"E2024-G001"의 두 판 사이의 차이
| 3번째 줄: | 3번째 줄: | ||
== Narrative == | == Narrative == | ||
| − | [[광주권번|Gwangju Gwonbeon (Institute for Female Professional Entertainers)]] originated from the [[광주예기조합|Association of Gwangju Female Entertainers]] and served as both a gathering place for traditional artists and an art school in the Gwangju area. This institute made significant contributions to the cultivation and preservation of Korean traditional arts such as [[판소리| | + | [[광주권번|Gwangju Gwonbeon (Institute for Female Professional Entertainers)]] originated from the [[광주예기조합|Association of Gwangju Female Entertainers]] and served as both a gathering place for traditional artists and an art school in the Gwangju area. This institute made significant contributions to the cultivation and preservation of Korean traditional arts such as [[판소리|<i>pansori</i>]] and dance, with impacts that resonate to this day. <i>Pansori</i> master [[박동실|Bak Dong-sil (1897-1968)]] nurtured many successors, including [[공대일|Gong Dae-il (1911-1990)]], [[한애순|Han Ae-sun (1924-2014)]], and [[박송희|Bak Song-hui (1927-2017)]], ensuring the continuation of traditional arts for future generations. Another esteemed <i>pansori</i> master, [[김소희|Kim So-hui (1917-1995)]], married <i>geomungo</i> instructor [[박석기|Bak Seok-gi (1899-1952)]], and their daughter [[박윤초|Bak Yun-cho (1944-)]] also emerged as a prominent <i>pansori</i> master. Bak Yun-cho further honed her skills by learning traditional dance from [[이매방|Yi Mae-bang (1925-2015)]], showcasing talent in both fields. The legacy of Gwangju Gwonbeon lives on through the [[광주국악원|Gwangju National Center for Korean Traditional Performing Arts]], which later evolved into the [[광주시립창극단|Gwangju Municipal Changgeuk Company]], maintaining its status as a hub of traditional arts. These institutions not only preserve pansori and Korean dance but also modernize and sustain various traditional arts, playing a key role as cultural assets of the region. |
==Network Graph== | ==Network Graph== | ||
| 12번째 줄: | 12번째 줄: | ||
** [[E2024-G001|Gwangju Gwonbeon: Inheriting the Legacy of Korean Traditional Performing Arts]] | ** [[E2024-G001|Gwangju Gwonbeon: Inheriting the Legacy of Korean Traditional Performing Arts]] | ||
** [[E2024-G002|Gwangju Hyeomnyulsa: The Stage of Korea’s Pansori Masters ]] | ** [[E2024-G002|Gwangju Hyeomnyulsa: The Stage of Korea’s Pansori Masters ]] | ||
| − | ** [[E2024-G003| | + | ** [[E2024-G003|<i>Yeolsaga</i> (The Songs of Patriotic Martyrs): The Beginning of Contemporary Creative Pansori]] |
| − | ** [[E2024-G004|Echoes of | + | ** [[E2024-G004|Echoes of <i>Seopyeonje</i>: Transforming Tradition into Culture]] |
[[분류:Story]] [[분류:이야기 조각]] [[분류:강혜원]] | [[분류:Story]] [[분류:이야기 조각]] [[분류:강혜원]] | ||
2025년 10월 6일 (월) 16:17 판
Gwangju Gwonbeon: Inheriting the Legacy of Korean Traditional Performing Arts
Narrative
Gwangju Gwonbeon (Institute for Female Professional Entertainers) originated from the Association of Gwangju Female Entertainers and served as both a gathering place for traditional artists and an art school in the Gwangju area. This institute made significant contributions to the cultivation and preservation of Korean traditional arts such as pansori and dance, with impacts that resonate to this day. Pansori master Bak Dong-sil (1897-1968) nurtured many successors, including Gong Dae-il (1911-1990), Han Ae-sun (1924-2014), and Bak Song-hui (1927-2017), ensuring the continuation of traditional arts for future generations. Another esteemed pansori master, Kim So-hui (1917-1995), married geomungo instructor Bak Seok-gi (1899-1952), and their daughter Bak Yun-cho (1944-) also emerged as a prominent pansori master. Bak Yun-cho further honed her skills by learning traditional dance from Yi Mae-bang (1925-2015), showcasing talent in both fields. The legacy of Gwangju Gwonbeon lives on through the Gwangju National Center for Korean Traditional Performing Arts, which later evolved into the Gwangju Municipal Changgeuk Company, maintaining its status as a hub of traditional arts. These institutions not only preserve pansori and Korean dance but also modernize and sustain various traditional arts, playing a key role as cultural assets of the region.
Network Graph
