This book is a study of Salpuri-Chum, a traditional Korean dance for expelling evil spirits. The authors explore the origins and practice of Salpuri-Chum. The ancient Korean people viewed their misfortunes as coming from evil spirits; therefore, they wanted to expel the evil spirits to recover their happiness. The music for Salpuri-Chum is called Sinawi rhythm. It has no sheet music and lacks the concept of metronomic technique. In this rhythm, the dancer becomes a conductor. Salpuri-Chum is an artistic performance that resolves the people’s sorrow. In many cases, it is a form of sublimation. It is also an effort to transform the pain of reality into beauty, based on the Korean people’s characteristic merriment. It presents itself, then, as a form of immanence. Moreover, Salpuri-Chum is unique in its use of a piece of white fabric. The fabric, as a symbol of the Korean people’s ego ideal, signifies Salpuri-Chum’s focus as a dance for resolving their misfortunes.

This book examines key features, problems, and implications of the 2016–2017 Candlelight Movement, a historical cornerstone for democracy and social movements in South Korea. The Candlelight Movement brought profound social changes with important lessons and questions for scholars, practitioners, activists, and the public. To examine the full complexity of the movement, this edited volume utilises wide-ranging methodological and theoretical approaches, which include case study approaches, ethnography, survey, feminist film criticism, critical discourse analysis, and rhetorical criticism. Chapters place ‘communication’ at the centre of their analyses, calling attention to the mediated and mediatised, the performative and other discursive practices of the 2016–2017 Candlelight Movement. In doing so, the book discusses not only the usual players and factors – nor the institutions that exert their influence through democratic politics and the public sphere – but also the counter-public embracing new and social media, collective singing, the body, and performance, as their choice of political media. As such, this volume offers important insights into how communication plays a critical role in forming, moving, and transforming new social movements. The Candlelight Movement, Democracy, and Communication in Korea will appeal to students and scholars of communication and media studies, political science, sociology, and Korean studies.

This book is about K-pop dance and the evolution and presence of its dance fandom on social media. Based on five years of ethnographic fieldwork, interviews, choreography, and participation-observation with 40 amateur and professional K-pop dancers in New York, California, and Seoul, the book traces the evolution of K-pop dance from the 1980s to the 2020s and explains its distinctive feature called ‘gestural point choreography’ – front-driven, two-dimensional, decorative and charming movements of the upper body and face – as an example of what the author theorizes as ‘social media dance.’ It also explores K-pop cover dance as a form of intercultural performance, suggesting that, by imitating and idolizing K-pop dance, fans are eventually ‘fandoming’ themselves and their bodies. Presenting an ethnographic study of K-pop dance and its fandom, this book will be a valuable resource for students and scholars of Media Studies, Korean Studies, Performance Studies, and Dance.

Kamishibai (paper-theater), a Japanese picture-storytelling medium, is gaining global interest as we move from a text-based culture to one that emphasizes multiple semiotic systems and performance. This is the first volume to explore the potential of kamishibai as a dynamic "new" interactive medium for teaching multimodal communication and shows how synchronizing oral, visual and gestural modes develops students’ awareness of all modes of communication as potential resources in their learning. By examining the multiple modes involved in kamishibai through actual student performances over several venues, this volume overturns commonly held expectations about literacy in the classroom and provides a critical perspective on assumptions about other media. It offers much-needed information about a medium that is attracting interest from educators, academics and artists worldwide.

One of these things is not like the other. That's how Cheri Matzner felt growing up in her adoptive family, and it's what continues to define her as she tries to start a family of her own. Funny and fierce, desperate for connection yet pushing it away with both hands, she needs to jump-start a marriage in danger of flatlining and save her career from scandal. But Cheri is still contending with a complicated relationship with her parents-her aging Italian bombshell of a mother and a distant father who looms large, even in death-unaware of the sacrifices they made to be together or of the difficult truths and lies in their marriage. When tragedy unravels Cheri's well-designed defenses, she is thrust into an odyssey of acceptance that brings her full circle back to her dramatic origins. Sometimes it takes half a lifetime to come of age. To be able to glimpse our parents beyond their roles as our parents. To uncover the many versions of truth within our family stories and within our own. And to laugh at it all just a little bit sooner.

The unprecedented economic success of South Korea since the 1990s has led in turn to a large increase in the number of immigrants and foreign workers in Korean industries. This book describes and explains the experiences of discrimination and racism that foreigners and ‘new’ Koreans have faced in a multicultural South Korea. It looks at how society has treated the foreigners and what their experiences have been given that common discourse about race in Korea surrounds issues of Korean heterogeneity and pure blood nationalism. Starting with critiques of Korean scholarship and policy framework on multiculturalism, this book argues for the need to revisit the most fundamental aspect of multiculturalism: the host population’s ability to respect new comers rather than discriminate against them. The author employs a critical realist understanding of racism and attempts to identify long-lasting institutional factors which make Korean society less than welcoming ‘new’ or temporary Koreans. A large number of new reportages are identified and systematically analysed based on the principles of grounded theory method. The findings show that nouveau-riche nationalism and pure-blood nationalism are widely practised when Koreans deal with ‘foreigners’. As a newly industrialised and highly successful nation, Korean society is still in transition and treats foreigners according to economic standard of their countries of origin. As one of the very first books in English about foreigners’ experiences of Korean nationalism, multiculturalism and discrimination, it will be of great interest to students and scholars of Sociology, Ethnic studies, Asian studies, Korean studies, Media studies and Cultural studies.

Exploring the major trends in Marathi theatre, this three-volume set presents a detailed history of the development of modern Marathi theatre. The work is written in the form of a dialogue between a writer and a clown, where the clown goes on to educate the writer, by narrating to him the history of Marathi theatre, taking him through its inception in 1842 to 1985. Originally written in Marathi, this encyclopaedic work would narrate a social history of Maharashtra and of India as seen through the window of theatre. The narration proceeds through thirty nights, loosely following the structure of Arabian Nights, woven around the question, 'Who am I?' The methodology that Sathe follows is complex but systematic and logical as it is predicated on a sound understanding of both history and culture. He views theatre as a cultural construct shaped by the dialectical interaction between the playwright and the cultural political ethos around. The three volumes present the various stages of the historical development of modern Marathi theatre. The conversations between the writer and the clown take place at night; each night is progressively devoted to the discussion of certain historical stages.

Architecture primarily serves as a way to create and control the environment around us. Unlike natural weather, climate conditions in architecture are often static and binary, with no diffusion in between. As a result, sensory experiences that are directly accessible outdoors, like atmospheric quality, diffusiveness, and flow, are completely excluded from the indoors. The climate is discretized in space into strict self-contained, functional units, where wetness is kept in wet spaces yet other areas are completely dry. Many of these weather experiences have certain architectural qualities. This project uses vapor as a medium to create the experience of micro-climates and weather conditions from the outside, and bring them back inside architecture as tectonic elements that modulate visibility, create cooling gradients, and produce spatial patterns in a controlled manner. The three main elements are: point – vapor vertex ring, line – vapor tornado, plane – vapor wall. The focused and diffused conditions of vapor enable both localized and global conditions with soft boundaries. Imagine a future where architects not only sculpt their ideal space but also control the weather inside: one corner feels like the Saharan Desert, while the other behaves like the Amazon rainforest. In one corner, an early morning mist greets the contemplative mind, and in the center space, a focused tornado vapor attracts a gathering crowd. The interior space no longer acts like static and binary units—with clear boundaries like rain for shower, snow for fridge, or sun for light—but like dynamic, diffused, and phenomenal experiences.