• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.47-57
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• 2019

The end of the 20th century, along with the popularity of new media technology and the rise of new media art, dance as a visual art, and body language art, has the features of more and more rich and changeful. In today's Internet booming new media environment, many different fields, such as film and theater, computer technology, digital art, etc.) with its commonness and characteristics of all kinds of interaction between the creation, produced a new interdisciplinary research with theoretical model. When cross-border interactions between various areas become a hot topic at the same time, the traditional form of dance performances are also seeking new breakthrough. Canada's famous social psychologist McLuhan believes that modern is retrieving lost over a long period of time "overall" feel, return to a feeling of equilibrium. The audience how to have the characteristics of focus on details of visual art back to the "overall" feel worthy of study. At the same time, the new media in today's digital dance teaching in colleges and universities dancing education remains to be perfect and popular, if continue to use the precept of the traditional teaching way blindly, so it is difficult to get from the development of the current domestic dance overall demand. In this paper, the main body is divided into two parts, the first chapter is the study of image device dance performance art, the second chapter is the research of digital dance teaching application system, thus further perspective of media technology to explore dance art crossover practice under the new media environment and mode of transmission.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• The Journal of the Korea Contents Association
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• v.12 no.3
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• pp.149-160
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• 2012

This study has been performed to investigate what influences affect dance, involvement and the performance result of the arts high school students majoring in dance, purposed to confirm the result of the subject by inputting servant leadership as an independent variable. To achieve such purpose the hypothesis was verified on the basis of the data of 219 students majoring in dance of the arts high schools located in Gyeonggi-do, Chungcheongnam-do and Jeollabuk-do. The statistical method to verify the hypothesis was based on regression analysis, particularly significance level was placed at ${\alpha}$=.05 to verify the hypothesis. The results are as follows. First, dance teacher's servant leadership positively affects dance and involvement of arts high school students majoring in dance, particularly devotion and service were verified to be useful variables. Second, dance teacher's servant leadership positively affects the performance result of arts high school students majoring in dance, particularly vision offer, devotion and service were verified to be useful variables. Third, the study proves the performance result could get greater as the arts high school students majoring in dance takes bigger attention in dance and involvement.

• Journal of Digital Convergence
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• v.18 no.2
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• pp.455-462
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• 2020

The purpose of this study was to investigate the effect of behavior type of dance art instructors in elementary dance education on class satisfaction focused on mediations of flow and perceived competence between commanding and positive reward types. A total of 453 questionnaires were analyzed for this study. For the analysis of the data, SPSS 18.0 version was used and double mediation model operating in serial, proposed by Hayes and a bootstrapping method were used. First, instructor's commanding type and positive reward type were statistically positive effect on class satisfaction. Second, the indirect effect of instructor's commanding type, and positive reward type on class satisfaction through the flow was statistically positive significant. Third, the indirect effect of instructor's commanding type, and reward type on class satisfaction through the perceived competence was statistically not significant. Lastly, the indirect effect of instructor's commanding type, and positive reward type on class satisfaction through the flow and perceived competence was statistically positive significant.

• Trans-
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• v.1
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• pp.1-19
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• 2016

Arts have changed continuously reflecting the times with the political atmosphere and social systems. As political, economic, and social big changes have occurred since World War II, antihistorical tendencies rejecting modernism in the early 20th century have come to appear in culture and arts as well. With these social changes, radical, avant-garde and artistic tendencies with strong experimental spirits, which rejected modernism took place especially in American dancing world. Trends of improvised elements and experimental trials were dominated discovering expressions of new movements in intentions and expressions of works. The purpose of this study is to investigate the effects on choreographic forms of modern dance until today by exploring choreographic characteristics of this postmodernism. To examine post-modernist inclinations in works, Trisha Brown who led American post-modern dance stressed dance for expressions of movements in themselves and pure movements by actively accepting into dance works American social flows which played a major role in postmodernism starting from 1960s. American modern dancers considered body in itself as important one and any emotional expressions and individual sensitivity is excluded as their physical expressions are factual, realistic, and due to their movements. They imprinted dance as valuable art by recreating ordinary behaviors into dance, using space excellently and forming experimental dance shapes. Therefore, it can be said that through analyzing brown's works, we proposed a new direction getting out of limits of arts and provided a direction of essential dance alt to movements of modern dance and choreographic shapes.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.114-121
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• 2015

This study aims to reveal the educational effect and healing action of senior dance by approaching the experiential awareness of the social workers in phenomenological ways. The social workers who participated in the study are 7 social workers at Institute of Social Welfare of the Elderly Welfare in 2014 selected from ARTE Culture and Arts Culture and Arts Education Support Project as beneficiary organizations in the field of dance education. The materials and data of this study have been collected through 1 to 1 in-dept interviews with them. As a result, social welfare workers were recognizing senior dance education as emotional, recognizable, mental, social art activities rather than simple physical activities. And the senior citizens stimulate individual positive emotions and cognitive and have given feedback on and on. So, snowball effect that satisfactory feel of our lives get increased occurs. Finally, senior dance education provided at welfare institutions can be considered healing art activity to improve quality of life gradually through continuous interaction among individuals and communities.

• Trans-
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• v.7
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• pp.1-17
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• 2019

In this study, it is recognized that the new social media has a great social impact and influence, and contemporary dance works that attempted to combine dance and media based on 'interview' are able to bring the value of dance art in a unique way. Currently, many art groups and choreographers are gradually awakening to the audience's thoughts by carefully studying new choreography techniques and forms in order to reach the audience effectively. These changes are meaningful and valuable as contents that will lead to diversification according to technological progress, industrialization of the 21st century, development of dance audience, expansion of stage, and enjoyment of dance arts. Therefore, it will be an inquiry study which analyzes through the literature and images of domestic and foreign dance works using interviews as a material, and finally examines what kind of choreography is used as the interview material in dance works and suggests its effectiveness.

• Trans-
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• v.12
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• pp.1-19
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• 2022

This study predicts and raises the changes that AI will bring to dance art when machine-based choreography began, and finds questions we can ask as human artists. Research suggests that one of the crises of dance in the era of machine creative arts is that artificial intelligence does not stay in the tool of human choreography but becomes the subject of choreography. It is based on the political discourse of choreography that artificial intelligence has the power to control and restrict human dancers. This comes from a sense of crisis that the AI takes over the area of choreography and the human choreographer remains an incompetent coordinator, and as a result, the dancer's dancing body can be reduced to a mechanical body controlled by AI. In order for these concerns not to become a reality, this study proposes three measures. First, choreographer and dancer should develop digital literacy to live in the age of AI art. Secondly, choreographer should acquire the ability to accurately distinguish the roles of human choreographer, dancer, and AI in creative work. Thirdly, various levels of discourse on AI dance should be formed by actively conducting mutual media research of dance and technology. Through these efforts, the human dancer will exist as a subject of art, not a passive agent in the new dance ecosystem brought by the innovation of artificial intelligence technology and will be able to face an era coexistence with artificial intelligence creativily and productively.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.255-256
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• 2019

가장 큰 예술 대중매체인 k-pop은 다양한 안무 퍼포먼스를 필두로 대중에게 새로운 경험과 색다른 소통을 하게 도와줄 책임이 있다. 현대무용과의 결합을 통해 k-pop은 예술적 형태의 'Art 퍼포먼스'라고 불리 우며, 무용은 k-pop의 대중적 성질을 가지고 거리의 장벽이 낮아졌다. 이것을 변화되는 안무 디자인의 새로운 '문화 트렌드', '대중화 코드'로 인식하여야한다.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.295-296
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• 2018

자기관리란 개인이 정한 목표에 도달하기 위해서 방법을 계획하고 점검함으로써 목표달성을 위해 스스로 정하는 자기통제적인 행위를 말한다. (국립국어원, 2014)연기전공 대학생의 경우 자기관리의 개념이 '자신이 어떤 행동을 변화시키기 위하여 기술이나 전략들을 사용하여 변화를 주도하는 과정이다. 즉 자기관리 과정이라는 것은 개인이 변화하기 위한 노력으로 스스로 환경여건을 수정하고 행동결과를 조정하며 관리하는 것이다.(Jones et al,1977)' 연기전공 대학생들은 다른 공연예술전공대학생보다 여러 분야의 지식과 기술(무용, 음악, 연출, 신체훈련, 무대표현)을 습득해야하는 종합예술의 특성을 가지고 있기 때문일 것이다.(이영일, 2015) 그렇기에 연기전공대학생들은 다른 공연예술전공의대학생보다 보다 많은 자기관리가 필요하다. 그 중 본 연구자는 연기전공대학생들에게 무용신체훈련을 적용하여 연구를 진행하였을시 대상자들 스스로가 본인의 신체를 자각하고 자기관리의 중요성을 경험 한 뒤 자기관리에 어떠한 영향을 미치는지 알아보기 위함이다. 이미 무용전공자를 위한 자기관리프로그램과 신체훈련 프로그램과 가기관리에 관한 프로그램에 관한 선행연구결과가 있다. 자기관리의 프로 연기전공대학생 1학년 14명의 대상자를 선정하고 무용신체훈련과 자기관리향상을 연계하여 논의하였다.