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Journal articles on the topic 'Arirang'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Goo, Sun Ha. "A study on the Development of Virtual Reality(VR) Exhibition Space to Revitalize Arirang Festival: focusing on the local Arirang Festival." Korea Institute of Design Research Society 9, no. 2 (June 30, 2024): 484–96. http://dx.doi.org/10.46248/kidrs.2024.2.484.

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This study aims to propose a plan for developing an Arirang Festival exhibition space using the virtual reality of the metaverse to preserve Arirang and promote local cultural development. Arirang is a unique music of the Korean people, and preserving and passing it down is an important factor in cultural development. However, several problems were raised at the Arirang Festival, which plays a big role in revitalizing Arirang. Therefore, this study aims to develop an exhibition space for the Arirang Festival based on virtual reality, a core technology of the metaverse. Based on the Mil-ryang Arirang Festival, which has the longest history, and the Jeongseon Arirang Festival, this study aims to identify issues and propose a new virtual reality exhibition space to address them. We analyze examples of VR exhibition spaces revitalizing local culture, propose themes and components for the Arirang VR space. Additionally, we prepare experiential contents highlighting regional characteristics for a harmonious virtual space. To enhance participation across generations, promote Arirang's heritage and tourism, and expand engaging contents, we offer 3D Arirang experiences, storytelling videos, traditional avatar games, and virtual tours. Through these efforts, we aim to promote the sustainable development of the Arirang Festival and hope that Arirang can expand to a wider audience across generations.

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2

Atkins, E. Taylor. "The Dual Career of “Arirang”: The Korean Resistance Anthem That Became a Japanese Pop Hit." Journal of Asian Studies 66, no. 3 (August 2007): 645–87. http://dx.doi.org/10.1017/s0021911807000927.

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“Arirang” is known worldwide as the quintessential Korean folk song. Its iconic status in contemporary Korea derives from its perceived role in strengthening Korean resolve to resist the cultural violence of the Japanese colonial occupation (1905–45). A musical “skeleton” capable of countless improvised variations and interpretations, some “Arirangs” explicitly assailed the Japanese and thus were censored by colonial authorities. However, in the 1930s and 1940s, precisely the time when assimilationist pressures in colonial Korea were intensifying, Japanese songsmiths, singers, and recording companies released “Arirang” renditions in prodigious quantities, sometimes in collaboration with Korean performers. “Arirang” became the most familiar song in the Japanese empire: Its persistent theme of loss spoke to Koreans of their lost sovereignty and to Japanese of the ravaging effects of modernity on traditional lifeways. For both peoples, it served as a mirror for self-contemplation and an “ethnographic lens” for gazing upon the other.

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3

CHOI, JEONG-AE. "Arirang, Jeongseon Arirang, and Arirang Museum as a cultural brand." Journal of Korea Culture Industry 22, no. 3 (September 30, 2022): 115–25. http://dx.doi.org/10.35174/jkci.2022.09.22.3.115.

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4

Un, Ko, and David R. McCann. "Arirang." Alternatives: Global, Local, Political 25, no. 3 (July 2000): 409–10. http://dx.doi.org/10.1177/030437540002500314.

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5

Kim, Mi-A. "On the Comparative Study of African American’s Blues and Korean’s Arirang." Journal of Social Sciences Research, no. 53 (March 10, 2019): 596–602. http://dx.doi.org/10.32861/jssr.53.596.602.

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There are diverse cultures which have been expressed and sublimed into the form of art when we look into the world history. When it comes to African American culture and Korean culture, African American’s blues, spirituality, and Korean’s Arirang have been in the deep ideological root of the two nations. Under unilateral dominance and colonization, African Americans and Korean nations needed something that could embrace and burst out their agony and sadness. It was the African-American spirituality, blues, and Arirang that sometimes became their mother, their partner and their social company, consoling their despair. Although the early African-American spiritual and blues and Korean’s Arirang didn’t have any specific musical form, they were the reflectors of the two nations’ emotion and culture. It is a legacy that best reflects the sentiment of two nations. The analysis on blues, Black spiritual and Arirang in this paper will be looked into the same viewpoint of Ayana Smith and J Rhee who claimed that African American’ and Korean’s positive power was originated from their singing of blues and Arirang. This paper will unceasingly try hard to analyze the traces of their positive identity through their history and their life story. Blues and Black spiritual were sung anywhere of their life to express their true story. Arirang and other folk songs were also sung anywhere Koreans scattered to burst out their anger, sadness and joy. Likewise, the examination of the history of blues, Black spiritual and Arirang let the readers face up African American’s and Korean’s real life in the form of art. The finding in this paper will supply people with more understanding of blues and Arirang for African Americans and Koreans who were in unique historical and cultural situation. This paper will look into how the musical foundation of these two nations could become the cornerstone of rebuilding up their positive identity in the harsh reality. It will be researched and analyzed in the view of Ayana Smith and J Rhee. This study will explore and analyze the history of blues, Black spiritual and Arirang, which played a crucial role in establishing the positive identity of the two peoples.

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6

Yoo, Hyesoo, and Sangmi Kang. "Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding." General Music Today 31, no. 1 (April 27, 2017): 16–25. http://dx.doi.org/10.1177/1048371317705163.

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This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

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7

Tangherlini, Timothy R., Diana S. Lee, and Grace Yoon Kyung Lee. "Camp Arirang." Western Folklore 56, no. 1 (1997): 99. http://dx.doi.org/10.2307/1500392.

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8

김상민. "Arirang and Hollywood." 사이間SAI ll, no. 14 (May 2013): 265–300. http://dx.doi.org/10.30760/inakos.2013..14.007.

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9

Ynag, Dochul, Horyung Jeong, and Doochun Seo. "Kompsat-5 Image Data Provision and Quality Management." GEO DATA 4, no. 4 (December 31, 2022): 13–19. http://dx.doi.org/10.22761/dj2022.4.4.002.

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The Korea Aerospace Research Institute is conducting continuous quality management to provide reliable Kompsat-5 SAR image products to users. In this paper, the Kompsat-5 satellite operation, data processing, quality management, and data provision were described. The operation and image mode characteristics of the Kompsat-5 satellite from the image point of view were described, and the classification and characteristics of image products provided to users were explained. In addition, image data acquisition, quality index measurement, and its results are described for quality management of SAR images. Finally, it explains how to search for and order Kompsat image product through the ARIRANG system to quickly provide users with image products whose quality has been confirmed through quality management. Kompsat product can be searched and ordered from the ARIRANG Satellite Search and Order System (https://ksatdb.kari.re.kr/arirang/).

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10

Baek, Hyungmin, and Pung-gi Kim. "Variation of the concept of nation and Arirang beyond Arirang." Journal of Korean Culture 63 (November 30, 2023): 243–69. http://dx.doi.org/10.35821/jkc.2023.11.30.243.

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11

Jin, Yong-seon, and Young-hee Lee. "Spatial Diffusion of Arirang." Korean Literature and Arts 7 (March 31, 2011): 57. http://dx.doi.org/10.21208/kla.2011.03.7.57.

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12

HyoIn Yi. "The Context of Arirang." Contemporary Film Studies 12, no. 2 (July 2016): 167–98. http://dx.doi.org/10.15751/cofis.2016.12.2.167.

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13

박애경 and 이민규. "Crossing Arirang - An inflow of Arirang into Japan and Arinag in Okinawa -." Yeol-sang Journal of Classical Studies ll, no. 53 (October 2016): 167–94. http://dx.doi.org/10.15859/yscs..53.201610.167.

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14

Lee Sarang. "Arirang Musicking as Cultural Consumptions." Korean Journal of Arts Studies ll, no. 23 (March 2019): 5–26. http://dx.doi.org/10.20976/kjas.2019..23.001.

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15

zenichiro, Okayama. "Acceptance of Arirang in Japan." Korean Literature and Arts 7 (March 31, 2011): 93. http://dx.doi.org/10.21208/kla.2011.03.7.93.

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16

Kim, Hee-sun. "The Origins of Arirang Globalization Discourse and the Emergence of Arirang’s K-Music Phase." Korean Folk song 66 (December 31, 2022): 55–85. http://dx.doi.org/10.56100/kfs.2022.12.66.55.

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17

Shin, Jin-Sook. "The De-territorialization Process of Nation-Narrative Viewed through Arirang-Korean Diaspora Narratives: Focusing on Documentary Film Sound of Nomad: Koryo Arirng and Song of Diaspora: Arirang Road." Korean Society of Culture and Convergence 43, no. 7 (July 30, 2021): 85–104. http://dx.doi.org/10.33645/cnc.2021.07.43.7.85.

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18

Jo, Yong Ho. "Analysis on the Arirang research history." Korean Literature and Arts 6 (September 30, 2010): 5. http://dx.doi.org/10.21208/kla.2010.09.6.5.

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19

Yong-Shik Lee. "Arirang, Folk song and professional song." Yeol-sang Journal of Classical Studies ll, no. 51 (June 2016): 15–35. http://dx.doi.org/10.15859/yscs..51.201606.15.

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20

Yoo, Myeong-Heui. "Changes and Prospects of Jeongseon Arirang." Korean Folk song 66 (December 31, 2022): 207–29. http://dx.doi.org/10.56100/kfs.2022.12.66.207.

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21

Piao, enyu. "Arirang and Molihua, the National folk songs." STUDIES IN KOREAN MUSIC 53 (June 30, 2013): 29–48. http://dx.doi.org/10.35983/sikm.2013.53.29.

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22

Kim, Young-woon. "A Study of the Formation of Arirang." Korean Literature and Arts 7 (March 31, 2011): 5. http://dx.doi.org/10.21208/kla.2011.03.7.5.

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23

Kim, Seong Hee. "The heritage foundation and Chinese Korean’s Arirang." Journal of the Humanities for Unification 82 (June 30, 2020): 277–307. http://dx.doi.org/10.21185/jhu.2020.6.82.277.

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24

Rha, Gyu Mi. "ARIRANG : Convergence of Cultire, Art, and Music between East and West, as Seen in Jisoo Lee’s [Arirang Concertante]." Journal of Korea Arts Convergence 5 (June 30, 2023): 73–89. http://dx.doi.org/10.53890/kacs.5.04.

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25

최현식. "The Taste of the Empire, “Arirang” on the Exhibition ― The characteristics and meaning of “Arirang postcard” under Japanese rule." DAEDONG MUNHWA YEON'GU ll, no. 75 (September 2011): 235–70. http://dx.doi.org/10.18219/ddmh..75.201109.235.

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26

Park, Jiyoon, Seoyeon Kim, Miju Jo, Sunmin An, Youngjun Kim, Jonghan Yoon, Min-Hye Jeong, et al. "Isolation and Identification of Alternaria alternata from Potato Plants Affected by Leaf Spot Disease in Korea: Selection of Effective Fungicides." Journal of Fungi 10, no. 1 (January 7, 2024): 53. http://dx.doi.org/10.3390/jof10010053.

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Brown leaf spot disease caused by Alternaria spp. is among the most common diseases of potato crops. Typical brown spot symptoms were observed in commercial potato-cultivation areas of northern Korea from June to August 2020–2021. In total, 68 isolates were collected, and based on sequence analysis of the internal transcribed spacer (ITS) region, the collected isolates were identified as Alternaria spp. (80.9%). Phylogenetic analysis revealed that a majority of these isolates clustered within a clade that included A. alternata. Additionally, the ITS region and rpb2 yielded the most informative sequences for the identification of A. alternata. Pathogenicity tests confirmed that the collected pathogens elicited symptoms identical to those observed in the field. In pathogenicity tests performed on seven commercial cultivars, the pathogens exhibited strong virulence in both wound and non-wound inoculations. Among the cultivars tested, Arirang-1ho, Arirang-2ho, and Golden Ball were resistant to the pathogens. Furthermore, among the fungicides tested in vitro, mancozeb and difenoconazole were found to be effective for inhibiting mycelial growth. In summary, our findings suggest that A. alternata plays a critical role in leaf disease in potato-growing regions and emphasise the necessity of continuous monitoring and management to protect against this disease in Korea.

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27

Gim, Bohi. "A Musical Analysis on Korean Diaspora Arirang Songs." STUDIES IN KOREAN MUSIC 51 (June 30, 2012): 5–34. http://dx.doi.org/10.35983/sikm.2012.51.5.

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28

Gim, Bo-hi. "A Study of the Korean Diaspora’s Arirang Songs." Korean Literature and Arts 6 (September 30, 2010): 191. http://dx.doi.org/10.21208/kla.2010.09.6.191.

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29

Howard, Keith. "Crossing over the Arirang Pass: Zainichi Korean music." Ethnomusicology Forum 30, no. 3 (September 2, 2021): 475–78. http://dx.doi.org/10.1080/17411912.2021.1994440.

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30

Lee, Sun-jeong. "The Value and Popularization Plan of Incheon Arirang." Journal of Incheon Studies 34 (February 28, 2021): 37–62. http://dx.doi.org/10.46331/jis.2021.02.34.37.

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31

Kim, Young Woon. "The Past, Present, and Future of Song Arirang." Korean Folk song 66 (December 31, 2022): 7–54. http://dx.doi.org/10.56100/kfs.2022.12.66.7.

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32

Song, Chang-Seon. "A Research on the Origin of ‘Arirang’, ‘Sseurirang’." Eomunhak 163 (March 31, 2024): 33–64. http://dx.doi.org/10.37967/emh.2024.3.163.33.

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33

Chung, Sung-Hee. "Zainichi and Madangkuk: Focusing on <Arirang>." Association Of Korean-Japanese National Studies 46 (June 30, 2024): 135–65. http://dx.doi.org/10.35647/kjna.2024.46.135.

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マダン劇は、1960年代のタルチュム復興運動を通して新しく再解釈され、 1960年代から1980年代の民衆文化運動現場を中心に展開された。当時は表現の自由が大きく制限されている状況であり、民衆はマダン劇を含む文化芸術全般にわたる民衆文化運動を通じて民衆が主体であるという認識を基盤に人間の平等と権利を抑圧する不当な権力に抵抗した。マダン劇は、1981年に『仮面劇とマダン劇-韓国の民衆演劇』が日本で出版され、在日コリアン社会および日本社会に広まった。そしてこの本が契機となり、マダン劇という概念が日本に広まり、1982年11月に行われた在日コリアン初のマダン劇である<アリラン峠>の公演につながった。マダン劇<アリラン峠>は、在日コリアン2·3世たちによって創造され、本国と居住国の歴史と現在、そして在日コリアンの葛藤と和合が描かれている。これは、マダン劇の様式が、日本社会における差別と同化、アイデンティティの喪失、在日コリアン社会の分断という現実を表現し、克服するのに最も適当な方法だったことを意味している。そして、このような在日コリアンの文化運動の展開から、在日コリアンの新しい文化の可能性を確認することができる。

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34

Park, Kyung-Su. "Research Achievements and Research tasks on Arirang - Based on the research results of 10 years after Arirang"s UNESCO registration -." Korean Folk song 66 (December 31, 2022): 87–163. http://dx.doi.org/10.56100/kfs.2022.12.66.87.

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35

Kosciejew, Marc. "From North Korea With Love: Reviewing Pyongyang’s Arirang Mass Games." Performance Philosophy 4, no. 1 (August 30, 2018): 234–50. http://dx.doi.org/10.21476/pp.2018.41207.

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This review of North Korea’s Airirang Mass Games presents a primary account and analysis of a performance unlike anything and unseen anywhere else in the contemporary world. This review contributes to the beginning of a conversation about this performance that has been nearly inaccessible and unavailable to most people, including most other academic researchers or commentators, outside of North Korea. It is arranged into a first-hand descriptive account and then an analysis of the Arirang Mass Games.This review analyses the Arirang Mass Games through a discussion of the materialization, enactment, and embodiment of the regime’s ethnocentric Communist ideology and culture. This analysis draws upon the work of performance philosophers and the work of other scholars and journalists, who have either analyzed and/or also attended the games, to start connecting the ways in which this performance can be regarded as the material embodiment of North Korean culture, national identity, and ideology, or at least the regime’s construction and fantasy of these aspects of the country.This review does not aim to provide justifications for or intend to give support to the North Korean government. Its purpose instead is twofold: first, to help shed light on a spectacular performance that few people outside of North Korea have experienced in such a little known or little understood country; and second, to present a perspective on repetition established in such an isolated and mysterious place, at least compared to the relative openness of most other countries, that few other individuals have personally experienced.

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36

Hur, Young Jin. "Social Aspects of and Literary Expressions in Cho Yong-Pil’s Lyrics." Korean Association for the Study of Popular Music 29 (May 31, 2022): 337–71. http://dx.doi.org/10.36775/kjpm.2022.29.337.

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This study set out to analyze the social nature of Cho Yong-pil’s lyrics and examine the ways social aspects are expressed and messages reflected in Korean popular songs. The findings were as follows. First, Cho’s songs such as <Come Back to Busan Port>, <Seoul, Seoul, Seoul>, and <Arirang in My Dream> were written to commemorate historical moments. <Come Back to Busan Port> offers lyrics reflecting the pain of family separation due to the Japanese occupation, national unity, and his wish for the unification of North and South Korea. <Seoul, Seoul, Seoul> focuses on the placeness of Seoul and paints a depressing outlook for the social aspects that the nation would face after the Seoul Summer Olympic Games. <Arirang in My Dream> reinterprets the Arirang folk song that represents the history of the Korean people’s suffering, indicating that the history of Korea faces a grand turning point. Secondly, <The Empty Sky>, <Life>, and <1987 of Seoul> reflect people’ aspirations for anti-autocracy and democratization. <The Empty Sky> and <Life> are set against the backdrop of “Seoul’s Spring in 1980” and the “Gwangju Democratization Movement of May,” depicting the dream of democratization that was lost in the “empty sky” and the noble spirit of sacrifice of democratic souls. The lyrics of <1987 of Seoul> talk about the historical site of a democratic protest on June 10 and the beginning of the democratic society that the Korean people finally won. Lastly, <Ilseong> represents people’s anger toward the political world. Its lyrics are impressive for their harsh political satire. <My Friend’s Morning> and <One Day on the Way Back Home> talk frankly about the anxiety and alienation of the middle aged and the older generations that faced a rapidly changing social situation after the foreign currency crisis. These findings show that many of Cho Yong-pil’s songs contain social messages in their lyrics, that the lyrics of his songs did not enjoy as much attention as their popular awareness, that it was inevitable for him to hide his original intentions with literary expressions, and that he continued to deliver his social messages.

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37

권갑하. "A Study on the aspect of Arirang Culture Contents." Review of Korean Cultural Studies 48, no. 48 (December 2014): 303–36. http://dx.doi.org/10.17329/kcbook.2014.48.48.010.

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38

Park, Kyung-su. "Aspects and Problems of Cultural Acceptance of Jeongseon Arirang." Korean Folk song 55 (April 30, 2019): 85–123. http://dx.doi.org/10.56100/kfs.2019.04.55.85.

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39

Lee, Moonsung. "A Study on the Miryang Arirang as Folk Contents." Journal of Humanities and Social sciences 21 12, no. 2 (April 30, 2021): 1521–30. http://dx.doi.org/10.22143/hss21.12.2.107.

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40

Terry, David P., and Andrew F. Wood. "Presenting Juche: Audiencing North Korea's 2012 Arirang Mass Games." Text and Performance Quarterly 35, no. 2-3 (June 2, 2015): 177–201. http://dx.doi.org/10.1080/10462937.2015.1036110.

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41

Park, So-Hyun. "The Value and Role of ‘Arirang’ in the World." STUDIES IN KOREAN MUSIC 73 (June 30, 2023): 159–81. http://dx.doi.org/10.35983/sikm.2023.73.159.

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42

Kang, Jun-Soo. "A study on cultural tourism contents through stories about “Arirang”." International Journal of Tourism and Hospitality Research 32, no. 7 (July 31, 2018): 81–93. http://dx.doi.org/10.21298/ijthr.2018.07.32.7.81.

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43

Yu, Dae-an. "Return of 〈Yeongcheon Arirang〉 and the Pattern of its Development." Korean Folk song 60 (December 31, 2020): 103–48. http://dx.doi.org/10.56100/kfs.2020.12.60.103.

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44

Park, Kyung-su. "A study on Korean modern poems based on Arirang songs." Korean Literature and Arts 6 (September 30, 2010): 125. http://dx.doi.org/10.21208/kla.2010.09.6.125.

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45

YANG, Ji-sun. "Han Yu-han’s Artistic and Patriotic Activities Observed through 〈Arirang〉." Journal of Korean Modern and Contemporary History 83 (December 31, 2017): 205–38. http://dx.doi.org/10.29004/jkmch.2017.12.83.205.

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46

문베티. "A Study on Contemporary Korean Choral Music Using Arirang Melody." journal of Ewha Music Research Institute 21, no. 3 (September 2017): 43–90. http://dx.doi.org/10.17254/jemri.2017.21.3.002.

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47

Kyounghwa Lim. "Okinawa's Arirang ―"Leftover Koreans" on Okinawa and the Two Koreas." DAEDONG MUNHWA YEON'GU ll, no. 89 (March 2015): 547–84. http://dx.doi.org/10.18219/ddmh..89.201503.547.

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48

Yi, Dokyong. "“A Correlation Study on Korean Learning Stress and Singing ‘Arirang’”." Journal of Linguistics Science 87 (December 31, 2018): 417–35. http://dx.doi.org/10.21296/jls.2018.12.87.417.

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49

Batten, J. A., and P. G. Szilagyi. "Domestic Bond Market Development: The Arirang Bond Experience in Korea." World Bank Research Observer 22, no. 2 (June 23, 2007): 165–95. http://dx.doi.org/10.1093/wbro/lkm007.

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50

Seo, Jeong-mae. "A study on the musical transition of Miryang Arirang melody." Korean Folk song 66 (December 31, 2022): 165–206. http://dx.doi.org/10.56100/kfs.2022.12.66.165.

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