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Journal articles on the topic 'Andong Mask Dance Festival'

Author: Grafiati

Published: 26 February 2023

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1

Beak, Hyeon Sun. "The Tasks for Success of the Regional Dance Festivals - Centered on Andong Mask Dance Festival and Cheonan World Dance Festival -." Joural of the Korea Entertainment Industry Association 10, no. 1 (2016): 1. http://dx.doi.org/10.21184/jkeia.2016.02.10.1.1.

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2

Bok-Rae, Kim. "The Glocalization of Andong Area Studies." International Area Review 10, no. 2 (2007): 29–38. http://dx.doi.org/10.1177/223386590701000202.

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Leadership has 1 The purpose of this study is to prepare and submit a case study for the City of Andong during the Fifth International Convention Centre of Asian Scholars (ICAS 5). Andong is home to the well-preserved Korean culture of splendid old temples, stone pagodas, traditional Confucian Academies, and homes of the nobility. Because the region is in the heart of a traditional Confucian culture region where nationally well-known academies still exist and continue to be revered, there is an extensive research effort currently underway to make the region, “Kyongbuk,” a Confucian Culture Zon

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3

Tae-Il Yoon and Hae-Young Byun. "Exploring ‘Shinmyoung’ as an Extraordinary Festival Experience at the International Andong Mask Dance." Journal of International Trade & Commerce 10, no. 3 (2014): 103–22. http://dx.doi.org/10.16980/jitc.10.3.201406.103.

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4

Bae, Man-Gyou, and Sangmi Jeon. "The Influence of Festival Contents Interactivity on Festival Enjoyment, Attachment, Satisfaction, and Behavior Intentions: The Case of Andong International Mask Dance Festival." Journal of Tourism and Leisure Research 32, no. 12 (2020): 61–79. http://dx.doi.org/10.31336/jtlr.2020.12.32.12.61.

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5

Choi, Jong-Han. "Andong International Mask Dance Festival"s Growth Strategy Research - Focusing on the Evaluating of Performance Sector -." Journal of the Korea Entertainment Industry Association 10, no. 6 (2016): 129. http://dx.doi.org/10.21184/jkeia.2016.12.10.6.129.

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6

Chung, Sook-hee. "A Study on Dance Performances of Andong International Mask Dance Festival based on the Community Cultural Contents of Gyeongbuk province." Korean Thought and Culture 96 (January 31, 2019): 276–93. http://dx.doi.org/10.31037/ktac.96.10.

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7

Lee, Seungchal. "The Role of the Festival to Overcome the Regional Identity CRISIS in Republic of KOREA: Centering on Andong International Mask Dance Festival." J-Institute 1, no. 2 (2016): 8–14. http://dx.doi.org/10.22471/crisis.2016.1.2.08.

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8

Jeon, Sang-Mi, and Man-Gyou Bae. "The Impact of Generation M and Z Visitors’ Festival Brand Experience on Brand Attachment, Satisfaction, Revisit Intention: Focused on Andong International Mask Dance Festival." Journal of Tourism and Leisure Research 34, no. 12 (2022): 147–65. http://dx.doi.org/10.31336/jtlr.2022.12.34.12.147.

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9

Cho nam-gyu. "Analysis of Local Economy Effect due to Local Dance Festival - mainly in “Cheonan World Dance Festival,” and “Andong International Maskdance Festival” -." Korean Journal of Dance Studies 39, no. 39 (2012): 161–80. http://dx.doi.org/10.16877/kjds.39.39.201211.161.

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10

Kwon, Doo-Hyun, and Soon-Jeong Cho. "Evolution of Traditional Dance Culture The Case of Hahoe Mask Dance in Andong, Korea." Research in Dance and Physical Education 2, no. 2 (2018): 55–61. http://dx.doi.org/10.26584/rdpe.2018.12.2.2.55.

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11

Shevtsova, Maria. "Revolutions Remembered: the Golden Mask in Moscow 2017." New Theatre Quarterly 33, no. 3 (2017): 288–98. http://dx.doi.org/10.1017/s0266464x1700032x.

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The 2017 Golden Mask and National Theatre Award and Festival in Moscow offered, as it usually does, a wide range of large- and small-scale theatre, musical theatre, opera, ballet, contemporary dance, and puppetry – a month and more of intensive activity that keeps its annually changing jury on its toes. Maria Shevtsova provides an overview of the Russian Case: a concentration of productions for foreign producers and critics that reflects quite accurately the Golden Mask's complete spoken theatre selection (as distinct from other forms of theatre such as dance). She observes that a cluster of p

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12

Lee, Jae-Man. "Impact of Sense of Satisfaction with Regional Festival Experience Program upon Intention for Re-visit - With Focus on Andong International Mast Dance Festival -." Journal of the Korea Contents Association 9, no. 9 (2009): 370–79. http://dx.doi.org/10.5392/jkca.2009.9.9.370.

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13

Shevtsova, Maria. "Alive, Kicking – and Kicking Back: Russia’s Golden Mask Festival 2015." New Theatre Quarterly 31, no. 3 (2015): 232–40. http://dx.doi.org/10.1017/s0266464x15000445.

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The Golden Mask and National Theatre Award and Festival, founded in Moscow in 1994, has showcased some of the most exciting theatre to be found across Russia’s vast territories: ‘theatre’ including opera, ballet, contemporary dance, puppetry, and newer forms that have taken root with changing artistic practices. Maria Shevtsova’s brief overview of the 2015 Russian Case, a selection for foreign producers and critics, prominently features ‘new drama’, not least because of the difficulties recently imposed on Teatr.doc, a founding player within this powerful movement. Major young directors appear

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14

Pandey, Dr Anjali. "MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 4 (2019): 90–96. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.878.

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Masks are used all over the world for their expressive power. It is an important part of theatre and rituals. It is generally used to conceal the identity or to transform the character. In India the festival mask are used to represent the deities and mythological character in dance and drama performance as well as in many ceremonial functions, religious and social rituals and in entertainment since ancient time. The evidences of mask could also be seen since prehistoric age. Many tribes of India mask are used in rituals and performances. The masks of different region are distinct and peculiar

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15

Susantri, Ahmad. "TARI SEKURA SEBAGAI MEDIA PELESTARI TOPENG SEKURA DARI LIWA LAMPUNG BARAT." Joged 13, no. 2 (2020): 158–70. http://dx.doi.org/10.24821/joged.v13i2.3599.

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Tulisan ini membahas usaha pelestarian kebudayaan yang dimediasi oleh sebuah karya seni tari yang muncul dari kebudayaan itu sendiri. Topeng sekura sebagai produk kebudayaan dalam rangkaian acara adat Pesta Sekura Cakak Buah menjadi lebih dikenal semenjak lahirnya tari Sekura. Proses kreatif penciptaan tari Sekura tidak hanya menghasilkan sebuah karya seni namun mendapatkan posisi yang lebih ‘mulia’ yaitu sebagai media promosi yang memperkenalkan topeng sekura ke berbagai tempat yang dulunya justru tidak mungkin untuk digapai. Tulisan ini tidak hanya memaparkan keberhasilan karya tari dalam me

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16

., Lasmiyati. "RASINAH: MAESTRO TARI TOPENG INDRAMAYU." Patanjala : Jurnal Penelitian Sejarah dan Budaya 5, no. 3 (2013): 475. http://dx.doi.org/10.30959/patanjala.v5i3.110.

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AbstrakRasinah adalah maestro yang peduli pada kesenian tradisional Topeng Indramayu. Ia lahir dari keluarga seniman, ayahnya seorang dalang wayang kulit dan ibunya seniman ronggeng. Ia penari topeng yang handal. Kiprahnya di dunia topeng dikenal ke mancanegara. Penelitian ini dilakukan untuk mengetahui siapakah Rasinah dan bagaimana kiprahnya sebagai penari topeng di Indramayu. Metode yang digunakan adalah metode sejarah yang meliputi heuristik, kritik, interpretasi, dan historiografi. Dari hasil penelitian yang dilakukan, diperoleh informasi bahwa Rasinah lahir di Pamayahan Lohbener Indramay

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17

Mizitova, A. A. "Marko Marelli’s vision of “Turandot” by Giacomo Puccini." Aspects of Historical Musicology 15, no. 15 (2019): 249–63. http://dx.doi.org/10.34064/khnum2-15.13.

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Background. As a notion, an opera theater led by a stage director has a strong presence in modern artistic practice, as it puts forward its own range of cognitive and evaluative tasks that undergo criticism. The fi rst task is related to compliance of the proposed rendition with the composer’s concept and music drama of a particular opera music piece. The second one is related to the director’s vision and understanding the peculiarities, which allows us to form an opinion about the comprehension degree of an author’s idea and the individuality of its implementation. The relevance of the design

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18

Lee, Seryun, Jae-Hoon Jung, and Doohyun Kwon. "Reconciling the Conservation of Cultural Heritage with Rural Development." M/C Journal 25, no. 3 (2022). http://dx.doi.org/10.5204/mcj.2904.

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Introduction: Cities as Open-Ended Place-Making Events The shaping and development of cities can be understood as a “place-making” process. Through the assemblage of diverse human and non-human elements—including various social and natural elements—abstract space gains meaning and is transformed into the more concrete form of place (Jaffe and Koning). Indeed, people, nature, arts, and architecture can all contribute to constituting a city, and depending on how these elements engage with each other, each city can be shaped differently, which makes cities “inherently dynamic and heterogeneous” (

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19

Wulff, Monica. "Dancing in the 'Contact Zone'." PORTAL Journal of Multidisciplinary International Studies 3, no. 2 (2006). http://dx.doi.org/10.5130/portal.v3i2.168.

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In October 2002 I performed and exhibited Troppo Obscura: A Peepshow of Historical Perversity at the Performance Space as part of the multicultural Arts festival, Carnivale, in Sydney, Australia. Troppo Obscura is a multimedia installation that explores some aspects of the complex relationships between the West and Asia. The work looks at a large range of possibilities, from the colonial gaze through to personal relationships forged through artistic endeavor. This paper—the first of two extended mediations on the topic—focuses on one such personal relationship addressed in the installation, na

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20

Hidayat, Lina Marliana. "Pertunjukan Ronggeng Ketuk dan Topeng pada Upacara Ngarot di Desa Lelea Kabupaten Indramayu (Sebuah Kajian Interaksi Simbolik)." Panggung 24, no. 1 (2016). http://dx.doi.org/10.26742/panggung.v24i1.105.

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ABSTRACTNgarot is a folk festival of Lelea village in Indramayu, West Java. The both of performances, Ronggeng Ketuk and Mask Dance, are those considered to have a symbolic relationship with the participants of the ceremony those are both of young men (Bujang) and women (Cuwene). It is the conception of the symbolic relationship that is interesting to be observed deeply.This study uses qualitative method such as symbolic interactive theory approach. The relation- ship of the series of Ngarot ceremony is a symbolic system series that can not be separated from one to another.Keywords: Ngarot, Ro

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21

Otsuki, Grant Jun. "Augmenting Japan’s Bodies and Futures: The Politics of Human-Technology Encounters in Japanese Idol Pop." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.738.

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Perfume is a Japanese “techno-pop” idol trio formed in 2000 consisting of three women–Ayano Omoto, Yuka Kashino, and Ayaka Nishiwaki. Since 2007, when one of their songs was selected for a recycling awareness campaign by Japan's national public broadcaster, Perfume has been a consistent fixture in the Japanese pop music charts. They have been involved in the full gamut of typical idol activities, from television and radio shows to commercials for clothing brands, candy, and drinks. Their success reflects Japanese pop culture's long-standing obsession with pop idols, who once breaking into the

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