• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.37 no.1
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• pp.104-115
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• 1992

The rice culture techniques included 'Jodosukyungbeob'(旱稻水耕法 : culture techniques of early-ripening paddy rice), 'Mandosukyungbeob' (晩稻水耕法) : culture techniques of late-Ripening paddy rice 'Handobeob'(旱稻＆lt;山稻＆gt;法 : culture techniques of upland rice), 'Myojongbeob'(苗種法 : culture techniques of paddy rice by transplanting), 'Kunangbeob'(乾秧法 : culture techniques of rice by transplanting which rears seeding in dry paddy) and 'Sudogunpanongbeob'(水稻乾播農法 : culture techniques of paddy rice seeding in dry field). Especially, 'Kunangbeob' and 'Sudogunpanongbeob' were originally developed in Korea as seen in 1600s(Kyoungje : 經濟) and early 1800s (Yoji : 要旨). In 'Jodosukyungbeob' it took 9 days for seed dipping, water-sprouting and prevent damage by birds, each for 3 days in China, but in Korea seed dipping in water took 3 days and the rest of the procedures were flexibly established. In matured soils, practices were fall plowing right after harvest, recognition of effective tillering and additional fertilization use of human manure, and stimulation of sprouting by lime application. The unique culture techniques adequate for Korean situations were practiced, which included weed control after draining accurately for 3 to 4 times, draining at mid season for improving wind and drought tolerance, rice harvesting at appropriate time for preventing grain shattering, and seeding in rows. 'Mandosukyungbeob' was improved techniques contrast to those of China, and the major contents were selection of proper varieties, good stand establishment by seeding high rates, induction of vigorous tillers, and adoption of 'Jokjongbeob'(足種法 : seeding method by foot). Also, one of the most prominent rice cultures by our ancestors was 'Kunpanongbeob' that was systemized form habitual practice of Pyongan Province. The unique technique actualized was 'Hando [旱稻(山稻)]' culture technique which was the combinations of 'Jokjongbeob', root stimulation method, and disaster-tolerant mixture cropping with adoptation of variety theory, although it was originated from China. The transplanting techniques has come before 'Jikseol'($\ulcorner$直說$\lrcorner$) and its merits were sufficiently realized. However, this method was basically prohibited from the early Chosun dynasty because extremely bad harvest was expected under drought conditions and insufficient conditions of water storage. But, it was permitted in the areas that contained water all the times and in case of large-scale farming especially. Most of rice culture was transplanted in the end of the Chosun dynasty because transplanting was continuously spreaded in the three southern provinces of Korea. Under these circumstances, transplanting technique was improved from the early to the end of the Chosun dynasty by weed control, fertilizing, water management, and quadratic transplanting. Based on these techniques, agricultural productivity was improved 5 times by that time. 'Kunpanongbeob' was created and developed properly for Korean conditions that is dry in early season and flooding in late season. This was successively developed and established into transplanting technique of nursery seedling.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.281-313
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• 2019

This paper was written to investigate the narrative traits of Lee Ae-rim's Comic Books. Lee Ae-rim arrived on the scene with the boom of comic book magazines in the 1990s. Although she started her career as a Comic Book writer, she expanded her own area gradually and has been working actively as an animation director as well. The superficial characteristics of Lee Ae-rim's works can be summed up as sexuality, grotesqueness, and fantasy. In other words, Lee Ae-rim's comic books are mainly characterized by the visualization of sexual, grotesque, and fantastic shapes. Lee Ae-rim has faced challenges with her own overwhelming and compelling images like no one else. For that reason, it is true that people haven't paid careful attention to the hidden stories behind her pictures. This paper considers that looking back on the narratives that Lee Ae-rim has been interested in, from early days to recent days, that is to say, the contexts of stories, is a shortcut to reveal a point of contact between her past, present, and future. Especially, this paper focused on the properties of the circulated and repeated stories, the stories ruled by fate and coincidence, and the stories in which elements of fantasy encounter an attempt of violation. As a result, it was found that the narratives of Lee Ae-rim's comic books demand us to face suppressed desires in a new way, by wrapping up the most fundamental aspects of human being in universality and constancy with specificity and grotesqueness. The reason why Lee Ae-rim has continued the avant-garde and omnidirectional works thus far explains what our society suppresses, inversely. Moreover, the narratives of Lee Ae-rim are significant, by being devoted to the right function of art not only to disclose suppressed desires but to satisfy them. Making an in-depth investigation of the narratives of Lee Ae-rim's comic books in various contexts, this research is intended to establish a diversity of Korean comic books, by adding meaning to the creative values of individual writers.

• Journal of Venture Innovation
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• v.4 no.1
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• pp.51-65
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• 2021

The HR policy in the public sector was closed and operated mainly on written tests, but in 2006, a new evaluation, promotion and education system based on competence was introduced in the promotion and selection system of civil servants. In particular, the seniority-oriented promotion system was evaluated based on competence by operating an Assessment Center related to promotion. Competency evaluation is known to be the most reliable and valid evaluation method among the evaluation methods used to date and is also known to have high predictive feasibility for performance. In 2001, 19 government standard competency models were designed. In 2006, the competency assessment was implemented with the implementation of the high-ranking civil service team system. In the public sector, the purpose of the competency evaluation is mainly to select third-grade civil servants, assign fourth-grade civil servants, and promotion fifth-grade civil servants. However, competency assessments in the public sector differ in terms of competency assessment objectives, assessment processes and competency assessment programmes compared to those in the private sector. For the purposes of competency assessment, the public sector is for the promotion of candidates, and the private sector focuses on career development and fostering. Therefore, it is not continuously developing capabilities than the private sector and is not used to enhance performance in performing its duties. In relation to evaluation items, the public sector generally operates a system that passes capacity assessment at 2.5 out of 5 for 6 competencies, lacks feedback on what competencies are lacking, and the private sector uses each individual's competency score. Regarding the selection and operation of evaluators, the public sector focuses on fairness in evaluation, and the private sector focuses on usability, which is inconsistent with the aspect of developing capabilities and utilizing human resources in the right place. Therefore, the public sector should also improve measures to identify outstanding people and motivate them through capacity evaluation and change the operation of the capacity evaluation system so that they can grow into better managers through accurate reports and individual feedback

• Korean Journal of Radiology
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• v.2 no.1
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• pp.28-36
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• 2001

Objective: To provide a systematic overview of the effects of various parameters on contrast enhancement within the same population, an animal experiment as well as a computer-aided simulation study was performed. Materials and Methods: In an animal experiment, single-level dynamic CT through the liver was performed at 5-second intervals just after the injection of contrast medium for 3 minutes. Combinations of three different amounts (1, 2, 3 mL/kg), concentrations (150, 200, 300 mgI/mL), and injection rates (0.5, 1, 2 mL/sec) were used. The CT number of the aorta (A), portal vein (P) and liver (L) was measured in each image, and time-attenuation curves for A, P and L were thus obtained. The degree of maximum enhancement (Imax) and time to reach peak enhancement (Tmax) of A, P and L were determined, and times to equilibrium (Teq) were analyzed. In the computed-aided simulation model, a program based on the amount, flow, and diffusion coefficient of body fluid in various compartments of the human body was designed. The input variables were the concentrations, volumes and injection rates of the contrast media used. The program generated the time-attenuation curves of A, P and L, as well as liver-to-hepatocellular carcinoma (HCC) contrast curves. On each curve, we calculated and plotted the optimal temporal window (time period above the lower threshold, which in this experiment was 10 Hounsfield units), the total area under the curve above the lower threshold, and the area within the optimal range. Results: A. Animal Experiment: At a given concentration and injection rate, an increased volume of contrast medium led to increases in Imax A, P and L. In addition, Tmax A, P, L and Teq were prolonged in parallel with increases in injection time The time-attenuation curve shifted upward and to the right. For a given volume and injection rate, an increased concentration of contrast medium increased the degree of aortic, portal and hepatic enhancement, though Tmax A, P and L remained the same. The time-attenuation curve shifted upward. For a given volume and concentration of contrast medium, changes in the injection rate had a prominent effect on aortic enhancement, and that of the portal vein and hepatic parenchyma also showed some increase, though the effect was less prominent. A increased in the rate of contrast injection led to shifting of the time enhancement curve to the left and upward. B. Computer Simulation: At a faster injection rate, there was minimal change in the degree of hepatic attenuation, though the duration of the optimal temporal window decreased. The area between 10 and 30 HU was greatest when contrast media was delivered at a rate of 2 3 mL/sec. Although the total area under the curve increased in proportion to the injection rate, most of this increase was above the upper threshould and thus the temporal window was narrow and the optimal area decreased. Conclusion: Increases in volume, concentration and injection rate all resulted in improved arterial enhancement. If cost was disregarded, increasing the injection volume was the most reliable way of obtaining good quality enhancement. The optimal way of delivering a given amount of contrast medium can be calculated using a computer-based mathematical model.

• Sim-seong Yeon-gu
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• v.29 no.1
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• pp.1-45
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• 2014

Mystic experience such as seeing an vision could be explained as experiencing elusive and mysterious unique existence in religious way. In depth psychology, which is based on unconsciousness like analytical psychology, this could be explained as a something that gives a meaning of life and purpose through discovering health and healing. The importance of primodial experience in depth psychology is that it can possibly discover the base of present acts. In Christian theology, symbolic mystery and truth of religious experience that appear in Christian tradition have interest on human situation. These two fields' approach methods are different, but both show common interest on unique experience which can be said properly as raw experience. Various visions appear in many parts of the Bible. Among many visions, the book of Zechariah, one of the 12 Prophets, describes rich and diverse 8 visions through chapter 1 to chapter 8. However, due to the Genre of revelation, it lacks historicity, and because of vagueness and symbolic meanings, its visions are hard to understand and interpret. Theologically, visions of Zechariah show communality of Israelites by reconstructing kingdom of Judah and church in a way of historical circumstances. Though, these visions could deliver the meaning of an ethnical aspect as reporting continuous conversation between the God and humans. Furthermore, it could mean a personal aspect of the Prophet Zechariah as reaching for a opportunity of new change. Moreover, those who read these visions could try to interpret the meanings of various images which represent meeting mysterious existences. Therefore, the Author would concentrate on the fact that 8 visions in the book of Zechariah, which has not been received much attention to neither Christians nor non-believers, develop in chiastic structure (stylistic contrast), so that tries to interpret the first, second, seventh, and the eighth visions in analytic psychology way. In visions of Zechariah, excepting the 4th vision which probably was inserted later, rest of 7 visions each shows the stage of the hours of darkness. 1st to 3rd visions represent evening, 5th vision represents deep in the night, and 6th to 8th visions represent dawn to morning. Moreover, since structure of visions arranged in chiastic way, horse appears in 1st and 8th vision, measuring rope and measure tools are used as main motif in 2nd and 7th vision. However, same motifs could have different symbolic meanings and roles as visions are formed in different situations and conditions. In the first vision, angels who ride horses look around the world and report it is calm and peaceful. Concerning the political situation back in the day, the world being calm and peaceful in the beginning of evening means that it is not ready to change to a whole new world. Psychologically, if there is no readiness to adopt new world, it means being hopeless. It is sending you a message to get out of those kinds of situation. Moreover, appearance of four angels who rode red, brown, and white horses to a myrtus tree in the valley means that it is time for individuation and it is right and good timing for changing. In second vision, you will be able to see that Israelites had long years being caught in the shadows by foreign country, and long years succumbed by the strength of four horns, which shows the progress of renewing strength and being oneness with oneself from overwhelmed situation by paternity. In seventh vision, meaning of two women bringing the godness of the sky, who were locked up in a rice basket, back to the temple in Babylon is going towards in a level of Self-actualization by separating one's ego captured excessively by matherhood and putting back to a place where it was before. In eighth vision, chariots pulled by horses are scattered far and wide, and horses which went to north had rest in the land of North. After horses and chariots are seen between two mountains of bronze with the image of Self and anima/animus. These images can be explained as the changing progress are almost completed and the God and human, in other words Self and ego are being united and is now time for rest. All of 8 visions contains the conversation between angel and Zechariah who willing to know the meaning of visions. Zechariah asks the angel actively about the meaning of visions because of his wish for Israelites to return home and rebuild church. Conversation among the God, Zechariah, who asks questions until he knows everything, an Angel, who gives answer to given questions, is conversation between ego and anima/animus. Eventually, it is a conversation between Self and ego.

• The Korean Journal of Air & Space Law and Policy
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• v.27 no.2
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• pp.211-241
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• 2012

The Draft International Code of Conduct for Outer Space Activities officially proposed by the European Union on the occasion of the 55th Session of the United Nations Peaceful Uses of the Outer Space last June 2012 in Vienna, Austria is to fill the lacunae of the relevant norms to be applied to the human activities in the outer space and thus has the merit our attention. The missing elements of the norms span from the prohibition of an arms race, safety and security of the space objects including the measures to reduce the space debris to the exchange of information of space activities among space-faring nations. The EU's initiatives, when implemented, cover or will eventually prepare for the forum to deal with such issues of interests of the international community. The EU's initiatives begun at the end of 2008 included the unofficial contacts with major space powers including in particular the USA of which position is believed to have been reflected in the Draft with the aim to have it adopted in 2013. Although the Code is made up of soft law rather than hard law for the subscribing countries, the USA seems to be afraid of the eventuality whereby its strategic advantages in the outer space will be affected by the prohibiting norms, possibly to be pursued by the Code from its current non-binding character, of placing weapons in the outer space. It is with this trepidation that the USA has been opposing to the adoption of the United Nations Assembly Resolutions on the prevention of an arms race in the outer space (PAROS) and in the same context to the setting-up of a working group on the arms race in the outer space in the frame of the Conference on Disarmament. China and Russia who together put forward a draft Treaty on Prevention of the Placement of Weapons in Outer Space and of the Threat or Use of Force against Outer Space Objects (PPWT) in 2008 would not feel comfortable either because the EU initiatives will steal the lime light. Consequently their reactions are understandably passive towards the Draft Code while the reaction of the USA to the PPWT was a clear cut "No". With the above background, the future of the EU Code is uncertain. Nevertheless, the purpose of the Code to reduce the space debris, to allow exchange of the information on the space activities, and to protect the space objects through safety and security, all to maximize the principle of the peaceful use and exploration of the outer space is the laudable efforts on the part of EU. When the detailed negotiations will be held, some problems including the cost to be incurred by setting up an office for the clerical works could be discussed for both efficient and economic mechanism. For example, the new clerical works envisaged in the Draft Code could be discharged by the current UN OOSA (Office for Outer Space Affairs) with minimal additional resources. The EU's initiatives are another meaningful contribution following one due to it in adopting the Kyoto Protocol of 1997 to the UNFCCC (UN Framework Convention on the Climate Change) and deserve the praise from the thoughtful international community.

• The Journal of Korean Society for Radiation Therapy
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• v.26 no.2
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• pp.329-336
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• 2014

Purpose : To evaluate the dose on a contralateral breast and the usefulness of shielding according to the distance between the contralateral breast and the side of the beam by breast size when patients who got breast implant receive radiation therapy. Materials and Methods : We equipped 200 cc, 300 cc, 400 cc, and 500 cc breast model on the human phantom (Rando-phantom), acquired CT images (philips 16channel, Netherlands) and established the radiation treatment plan, 180 cGy per day on the left breast (EclipseTM ver10.0.42, Varian Medical Systems, USA) by size. We set up each points, A, B, C, and D on the right(contralateral) breast model for measurement by size and by the distance from the beam and attached MOSFET at each points. The 6 MV, 10 MV and 15 MV X-ray were irradiated to the left(target) breast model and we measured exposure dose of contralateral breast model using MOSFET. Also, at the same condition, we acquired the dose value after shielding using only Pb 2 mm and bolus 3 mm under the Pb 2 mm together. Results : As the breast model is bigger from 200 cc to 500 cc, The surface of the contralateral breast is closer to the beam. As a result, from 200 cc to 500 cc, on 180 cGy basis, the measurement value of the scattered ray inclined by 3.22 ~ 4.17% at A point, 4.06 ~ 6.22% at B point, 0.4~0.5% at C point, and was under 0.4% at D point. As the X-ray energy is higher, from 6 MV to 15 MV, on 180 cGy basis, the measurement value of the scattered ray inclined by 4.06~5% at A point, 2.85~4.94% at B point, 0.74~1.65% at C point, and was under 0.4% at D point. As using Pb 2 mm for shield, scattered ray declined by average 9.74% at A and B point, 2.8% at C point, and is under 1% at D point. As using Pb 2 mm and bolus together for shield, scattered ray declined by average 9.76% at A and B point, 2.2% at C point, and is under 1% at D point. Conclusion : Commonly, in case of patients who got breast implant, there is a distance difference by breast size between the contralateral breast and the side of beam. As the distance is closer to the beam, the scattered ray inclined. At the same size of the breast, as the X-ray energy is higher, the exposure dose by scattered ray tends to incline. As a result, as low as possible energy wihtin the plan dose is good for reducing the exposure dose.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.1-19
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• 2013

This study tries to review 'Sakuteiki(作庭記)', the Book of Garden Making, compiled at the end of the 11th Century during the Heian Period of Japan, from the East-Asian perspective. 'Sakuteiki' is a Garden Theory Book, the oldest in the world as well as in Asia, and it contains the traditional knowledge of Japanese ancient garden culture, which originated from the continent(Korea and China). Traditional knowledge related to East-Asian garden culture reviewed in this paper is "Fungsu Theory"(風水, Asian traditional ecology: Fengshui in Chinese; Fusui in Japanese), stemmed from the culture to seek sound and blessed places to live in. Viewed from modern landscape architecture, the Fungsu Theory corresponds to ecology(science). The Fungsu Theory was established around the Han Dynasty of China together with the Yinyangwuxing(陰陽五行) Theory and widely used for making human residences including gardens. It was transmitted to Japan via Korea as well as through direct transaction between Japan and China. This study reinterprets garden design principles represented in Sakuteiki, which were selected in 5 key words according to the Fungsu Theory. The 5 key words for the Fungsu Theory are "the place in harmony of four guardian gods(四神相應地)", "planting trees in the four cardinal directions", "flow of Chi(氣)", "curved line and asymmetry", and "mountain is the king, water is the people". Garden design principles of "the place in harmony of four guardian gods(四神相應地)" and "planting trees in the four cardinal directions" are corresponding to "Myeongdang-ron(明堂論, Theory of propitious site)". The place in harmony of four guardian gods mentioned in Sakuteiki is a landform surrounded by the flow of water to the east, the great path to the west, the pond to the south, and the hill to the north. And the Theory originated from Zhaijing(宅經, Classic of dwelling Sites) of China. According to this principle, the city was planned and as a miniature model, the residence of the aristocrat during the Heian period was made. At the residence the location of the garden surrounded by the four gods(the flow of water, the great path, the pond, and the hill) is the Myeongdang(明堂, the propitious site: Mingtang in Chinese; Meido in Japanese). Sakuteiki explains how to substitute for the four gods by planting trees in the four cardinal directions when they were not given by nature. This way of planting originated from Zhaijing(宅經) and also goes back to Qiminyaoshu (齊民要術), compiled in the 6th Century of China. In this way of planting, the number of trees suggested in Sakuteiki is related to Hetu(河圖) and Luoshu(洛書), which are iconography of Yi(易), the philosophy of change, in ancient China. Such way of planting corresponds to that of Yongdoseo(龍圖墅, the villa based on the principle of Hetu) presented in Sanrimgyeongje (山林經濟), an encyclopedia on agriculture and living in the 17th Century of Korea. And garden design principles of "the flow of Chi(氣)", "curved line and asymmetry" is connected to "Saenggi Theory(生氣論, Theory of vitality)". Sakuteiki explains the right flow of Chi(氣) through the proper flow and the reverse flow of the garden stream and also suggests the curved line of the garden stream, asymmetric arrangement of bridges and stones in the garden, and indented shape of pond edges, which are ways of accumulating Chi(氣) and therefore lead to "Saenggi Theory" of the Fungsu Theory. The last design principle, "mountain is the king, water is the people", is related to "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory. Sakuteiki explains the meaning of garden through a metaphor, which views mountain as king, water as the people, and stones as king's retainers. It compares the situation in which the king governs the people with the help of his retainers to the ecological phenomena in which mountain(earth) controls water with the help of stones. This principle befits "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory which explains landform on the analogy of social systems, people, animals and things. As above, major garden design principles represented in Sakuteiki can be interpreted in the context of the Fungsu Theory, the traditional knowledge system in East Asia. Therefore, we can find the significance of Sakuteiki in that the wisdom of ancient garden culture in East-Asia was integrated in it, although it described the knowhow of a specific garden style in a specific period of Japan.

• (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.