(卷宇) Hong Chan-yu(1915-2005) during the period of January 9, 1969~January 14, 1982. He was personally involved in the foundation of a corporation called Yudohoi and also all of its operation, which makes him the most knowledgeable person about its history. His Cheongeumrok thus seems worthy enough as a proper material to arrange its history. Cheongeumrok consists of total 19 books, amounting to approximately 3,300 pieces of squared manuscript paper containing 200 letters per piece. He wrote it in Chinese and sometimes followed the Hangul-style word order while writing in Chinese. Many parts of the manuscript were written in a cursive hand with many Chinese poems embedded throughout it. The manuscript offers major information related to the corporation Yudohoi extracted from his journal. 1. There was a meeting of promoters to commemorate the foundation of the corporation in November, 1968, and it was in January, 1969 that it was established after getting a permit from the Ministry of Culture and Communication in January, 1969(Permit No. of Ministry of Culture and Communication: Da(다)-2-3(Jongmu(宗務)1732.5)). 2. Its office was moved from the original location of the 3rd floor of Wonnam Building, 133-1 Wonnam-dong, Jongro-gu, Seoul(currently Daekhak Pharmacy in front of Seoul National University Hospital) to Room 388 of Gwangjang Company, 4 Yeji-dong, Jongro-gu(office of Heungsan Social Gathering) and to second floor of KyungBo building, 21 Kyansu-dong, and to 3rd floor of Geongguk Building in Gyeongwoon-dong. 3. Its operational costs were covered by the supports of Seong Sang-yeong, the eldest son of Seong Jong-ho, the chairman of the board, later Kim Won-tae and Gwon Tae-hun, next chairmen of the board, and Hong Chan-yun, a director, since 1979. 4. His Confucian activities include participating in Seonggyungwan Seokjeonje (成均館 釋奠), joining in the erection of the Parijangseo(巴里長書) Monument and the publication of its commemorative poetry book, compiling the biographies(not completed) of Confucian patriotic martyrs for independence, and participating in the establishment of family rituals and regulations as a practice member. 5. His Yudohoi had a dispute with Seonggyungwan and lost a suit at the High Court in July, 1975 and Supreme Court in February, 1976. 6. There were discussions about its unification with Seonggyungwan Yudohoi, but there was hardly any progress. 7. Yudohoi started to provide full-scale courses on Confucian and Chinese classics under the leadership of Director Hong Chan-yu in 1979, and they have continued on today. Its courses for scholarship students including those for common citizens boast a history of 29 years and 220 graduates.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.4
• /
• pp.101-110
• /
• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.

• Korean Journal of Culture and Social Issue
• /
• v.21 no.2
• /
• pp.253-277
• /
• 2015

The purpose of this study was to identify work-family balance values(work-family centrality, marriage value, child-care value, work value etc) in Korea, Japan and U. K.. Moreover, This article investigated the attitudinal generational gap in each countries. Participants were 311 Korean, 324 Japanese and 322 English married working women, who were in the thirties fifties. The major findings of this study were as follows. Compared to Japan and U. K., Korean married working women were more work-centered and likely to seek for extrinsic work value as well as intrinsic work value. While they were highly thought that a woman should work despite of her marriage, it was also strongly concerned if their work negatively affected family life, they should be better to quit their job. These results showed that conservative-liberal values were coexisted in Korean participants. Secondly, U. K. participants were more centered on the family-oriented value and thought that women were not necessary to work in work-family conflict, in comparison to Korean and Japanese. As a result of cluster analysis, they were a lot distributed in 'woman's family care oriented group' which was weigh on woman's role as a family care giver as well as 'family value oriented group'. Thirdly, Japan participants not only were less family-centered but also less work-centered. In the similar vein, they were less motivated and oriented to all of intrinsic and extrinsic work values compared with participants in Koran and U. K. On the other hand, Japanese participants, in sharp contrast to Korean, had a liberal viewpoint in work-family related values, such as woman's work, career break caused by work-family conflict, and family values. We were trying to interpret these results in consideration of socio-economic-politic as well as psychological aspects.