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State Inventory of Intangible Cultural Héritage"Custom of Korean Costume" (excerpts)

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"Custom of Korean Costume"

Thé Custom of Korean Costume was inscribed as National ICH No. 5 by DPRK CabinetApproval No. 1531 in Nov 2015, when thé National ICH élément "Custom related wih chimaand jogori (traditionat costume of Korean woman's coat and skirt) inscribed in 2012 wasupdated.

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Thé élément falis in thé foltowing domains:

a. social practices, rituals and festive events

b. knowledge conorning thé nature and universe

e. traditional handicraft

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Thé Korean people hâve long been making and wearing a variety of clothes according to fourseasons to their convenience, which constituted an essential process in coping with théunfavourable natural conditions and in leading a comfortable and cultured life. As a matter oftact, ail thé Koreans belong to its community.

Thé teading organizatjons that are committed to thé custom are thé non-permanent KoreanCostume Association, its affiliated local non-permanent associations in provinces and municipalcities and thé non-permanent Korean costume technical guidance committee that takestechnicat charge of thé work of thèse associations.

Thé State set up thé non-permanent Korean Costume Association in reflection of thé growingpublic demand for preserving this custom, and thé association is staffed with thé vice-premier ofthé Cabinet as chairman and senior officiais of government agencies, working people'sorganizations and public organizations and typical practitioners of thé héritage.

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Thé custom of Korean costume has long been practised in ail parts of Korea and by Koreansliving overseas. Thé custom is practised throughout Korea as every Korean likes to wear theirnational costume irrespective of thé place of résidence such as urban and rural areas, fishingvillages and out-of-the-way mountainous areas.

It bas been customary for Koreans in ail parts of thé country to wear their national clothes intheir everyday life as well as on holidays and such spécial occasions as wedding and birthdayparties.

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Thé custom of Korean costume consists of thé method of making thé clothes and thé manner ofdressing, which hâve evotved with thé passage of thousands of years by mirroring thé country'snatural and climatic conditions, its o le's h sical constitutions and likin for bri ht, raceful

Inventory

and convenient things, their way of living in ondol (floor-heated) room and their cultural featuresas a homogeneous nation.

Thé main materials for thé costume are such natural fibres as hempen cioth, ramiç, silk andcotton. They were mainly made of hempen cloth until thé 15th century, cotton and silk later andsilk as wett as synthetic fibres at présent.

Thé method of costume making and thé manner of wearing it intuitively reftect thé personality,ethos and other national peculiarities of thé Koreans. Thé costume exudes deep nationalcharacter in thé construction, shape» make and pattem and is mainly tight and bright in color. Itsmaterials, cotour and form differ according to seasons.

Thé Korean people at présent exchange thé materials for their traditionat dress as betrothalprésents or make thé national costume and wear it on such spedal occasions as wedding,célébrations of thé 60th and first birthdays, holidays, mémorial service and state banquet, whichshows thelr national identity.

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. Etymology

Thé word jogori dates back to thé period of thé feudât Joson dynasty.

According to différent historical documents, jogori was called "yu" in Koguryo, ''sam" in Silla and"wihae" in Paekje in thé period of thé Three Kingdoms in thé Korean history.

In Koryo, chima and jogori were called in thé same manner as during thé Three Kingdoms

Historicat origin and enactment up to thé présent

Thé garments of mâle and female were two-pieces in général, which formed thé main type ofnational costume of Korea.

tn ancient times men's costume consisted of trousers, jacket, outer garment, head-dress,footwear, trinket, etc and women's costume comprised trousers, skirt, jacket, outer garment,head-dress, trinket, etc. They constituted thé prototype for thé future mate and femate garmentsof thé Koreans.

In addition, thé Korean people enjoyed wearing white garments, always attiring themseivesclean, and wore hempen clothes as mourning dress. Such customs established in ancient timesformed thé main contents of thé custom of national costume later.

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In thé whole period of teading thé révolution and construction Président Kim 11 Sung andChairman Kim Jong II worked hard to develop national costume in keeping with thérequirements of thé times, while preserving thé Juche character and national identity.

Thé Chairman said that it is one of thé long-sfanding Korean customs to dress brides in Koreanchima and jogori on their wedding days and pointed to thé need to préserve national features inthé dressing manner on différent occasions.

Suprême Leader Klm Jong Un referred to thé need to fotlow national traditions in ail fields ofsocial life and took state measures to widely encourage thé custom of Korean costumethroughout society, making sure that it was practised on a nationwide scale.

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Ri Yu Mi (Ms) âge 71, Chief, Department of Costume Art, Faculty of Industriat Design,Pyongyang University of Fine Arts

Kim Ok Gyong (Ms) âge 43, Researcher at thé Faculty of Industrial Art, Pyongyang Universityof Fine Arts

Jo Song Sun (Ms) âge 49, Tailor's cutter at thé Korean Costume Maker in Phyongsong, SouthPhyongan Province

Ryu Na Ri (Ms) âge 48, Songhu-dong, Hyesan, Ryanggang Province

Ko Pok Sun (Ms) âge 80, Kaesong City

Ri Sun Hui (Ms) âge 73, Professor, PhD and Researcher at thé Korean Folklore Muséum

Ri Pok Hui (Ms) âge 55, Lecturer at Pyongyang Jang Cho! Gu University of Commerce

Sim Jyn Chan (Mr) âge 61, Chief, Managing Department to thé Non-permanent KoreanCostume Association under thé Ministry of Food and Consumer Goods Industries

Klm Myong Sil (Ms) âge 61, Head, Korean Costume Laboratory

Jo Jong Sun (Ms) âge 57, Head of Pothonggang Korean Costume Shop, Central District,Pyongyang

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Stage Art Studio under thé Ministry of Culture

National Costume Manufacturing Unit of thé Minye Corporation

Pyongyang University of Fine Arts

Jo Hwi Nam, department chief of thé Folklore Institute, Academy of Social Sciences

Jong Song Ho, department chief of thé Folklore Institute, Academy of Social Sciences

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There is no customary practice that restricts access to thé élément as ail thé Koreans at homeand abroad regard thé custom of Korean costume as part of their invaluable culturai héritage.Therefore, thé inscription of thé élément in thé Représentative List wil! neither hinder norconflict with its implementation and transmission.

Rather, ail thé Korean people are eager to implement and transmit thé custom of Koreancostume on a wider scale génération after génération as they regard it as part of precioushéritage to be handed down to posterity.

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This custom is also transmitted on spécial occasions for children. On their 21 st and 100th daysafter birth and their first birthdays, parents dress them in colourful national costume andrelatives and neighbours corne to wish them a happy future.

Mothers take pride in making thé costume for their children or neighbours and regard it as theirdut to pass thé dress-makin techni ues and skitls on to their dau hters and dau hters-in-law.

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Women also share them with neighbours.

Thé knowledge about this élément is incorporated in teaching programmes at kindergartensand in primary, secondary and tertiary éducation.

And thé costume has been transmitted spontaneously through various festivals, exhibitions andshows.

For example, thé irregular national Korean costume show developed into a regufar exhibition in2003. Thé Korean costume festival, handicraft exhibition and seminar are hetd on over twooccasions every year. And thé média give wide publicity to thé élément.

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Not threat exists as to thé sustainable practice of thé custom of Korean costume.

At présent, ail thé Koreans regard it as indispensable to wear Korean costume in everyday lifeas well as on spécial occasions

In particular, chima-jogori, thé typicat traditional costume for women, are supptied free of chargeto girl students at universrties across thé country since 1967.

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No threat existe concerning thé sustainable use of thé materiat components and resources ofthé élément.

Every condition for thé practising of thé élément is provided on a preferential basis in thécountry including thé supply of funds for Korean costume producers.

Korean costume laboratories were set up in garment research institutes throughout thé countrybetween thé iate 1980s and thé early 1990s to encourage thé custom and promote itsdevelopment.

To ensure thé production of silk, one of thé main materjals for Korean costume, JagangProvince in thé northem part of thé country was set as a province that specializes in théproduction of cocoon, and sericultural workteams or subworkteams were fomned in more than 4860 farms across thé country to expand production.

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Ait thé Korean people take part in thé practice and transmission of thé élément irrespective ofrégion and soda! stratum and thereby thé élément bas a social function expressive of théidentity of thé homogeneous nation.

People help çach other in making thé costume and give others advice on thé dressing mannerin everyday life or on spécial occasions. In thé course of this they forge and maintain fhendlybonds between familles and among villages, cities, régions and communities. Therefore, thésocial and cultural functions and meanings of thé élément are that it makes a tangiblecontribution to social unity and harmony.

As it is symbolic of thé national identity of ait thé Koreans in thé north, south and abroad, théélément also goes a long way towards promoting unity among thé nationals and enhancingtheir will to achieve national réunification. To this end, for example, a variety of events tookplace such as thé Korean costume exhibition at thé Pyongyang International Cultural Festivalfor Peace in A ril 1995 and thé similar exhibition and seminar on thé costume held to mark thé

third anniversary of thé publication of thé June 15 North-South Joint Déclaration in June 2003.

Thé custom at présent makes up thé major thèmes of literature, film, fine arts, handicraft andart performance, enriching thé médiums of culture and thé arts and enabiing people to beaware of thé beauty of life and thé preciousness of nature.

In particular, thé élément encourages younger générations to love their national culture andtraditions and nature and helps them understand their responsibility and duty in achievingsustainable devefopment and take an optimistic view about thé future of thé nation.

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Thé main objective of proposed safeguarding measures for this élément is to raise publicawareness of thé custom through extensive research, éducation and pubticity that are geared topromoting thé national custom of wearing thé traditional costume that is liked by ait.

Thé measures will put primary stress on discovering and ascertaining thé historicallytransmitted Korean costume and giving a good understanding of its national peculiarities.

Spécial attention will be paid to discovering and asortaining thé dresses, which had beencreated and liked by thé Korean people from olden times, comprehensively and from théhistorical point of view, and efforts will be made to enhance public interest in thé élément ondifférent occasions including thé process of its transmission combining history muséums in thécapital and provinces with field practitioners.

Thé non-permanent Korean Costume Association will arrange thé Korean costume exhibition inail parts of thé country every year to publicize thé custom and encourage exchange anddialogue through workshop and seminar of thé custom, while sponsoring joint symposium ofleading bearers and designers on a regular basis.

Thé média will give wide publicity to thé custom in various forms to buitd up social environmentfavourabte for safeguarding thé élément.

They will edit articles and programmes on thé beautiful national dresses, which are congenial tothé Koreans' émotion, feelings and fastes, and on thé manner of wearing them in a profoundway so as to make rising générations well aware of thé custom.

Steps will also be taken to promote international exchange and dialogue in thé course ôfarranging académie exchange and exhibition on this élément with overseas compatriots on aregular basis.

Thé National Authority for thé Protection of Cultura! Héritage will regulariy monitor thésafeguarding of élément in contact with relevant units and take safeguarding measures on anationwide scale.

Farms and factories engaged in sericulture will work to increase production systematicatiy everyyear in a planned way and thé government will disburse huge sums of money to thé work.To this end, land will be protected and sapling production increased for thé production ofcocoon, equipment will constantly be modernized at silk production processes and Koreancostume producere, and training will be carried on to enhance thé standards of skilled hands.

In thé educationai sector teaching programmes related to thé custom of Korean costume will bereplenished constantly and steps will be taken to steadily intensify éducation activitiescombined with actuat production at field schools for skillçd workers.

Thé non-permanent national héritage protection committees at ail levels in thé capital and localareas will convene meetings conceming héritage protection biannually to take measures toencourage thé élément throughout society.

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Such measures constitute thé basic guarantee for ensuring thé viability of thé custom of Koreancostume and wiil give fuit piay to its gréât vitality in social life.

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Broad segment of people, especiaiiy women, as weU as national agencies participated inworking out thé inventory.

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There are no restrictions.

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Ri Yu Mi (Ms) âge 71, Chief, Department of Costume Art, Faculty of Industrial Art, PyongyangUniversity of Fine Arts

Klm Ok Gyong (Ms) âge 40, Researcher, Facutty of Industrial Art, Pyongyang University of FineArts

Jo Song Sun (Ms) âge 46, Tailor's cutter at thé Korean Costume Manufacturing Company inPhyongsong, South Phyongan Province

Ryu Na Ri (Ms) âge 45, Songhu-dong, Hyesan, Ryanggang Province

Ko Pok Sun (Ms) âge 80, Kaesong

Ri Sun Hui (Ms) âge 70, PhD and Researcher at thé Korean Folklore Muséum

Ri Pok Hui (Ms) âge 52, Lecturer at Pyongyang Jang Chol Gu University of Commerce

4.4 Oatfê%î art p{»©e% <^ i^lteiti'îi WÈiWtatei l

Thé gathering of information was carried out between September 2013 and November 2015through two rounds of updating proçesses in contact with thé non-permanent Korean CostumeAssociation and other relevant groups and many bearers.

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^,1. VtfêNitou^ | af^|

Samguksagi (Chronides of thé Three Kingdoms)

Thaejong Sillok (Chronides of King Thaejong)

Model Medicine Vol. 9

lllustrated Book on Koryo

Encyclopaedia of Korean National Costume, 2000, Ri Yu Mi and three others, PyongyangPublishing House

Beautiful Korean Costume, 1990, Ri Yu Mi, Art and Literature Pubiishing House

Design anct Processmg ofKorean National Costume, 2007, Ri Pok Hui at Pyongyang Jang CholGu University of Commerce

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Korean Costume Design, 2005, Ri Pok Hui and 0 Sun Gi, Industrial Publishing House

Korean Costume Design sndNeedlework, 2002, Klm Myong Sil, Industrial Publishing House

National Costume, 2002, Garment Research Institute of thé Ministry of Light Industry

Folk Tradition ofKorea Vol. 2, 1994, Science and Encyclopaedia Publishing House

Study of Beautiful Korean Costume, Thesis for Doctor of Art

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Large numbers of vidéos including "13th Korean Costume Exhibition" are ownedand used bythé Central Radio-TV Broadcasting Committee of Korea, Education Commission and otherrelevant institutions and individuals.

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Many relevant institutions, history muséums at ait levels including thé Korean Folklore Muséumand individuals possess recorded materials and products and use them in practising andtransmitting thé élément.

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Department of Intangible Héritage, National Authority for thé Protection of Culturat Héritage

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Relevant consent are attached

Relevant consent are attached

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September5, 2013

November21, 2017

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Thé ICH Department of thé National Authority for thé Protection of Guttural Héritage

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