김재영 Kim Jaeyoung

DOI:10.47415/IRAC.7.1.1 Vol.7(No.1) 5-25, 2026

This article critically reviews the expansion of anthropological methodologies and the ongoing transformation of research paradigms within the field of the social sciences, with particular attention to visual ethnography and multimodal methods. While recent advances in artificial intelligence have significantly advanced the analytical capacity of social research, it still remains limited by text-based epistemologies in addressing the manifold dimensions of contemporary complexities. In response to these challenges, visual anthropology has reconceptualised audiovisual media not as supplementary tools of representation but as epistemological, phenomenological, and ontological practices that represent and deliver both anthropological knowledge and ethnographic experience. This article first explores theoretical debates, from the emergence of visual anthropology and multimodal methods to the epistemological expansion in social inquiry, while addressing the interdisciplinary implications of these approaches across the social sciences. Then, this paper points out the institutional constraints that continue to marginalise audiovisual research within academic evaluation systems and also suggests some feasible resolutions to tackle these limitations. Ultimately, this study highlights the need for publication infrastructure, evaluative criteria, broadened funding opportunities, and scholarly acknowledgment of multimodalities within a wider scope of research that can bring more innovative insights to academia in this convergent era at large.

시각인류학, 멀티모달 방법론, 학제간 연구, 융복합 연구, 인식론적 전환, Visual Anthropology, Multimodal Methodology, Interdisciplinary Research, Transdisciplinary Research, Epistemological Turn

임음 Lin Yin , 이진우 Lee Jin Woo

DOI:10.47415/IRAC.7.1.2 Vol.7(No.1) 27-47, 2026

The purpose of this study is to examine how experiential consumption unfolds within artified luxury retail spaces and to identify the factors that shape such experiences. To this end, the study adopts Holt’s (1995) typology of experiential consumption and Joy et al.’s (2014) concept of M(Art)Worlds as its theoretical framework. Based on this framework, a qualitative case study was conducted focusing on Louis Vuitton Maison Seoul. Data were collected through a literature review, on-site observation, and semi-structured interviews with seven visitors who had previously experienced the space. The analysis reveals that the artified environment of Louis Vuitton Maison Seoul facilitates consuming as experience through sensory staging and a multisensory atmosphere, while consuming as integration emerges prominently through personalized services and artistic collaborations. In addition, participatory experiences and social media sharing tend to extend visits into consuming as play, whereas differentiated access to space and finely segmented, customer-specific services give rise to consuming as classification. These modes of consumption do not appear independently but overlap within the visit experience. In this process, curation, ritualized service, and co-creation contribute to framing consumption experiences as artistic encounters. The findings suggest that experiential consumption in artified luxury retail spaces should be understood not as the isolated manifestation of distinct types, but as a layered and interrelated experiential structure shaped by spatial design and interactive elements.

명품 매장, 예술화, 체험소비, M(Art)Worlds, 루이비통 메종 서울, Luxury brand store, artification, experiential consumption, Louis Vuitton Maison Seoul

전주희 Jeon Ju-hee , 박준호 Park Joon-ho

DOI:10.47415/IRAC.7.1.3 Vol.7(No.1) 49-66, 2026

This study analyzes how audience participation―recently emphasized as a core value in the performing arts―is structurally designed and conditioned in actual performance settings. In response, this research reexamines educational performance content not from the perspective of the quantitative expansion of audience participation, but from the viewpoint of the qualitative design of audience roles. The subjects of the study are concert hall-based educational performance programs centered on the pipe organ. Three case studies from Korea and Taiwan were selected and comparatively analyzed in terms of program structure, operational strategies, and the organization of audience participation. The research methodology combines analysis of program-related documents and planning materials with in-depth interviews conducted with individuals involved in program planning and operation. The analysis reveals that, rather than being positioned as autonomous participants, audiences in educational performance content are configured as entities that perform pre-designed roles determined by the structure and operational logic of the performance. These audience roles are organized into three types: the Understanding-Oriented Role Model, the Limited Interaction Role Model, and the Expanded Experiential Role Model. By typologizing audience role models, this study proposes an analytical framework for structurally examining experience design in concert hall-based educational performance content and provides foundational data for a more nuanced understanding of such performances.

콘서트홀, 교육형 공연 콘텐츠, 관객 참여, 관객 역할, 공연 경험 설계, Concert Hall, Educational Performance Content, Audience Participation, Audience Role, Performance Experience Design

천영준 Cheon Youngjoon

DOI:10.47415/IRAC.7.1.4 Vol.7(No.1) 67-88, 2026

Damheon Hong Daeyong is widely recognized as a leading figure in late-Joseon Silhak and Bukhak scholarship. He was also deeply versed in music, taking pleasure in geomungo performance and engaging in the regulation of musical temperament, and thus exemplifies a literati-official with refined cultural and artistic sensibilities. Nevertheless, existing studies of Hong Daeyong’s artistic thought have tended to emphasize his nationalist, relativistic, or pragmatic orientations, often at the expense of his fundamental identity as a Neo-Confucian scholar affiliated with the Noron faction. Furthermore, by treating his engagement with the arts as an isolated preference rather than situating it within his broader intellectual framework, prior research has insufficiently accounted for the paradoxical yet balanced stance that characterizes his views on literature and music. This study therefore reexamines Hong Daeyong’s literary and aesthetic thought through the intellectual legacy of his teacher, Miho Kim Wonhaeng, whose theories of literature and the arts played a formative role in shaping Hong’s thought. By considering their respective positions in tandem, the article elucidates a literati ethos grounded in moral cultivation (daohak) that extends consistently across poetry, music, and painting, thereby foregrounding a daomun ilchi conception in which ethical practice and artistic expression are understood as fundamentally inseparable.

실심, 實心, 주자학, 朱子學, 예술론, 문이재도, 文以載道, 문도, 文道, Silhak, Silshim, Neo-Confucian conception of the arts, Daohak, Daomun Ilchi

서정운 Suh Jung-woon , 권연택 Kwon Yeon-taek

DOI:10.47415/IRAC.7.1.5 Vol.7(No.1) 89-110, 2026

This study aimed to explore practical strategies for integrating Baduk (Go) education into the regular curriculum of early childhood and elementary education, thereby maximizing its educational effects while contributing to the expansion of its participant base. To achieve this purpose, the study first conducted an in-depth analysis of the current status of Baduk in Korea, including related educational policies and legal and institutional frameworks, in order to identify structural limitations and challenges in existing Baduk education. Second, the national curricula of kindergartens, elementary schools, and middle schools were systematically reviewed to examine the feasibility of incorporating Baduk education as part of the formal school curriculum. The findings indicate that, within the Nuri Curriculum for early childhood education, Baduk-based activities can be effectively utilized through play-oriented educational programs. These programs may promote holistic child development by enhancing numeracy and inquiry skills, social competence, creativity, spatial perception, and character development. In particular, based on the five core domains of the Nuri Curriculum for five-year-old children―physical development and health, language and communication, social interaction, artistic experience, and scientific exploration―this study proposes foundational content for establishing a structured Baduk education curriculum for young children. Furthermore, the results suggest that, at the elementary school level, the application of Baduk education is more feasible and effective within the Creative Experiential Activities curriculum rather than within the standard physical education curriculum. By linking existing Baduk instructional materials and educational content with the Character Education Promotion Act, this study demonstrates the potential of Baduk education to enrich character education initiatives and to generate innovative and meaningful educational value within school settings.

바둑교육, 인성교육, 창의적 체험활동, 놀이의 교육화, 초등교육과정, 전인적 발달, Baduk education, Character education, Creative Experiential Activities, Educationalization of Play, Elementary School Curriculum, Holistic Development

김인설 Kim Insul

DOI:10.47415/IRAC.7.1.6 Vol.7(No.1) 111-134, 2026

This study comparatively explored the psychological transformations and meaning-making processes experienced by different vulnerable groups―older adults at risk of dementia, mentally vulnerable adults, and at-risk youth―before and after participation in therapeutic arts programs implemented within a public arts education policy context in South Korea. Data were collected through pre- and post-interviews with 27 participants involved in the 2024 Mind Healing, Like Spring project initiated by the Korea Arts and Culture Education Service (KACES). Drawing on resilience theory, the analysis focused on two core concepts, Protective Factors and the Reintegration Process, and interpreted post-crisis change trajectories with reference to Richardson’s (2002) reintegration typology. The findings indicate that across all groups, therapeutic arts programs functioned as an external protective resource by (1) enabling emotional expression through non-verbal media, (2) providing a sense of emotional safety from risk experiences through immersive creative engagement, and (3) reactivating relational experiences through shared artistic activities and feedback. However, the focal outcomes of reintegration diverged by group in line with their developmental tasks and crisis contexts. For older adults at risk of dementia, reintegration was characterized by objectifying fear and re-positioning illness as a manageable life process. For mentally vulnerable adults, the experience of emotional expression led to daily routine planning and the practice of self-care, manifesting as the recovery of life rhythms. For at-risk youth, reintegration was marked by improved emotional differentiation, relational adjustment, and the reconstruction of self-identity and future narratives within a psychologically safe and respectful creative environment. By identifying both common pathways and group-specific reintegration through comparative qualitative evidence, this study underscores the need for context-sensitive design, implementation, and evaluation of therapeutic arts programs for diverse vulnerable populations.

예술치유, 탄력적 재통합, 치매노인, 정신건강 취약자, 위기 청소년, Therapeutic Arts Programs, Resilient Reintegration, Elderly with Dementia, Mentally Vulnerable, At-risk Youth

박진희 Park Jin-hee

DOI:10.47415/IRAC.7.1.7 Vol.7(No.1) 135-158, 2026

This study aims to elucidate the choreographic notation (mubo) of Kang Seon-young’s Salpuridance. The analysis focuses on two performances presented by an authorized performer: the 2006 Lincoln Center performance in the United States and the 2014 Immortal Dance of Kang Seon-youngperformance, produced shortly before the holder’s passing. Research materials include movement analyses of the performer and transmission assistant, along with video-based textual data. A continuous comparative analysis was conducted using both cross-sectional and longitudinal approaches. To ensure validity and reliability, expert consultation and evaluation were applied. The findings systematize Salpuridance notation into structural categories based on rhythmic sections, detailing dance phrases, footwork patterns, and towel techniques. This study contributes to the documentation, transmission, and educational application of Korean traditional dance.

강선영, 살풀이춤, 전통춤, 무보, 맺힘과풀림, Seon-young, Salpuri dance, traditional dance, choreographic notation, articulation and release

유진주 You Jin-ju

DOI:10.47415/IRAC.7.1.8 Vol.7(No.1) 159-178, 2026

This study aims to analyze the landscape of discourse formed by research on Korean dance and national intangible heritage since 2020, and to identify how dance transmission is being redefined under contemporary conditions. To this end, a qualitative literature review was conducted on academic publications retrieved from major Korean databases from 2020 to the present. The findings indicate that the discourse on transmission has been reconstructed around four core axes. First, at the institutional level, legislative reforms have repositioned the authority of transmission subjects, triggering narrative competition to secure legitimacy. Second, at the micro-level, a pedagogical refinement has emerged, organizing transmission into "explainable knowledge" through an internal grammar that integrates body, explanation, and breath. Third, digital transformation, catalyzed by the pandemic, has expanded beyond simple tool utilization toward the redesign of transmission infrastructure and the establishment of knowledge information systems through standardized archiving. Fourth, at the aesthetic level, the concepts of "originality" and "archetypal form" (Jeonhyeong-seong) have been reinterpreted as a "principle of variation that maintains identity" rather than fixed entities, strengthening critical reflection on canonization. Consequently, research on Korean dance transmission in the 2020s signifies a transition toward a complex knowledge system where institutions, education, media, and aesthetics interpenetrate to produce the "legitimacy of tradition," moving beyond the mere replication of technical skills. This study holds significance in providing an academic foundation for future sustainable transmission policies and educational designs by presenting an integrated analytical framework for previously fragmented research trends.

한국무용, 국가무형유산, 무형유산, 무용교육, 전승, Korean Dance, National Intangible Heritage, Intangible Heritage, Dance Education, Transmission

이정희 Lee Jung-hei , 차민경 Cha Min-kyung

DOI:10.47415/IRAC.7.1.9 Vol.7(No.1) 179-202, 2026

This study examines the internal and external challenges facing local performing arts groups and proposes policy measures to revitalize their activities. Internally, these groups suffer from shortages of human resources due to rural flight, limited opportunities for artistic growth, a lack of distinctive programs, unstable organizational structures, and insufficient professional planning and business expertise. Externally, they face low public interest and understanding of performing arts, undervalued ticket pricing, weak collaboration within local arts communities, isolation from broader arts networks, and limited attention from local governments. Based on an analysis of best practices, the study reviews overseas policy cases, focusing on Taiwan’s pyramid-type support system grounded in the principle of “selection and concentration.” Notably, the Taiwan Top program provides intensive support to a small number of high-potential private performing arts groups, enabling them to function as role models and catalysts for the broader arts ecosystem. For Korea, the study recommends reorganizing existing policy support around strategic selection and concentration, providing differentiated and customized assistance according to the developmental stage of each group. It also emphasizes the importance of proactive self-development by local performing arts groups, combined with systematic and coordinated support from both central and local governments.

지역 공연예술단체, 예술단체 지원정책, 지역 공연예술 생태계, 대만 중앙-지방 협력지원사업, 성장단계별 지원, Performing arts groups, local performing arts, support policy for arts groups, taiwan center-local support plan, customized support

왕궈위 Wang Guo-yu , 박재명 Park Jaemyung , 박종철 Park Jongchul

DOI:10.47415/IRAC.7.1.10 Vol.7(No.1) 203-215, 2026

This study examined how expertise and temporal pressure shape predictive judgment and visual search strategies during tennis serve reception. Thirty participants(experts=15, novices=15) viewed serve clips edited from the 2021 US Open men’s singles final under two time-window conditions presented in random order. On each trial, participants predicted the ball’s landing location via keyboard input. Behavioral indices were accuracy and reaction time(RT). Eye-movement indices were number of fixations, dwell time within areas of interest(ball, racket, trunk, lower limbs), and saccade amplitude. Gaze was recorded with a remote eye-tracker (VT3mini). Across both temporal conditions, experts showed higher prediction accuracy and shorter RTs than novices. In visual search, experts fixated longer on task-relevant areas of interest(ball, racket, trunk) and less on the lower limbs, with more fixations and larger saccade amplitudes. Main effects of expertise and temporal pressure were significant, and several interaction effects indicated that the impact of time constraints differed by expertise level. Tennis expertise is characterized by selective attention to task-relevant cues and wide-field information sampling (larger saccades), strategies that remain robust under temporal pressure. For applied practice, cue-focused gaze training with AOI feedback and progressive temporal-occlusion protocols are recommended to enhance predictive judgment in serve reception.

테니스, 서브 수비, 예측 판단, 시간 압박, 시각 추적, tennis, serve reception, predictive judgment, temporal pressure, eye tracking