Korean Folk Research Articles

A Research on Analysing and Improving the Auditory Experience of Visitors in Museum Using Customer Journey Maps: Focusing on the Seoul Museum of Korean Folk Music

A Research on Analysing and Improving the Auditory Experience of Visitors in Museum Using Customer Journey Maps: Focusing on the Seoul Museum of Korean Folk Music

Six Paramitas Sutra and the Ancient Chinese and Korean Folk Tales and Novels

Six Paramitas Sutra and the Ancient Chinese and Korean Folk Tales and Novels

1960년대 한-일 대중음악에 나타나는 비틀즈의 영향을 통한, 대중음악의 수용의미 분석 - 1960년대 양국 밴드 음악의 비교를 중심으로

Since the Beatles’ arrival in New York on February 7 th , 1964 was broadcast, they have shaken up not only the United States but also the world’s popular music market. Korea and Japan, which were strongly influenced by American pop culture at the time, were also influenced by British-style band music including the Beatles. Based on this cultural phenomenon that Korea and Japan experienced simultaneously in the 1960s, this study examined the patterns of cultural spread in the Anglo-American region between the two nations via a comparison of the music of the two countries at the time. This study compared Korean and Japanese 60s popular music in terms of melodies and harmonies that were influenced by British-style band music represented by the Beatles. As a result, the band music of both countries exhibited similarities and differences in musical aspects. A common factor is that the band music of both countries follows the Beatles’ band formation and arrangement method; however, differences were also observed. In the case of Korean bands, excluding their adapted songs, the musical influence of the Beatles is not easy to find. Korean band Add4’s songs were made using pentatonic scales, which give the feeling of Korean folk music. The band Keyboys wrote songs in the trot genre. In the case of Japan, other examples can be found. The band The Spiders and The Dynamites used music as similar to the Beatles as possible, thereby reflecting the Beatles’ melodic and harmonic characteristics as much as possible. Jackey Yoshikawa and the Blue Comets showed enka tendencies. Based on our results, Korea’s 1960s band music localized new English-American music and accepted it in a compromise manner. Japanese band music also attempted to localize, but attempted to copy the trend of English-American music represented by the Beatles. It was confirmed that attempts had also been made. Based on these differences in cultural acceptance between the two countries, the patterns of cultural transmission at the time in the Anglo-American world can be summarized as follows. 1. The public’s level of exposure to Anglo-American culture was different in the two countries. 2. The music production companies of the two countries had different approaches to the newly forming English-American music. Thereafter, Korean and Japanese popular music in the 70s and 80s took different paths. This difference can be viewed as the result of the two countries’ different acceptance of Anglo-American music from the 50s, 60s, and 70s, which are considered a time of differentiation in Anglo-American popular music genres such as rock, rock‘n’roll, and R&B. The occurrence of the phenomenon of cultural acceptance influencing later generations of music is believed to be repeating with the birth of K-pop. Accordingly, the formation of modern K-pop and its differences from J-pop can be considered as future research tasks.

中韩文化交流的音乐使者

This article is an interview with Professor Piao Enyu of Kangwon National University, a musical messenger of cultural exchanges between China and South Korea. Professor Piao introduced the process of embarking on the research of Korean music history, and discussed the music of the Goryeo Dynasty, the similarities and differences between Chinese and Korean music history, Korean folk music, Korean elegant music, and Professor Piao’s own work Goryeo Tang Music, etc. After making an analysis, she finally put forward her own expectations for young music scholars: strive to get closer to the music exchange between China and South Korea based on the existing knowledge structure.

2022 개정 교육과정 초등학교 체육과 표현 영역의 신체활동 예시와 용어 정리 탐색

This study aimed to explore the physical activity examples and terminologies in the expression areas of the 2022 Revised Curriculum Elementary School Physical Education. This research employed a literature review methodology, specifically exploring “physical activity examples” and “physical education curriculum terms” presented at the conclusion of the revised 2022 elementary school curriculum. The results of this study are as follows. In the realm of physical activity examples, fundamental movements encompass locomotor activities such as walking, running, jumping on one foot, alternating jumping, following one foot, skipping, and sliding. Nonlocomotor movement expressions include activities like balancing, shifting the center of gravity, jumping with two feet, landing, extending, folding, twisting, turning in place, shaking, shaking, and more. Additionally, manipulative movement expressions, such as throwing, rolling, catching, hitting, bouncing, lifting, and turning, are essential components. It is necessary to modify basic movement expressions into creative rhythm expressions and include abstract expression, imitative expression, and tool-based expressions. Expressive activities include creative dance, Korean folk dance, folk dance of other countries, line dance, dance sports, and street dance. Additionally, the glossary should provide detailed explanations for every movement mentioned in the physical activity examples. In particular, it is necessary to present detailed descriptions of various locomotor movement expressions. As a follow-up study, it also recommends detailed, easy-to-understand explanation and research on the core idea, goal, and achievement standard of the curriculum.

한국민화의 사신도(四神圖)와 오방색(五方色)을 활용한 판타지 메이크업 작품제작

한국민화의 사신도(四神圖)와 오방색(五方色)을 활용한 판타지 메이크업 작품제작

일제강점기 『동아일보』 연재물 ｢전설의 조선｣ 및 ｢전설｣의 문화적 위상

This study explores the cultural status of “Jeonseol-ui Joseon (legend of Joseon)” (1927.8.20-12.28) and “Jeonseol (legend)” (1932.6.2. -10.15) serialized in Dong-A Ilbo during the Japanese colonial period. Thus far, researchers have not mentioned the Japanese colonial period in the process of discussing the “history of Korean legends.” However, many recent studies have been conducted on legend collections from this period, making it possible to supplement the history of Korean legends with prior studies. The most noteworthy aspect of these studies is the claim that Lee Hong-ki's Joseon Legend Collection (Chosun Publishing Company, 1944) was the first collection of legends published in Korean. Choi Sang-soo's Korean Folk Legends Collection (Eulyu Munhwasa, 1947; Tongmungwan, 1958) was evaluated as the first collection of Korean legends. However, Lee Hong-ki's Joseon Legends Collection can take its place. Lee Hongki’s legend collection was greatly influenced by Dong-A Ilbo’s legendary serial “Jeonseol”. From the late 1920s to the early 1930s, Dong-A Ilbo carried out the task of discovering Joseon legends from folklore and systematically introducing them into newspapers. These are serials titled “Jeonseol-ui Joseon” and “Jeonseol”. Although the legendary materials included in this series were not published together in the form of a booklet, they are significant as a collection of Joseon legends collected and introduced with a clear purpose, that is, data collection. The cultural status and value of these series are high and significant in that it was the first attempt to work from an “insider’s perspective” in response to Japan’s colonial policy. Additionally, Dong-A Ilbo's legendary series attempted to discover and revive the traditional spirit and local character of the people in the dark situation of colonialism, which can be said to have performed the function of cultural therapy for the entire Korean population.

Common Time: or, When I Was a Korean Folk Drummer

Common Time: or, When I Was a Korean Folk Drummer

An Etiology Report for Burns Caused by Korean Folk Remedies.

Background In this modern era of science-based medicine, some people still accept folk remedies as an alternative form of medicine. However, misinformation and misuse of folk medicines can result in dangerous complications. Among the possible complications of folk remedy use, this study focused on the clinical characteristics of burns caused by folk remedies. Methods We retrospectively reviewed the clinical records of patients who had been treated for burns caused by folk remedies from May 2015 to April 2022. Data were collected on patients' age and gender, type of folk remedy, reason for using the folk remedy, the severity of the burn, the number of wounds, lesion type, and type of treatment. Results We found 59 patients with burns due to folk remedies. Most were female (76.3%) and ≥ 60 years old (72.9%). The most common type of folk remedy was moxibustion (74.6%), followed by the use of glacial acetic acid (20.3%). The reasons for using folk remedies were arthralgia relief (39%), health improvement (18.6%), and treatment of tinea pedis (11.9%). Most patients had multiple wound sites and had burns that were considered severe, requiring surgical treatment (72.9%). The majority of lesions were on the lower extremity, including the foot. Conclusion This study described the risk of burns caused by folk remedies and the clinical characteristics of the wounds. The results emphasize the need for greater public awareness of the risk of burn injuries when using folk remedies.

북한 민요 5음음계 조식확장 양상에 관한 연구

The North Korean folk Music is characterized by the pentatonic scale, which is made up of the five tones of gong (C), shang (D), jue (E), zhi (G), and yu (A).
 There are five corresponding modes in it: gong mode, shang mode, jue mode, zhi mode and yu mode. It contains a unique 'sigimsae' (decorative expressions) and and exhibits a unique style. Given the researches on the pentatonic scale modes in the North Korean folk Music from 1950 to 2000, it is divided into studies on structural characteristics and types of the modes based on 'pyongjo three-tone serial' and 'gemyongjo three-tone serial' and studies on the mode expansion.
 Among those, the researches on the mode expansion are generally based on Hwang Min-myung's theory.
 This study examines the theoretical background and formation process of the pentatonic scale modes in the North Korean folk songs and analyzes the structure and tone characteristics between 'basic scale modes' and 'expanded scale modes', which have not yet been studied by the theory of expansion of the pentatonic scale modes in folk songs. Furthere, it seeks theoretical study on the modal development, aspects of modulation, and aspects of modal change in the same serial of extended scale modes. Therefore, this studycomposes the mode scales based on Hwang Min-myung's theory of the expansion of the pentatonic scale modes and divides the corresponding extended modes into 9 types. Among them, it is found that 'same serial modulation' and 'same tonic-note modulation' are made between scale modes due to the characteristics of 'same serials' and 'same scale modes' that appear in modes and extended scale modes in accordance to the alternative notes such as B, Bb, C#, Eb, F, and F#.
 This study aims to suggest the possibility of the development of the pentatonic scale modes in the Korean folk music. Therefore, it is expected that research on the pentatonic scale modes in Korea and other countries around the world will serve as a theoretical foundation for the creation of music by presenting the direction of research results that strengthen the basic frame of theory.

시선집 『靑丘詩鈔』의 편찬과 문학사적 의미

The main purpose of the present study is to elucidate the background and process in the compilation of selected poems, Cheonggusicho published by the Japanese Government-General of Joseon and its meaning in Korean Chinese literature history. Because Kim, Taejun made a diachronic study of Korean Chinese literature history to describe ancient parts of Joseon Chinese Literature History by using a lot of Cheonggusicho.
 The Competitive Exhibition of Local Products for the Fifth Anniversary of New Politics’ held by the Japanese Government-General of Joseon provided an occasion to publish Cheonggusicho. It was held to commemorate the fifth year of Japanese rule of Joseon and to make Joseon merged as a colony of Japan.
 Though Cheonggusicho was published to commemorate the fifth year of Japanese rule of Joseon, it was not a local product. It seems that its aim was for some Japanese to enjoy Korean folk culture, due to the words in the preface, “to give the books printed by the typographic culture of Joseon to the ‘persons interested in the same subject’”. It is doubtful why Cheonggusicho was taken to Joseon Chinese Literature History.
 Cheonggusicho consists of 176 poems stemmed from Gojoseon, the first Korean kingdom, to the Goryeo dynasty. Over 130 poems in it were recorded on Dongmunseon. The poems representing each historical era are arranged in chronological order with a poem a poet. It is different from other anthologies. So the origin of Joseon poetry dates back to the earlier era.
 According to the preface of Joseon Chinese Literature History, it does not belong to Chinese Literature because it is the translated Chinese character version of native Korean words. At that time when Kim, Taejun wrote Joseon Chinese Literature History, Samgukyusa(Memorabilia of the Three Kingdoms) began to spread and the literary approach to Hyangga(old Korean folk songs), Korean myths and folktales emerged in the academy. That Chinese Literature in Korea should belong to Joseon Chinese Literature History was under discussion.
 In conclusion, though Cheonggusicho was published for some Japanese to enjoy Korean folk culture, it is a clue to spread the origin of old Korean literature by Kim, Taejun at that time when the concept of literature began to change.

1970년대 용인의 도시 성장과 공간구조 변화

This article examines the urban growth of Yongin in the 1970s and the resulting changes in the spatial structure of the region. Yongin, a quiet rural area near Seoul, was converted into an urban space due to the construction of expressways. After the opening of the Seoul-Singal section of the Gyeongbu Expressway in 1968, Giheung-myeon(township), the western region of Yongin, was incorporated into the urban planning area of Suwon, which was geographically adjacent to it. Since then, the spatial structure of Giheung-myeon had been planned in connection with the Suwon City Plans. Following the conversion of the urban planning policy of the ROK government in 1974, the eastern part of the Gyeongbu Expressway was excluded from the Suwon urban planning area, however, it was able to establish Singal's own urban planning according to the “Guidelines for Urban Planning for Myeon-class Cities.” Since then, the Singal area had maintained the framework of urban planning designed in 1975 and reorganized urban spaces in line with the reality that industries in the region are growing. In the southern part of Giheung-myeon, tourist and residential areas were created near the expressway and Singal Reservoir. With the construction of the Giheung Housings and the Korean Folk Village, the southern Giheung became a representative tourist destination near Seoul. However, the area was easy to be a target for urban sprawl after then, because it was not included in either the Suwon urban planning zone or the Singal planning zone.
 The Yongin-myeon area, at which the Yongin-gun(county) office was located and a city was previously formed, had undergone a transition to an industrial city since the opening of the Yeongdong Expressway in 1971. Yongin-gun designated industrial areas near the Yeongdong Expressway through urban planning, moved and relocated factories to the areas, and secured residential areas to create housing sites for factory workers. Since the establishment of the Reorganization Plan in 1974, the Yongin-myeon urban planning had maintained the structure of strengthening industrial functions and reorganizing urban areas to support them. Due to such urban growth, Yongin-myeon was able to form a single living sphere as a self-sufficient city, but it did not form a single urban area covering the Giheung region. The current disconnection and conflict between the eastern and western Yongin is also a result of such urban growth in the 1970s.

데이비드 버어지(D. Burge)의 <고향>에 투영된 한국 문화와 음악기법 연구

This study analyzes the deep sentiments for Korea expressed in <Go-Hyang>(Ancestral Home, 1994), a piano solo piece by David Burge, a pioneer of contemporary American music in the late 20th century. In this 6-movement work, quotation of Korean folk song and imitation of the folk rhythm allude to the wartime Korea. He portrays his lifelong friendships with Koreans through frequently interrupted melodies, linear progressions and nuances of soft dynamics, while chromatic harmonies, cluster, and poly-rhythm express Burge's identity as a contemporary composer. His relationship with Korea- his 'ancestral home' in heart, and his conflict and embrace of foreign culture noted in the autobiographical novel, ｢Vanishing Spring｣, manifest as warm timbre of dissonance and imitation techniques. Created from cultural understanding and personal experience, <Go-Hyang> is a work that sublimates the embrace of conflicting cultures into music beyond the fusion of Eastern and Western music.

민속놀이의 교육적 가치 탐색과 초등학교 민속놀이 활성화 방안

Objectives This study found that the importance and proportion of Korean folk play were decreasing in the 2015 revised curriculum, and tried to find ways to revitalize Korean folk play in school. For this, firstly, the Korean folk play’s educational values which were reflected in the curriculum documents and reflection aspect were examined. Based on this, strategies to revitalize Korean folk play in Elementary school were proposed.
 Methods The data such as previous studies related to Korean folk play, curriculum documents, etc were collected, and as the research method, the literature analysis method was applied.
 Results The educational values of Korean folk play were categorized into traditionality, artistry, playfulness, and enjoyment. The aspect of reflecting the educational value of Korean folk play was presented as a content element of the related area without an independent area during the 1st to 3rd curriculum. In the 4th to 6th curriculum, an independent content area was newly established. In the 7th curriculum, the activities by area were divided into mandatory and optional activities, so the examples of physical activity in Korean folk play increased. In the revised curriculum of 2007 and 2009, the independent small and middle areas of Korean folk play were established. In the 2015 revised curriculum, Korean folk play was deeply related to ideas of an educated person and key competencies of curriculum revision. In addition, it had a close relationship with Expressive movement ability and Athletic performance competence, which were the competency of Physical education competencies. Despite the organic relationship with the idea of an educated person and competencies, Korean folk play was gradually introduced as the content factor of the area, and the proportion of this decreased.
 Conclusions The ways to revitalize Korean folk play in Elementary school were as follows. First, to enhance the status of Korean folk play, expand the opportunities to choose Korean folk play. Second, teach Korean folk play by integrating or linking between subjects. Third, expand the opportunities to participate in Korean folk play such as linking Korean folk play with the 4th industrial revolution technology.

한복의 사전적 정의 검토

This study examines the definitions of hanbok from the following dictionaries: Standard Korean Language Dictionary; Encyclopedia of Korean Culture; Encyclopedia of Korean Folk Culture; A Dictionary of Korean Traditional Apparel; Oxford English Dictionary; The Collins Dictionary; Urban Dictionary, and one from a webpage on Korean culture promotion by the Ministry of Culture, Sports and Tourism of the Republic of Korea (ROK). The examination brings to light the problematic wordings and further discusses why they are problematic. Describing the attributes of hanbok as timeless and static, the definitions do not reflect the historical development of hanbok in dynamism. The discussion contends the following. First, hanbok is a collective noun that refers to the category of traditional clothing of Korea, not only a costume for men and women. Second, given that the term hanbok was coined at the turn of the 20th century, its concept and historical timeline are part of Korea’s modern fashion history, not that of pre-modern, from the ancient to Joseon (1392-1910). Third, the trajectory of hanbok shows its evolution in the contexts of being modernized, hybridized, and culturally authenticated, rather than remaining “traditional” and “authentic.” Fourth, hanbok has served as ethnic dress for ethnic Koreans across the globe and national dress of the ROK. Fifth, as the ROK increasingly becomes a multi-ethnic country in the 21st century, the word “uri (lit. our/we),” which is commonly used to describe the ethnic Korean community as a single entity, should be changed to a third-person perspective. Sixth, the elements of clothing that are subject to change, such as stylistic characteristics, occasions for wearing, and construction methods, must be inclusively described. The arguments presented here are anticipated to contribute to revision of the definitions of hanbok in dictionaries and conceptualization of hanbok as an academic keyword in dress/fashion studies.

관광객의 사전 기대와 충족이 관광객의 진정성 인식과 관광경험의 형성에 미치는 영향

This study examined the effects of expectation in congruency on tourists’ authenticity perception and memorable tourism experience. The study was conducted in Bukchon Hanok Village and Korean Folk Village in South Korea. The results suggest that tourists had a more authentic and memorable experience when the experience was congruent with their pre-travel expectations. However, expectation congruent visitors did not show a significant difference in the constructive authenticity level compared to expectation incongruent visitors. Based on the findings, the current article discussed the importance of pre-travel expectations and communicating expectations about a destination that more closely resembles the actual on-site experience. Theoretical and managerial implications are also discussed in the conclusion and implications.

강강술래가 증폭장치 사용 청소년의 청력손실 자가인지에 미치는 영향

Objective: Dance improves artistic perfection by continuously practicing many physical activities. Unfortunately, dynamic physical activity may cause inconvenience to the hearing-impaired adolescents who use amplifiers. The aim of this study is to explore changes in self-awareness of hearing loss adolescents who use an amplifier to learn Ganggangsullae, a traditional Korean folk art. Method: 6-girl(14.7±2.07) participated who wear hearing aids and/or cochlear implants. 2 of them had dance experience, 2 of them have aerobic experience, and the other 2 were inexperienced. Hearing handicap inventory for adult (HHIA) was used to measure the degree of self-awareness of hearing loss. Results: The mean HHIA score before and after Ganggangsullae decreased by 0.0267 from 0.573±0.992 to 0.547±1.034. In social adjustment, it decreased by 0.111 from 0.611±1.042 to 0.5±0.993, and in emotional adjustment, it increased by 0.0513 points from 0.538±0.949 to 0.59±1.074. In case of no experience, social adjustment increased by 0.167, and emotional adjustment by 0.308, respectively. In the case of dance experience, social adjustment increased by 0.083, emotional adjustment decreased by 0.231. In the case of aerobics, social adjustment decreased by 0.586, and emotional adjustment increased by 0.077. Conclusion: Despite many physical activities for artistic perfection, Ganggangsullae maintained HHIA stabilization.

The Lost Heritage of Koryoin: Citizen or Outcast?

The icy winds of the Baltic bite deep into the bones of barely-clothed prisoners of an unnamed war camp. The cold is unbearable in the frigid Prussian hinterlands, the chatter minimal, and everyone is huddling to survive. Amidst the stale air of death and starvation, small clouds of melodic choir powerfully pierce through the hushed chill: “Ari-rang, ar-ri-rang, ara-ri-yo...”1 From the bellies of a group of Koryo Saram, the Korean folk anthem wistfully winds its way through the barbed wires, straining to reach back home. In a curious, seeming oddity, ethnic Koreans, Koryoin, found themselves conscripted from the Far Eastern regions to fight for the Russian Empire thousands of miles away on the Eastern Front of World War I. During a particularly brutal beatdown at the Battle of Tannenberg, a lethal saber thrust into the heart of Russian Northwest forces, 4,000 ethnic Koreans2 were among the 90,000 Russian soldiers taken as prisoners of war. A small minority of these Koryo Saram, or Koryoin, would soon be afforded some warmth at Humboldt University, where German linguist Dr. Wilhelm Albert Döggen studied their language and music.

19세기 후반의 화조도(花鳥圖)를 활용한 믹스 미디어 아트 마스크 디자인 연구

Artists today experience a transformation into a hybrid thinking system in a rapidly changing world. Artists produce a variety of cultural exchanges and information and recreate it in a new style. Minhwa, Korean folk art, is a painting that implies Korean traditional aesthetic consciousness and emotions and is a popular aesthetic expression containing the lives and philosophy of ordinary people. This study examines the works of Hwajodo, which had the most famous value among Korean folktales in the late Joseon Dynasty. Hwajodo is as vital as traditional art and is an aesthetic expression that reflecting history, tradition, and emotions directly related to people

Yun, Chinyŏng (Yun Chin-yong). Minhwa ŭi sidae, minhwa wa kungjung hoehwa ŭi kyŏnggye e kwanhan chomang [The Age of Korean Folk Paintings: An Exploration of the Boundary between the Korean Folk Painting and the Josŏn Court Painting]. Seoul: Tijainmim, 2021. 528 pages.

Yun, Chinyŏng (Yun Chin-yong). Minhwa ŭi sidae, minhwa wa kungjung hoehwa ŭi kyŏnggye e kwanhan chomang [The Age of Korean Folk Paintings: An Exploration of the Boundary between the Korean Folk Painting and the Josŏn Court Painting]. Seoul: Tijainmim, 2021. 528 pages.