• The Journal of the Korea Contents Association
• /
• v.22 no.8
• /
• pp.227-234
• /
• 2022

This study identified the characteristics of surrealistic art and examined the choreography method based on the representative work of choreographer William Forsythe. Forsyth developed into a ground breaking performing art through surrealistic characteristics and his own method, and sought to find a new body image based on this original choreographic approach. Through this, it was found that the destruction and dismantling of forms, which are surrealistic art characteristics, appeared as separate movements, space reconstruction, and special objects in the choreography method of Forsythe. Therefore, the purpose of this paper is to investigate the characteristics and forms of surrealism and to identify the surrealistic elements that appear in William Forsythe's.

• Proceedings of the Korea Contents Association Conference
• /
• 2017.05a
• /
• pp.223-224
• /
• 2017

본 연구에서는 21세기 무용예술 창작환경변화에 따른 실제 행해지는 안무법들을 알아보는데 그 목적이 있다. 이를 위해 먼저 안무의 사전적 의미, 학술연구에서의 안무의 개념을 살펴보았다. 그리고 2000년도 이후 댄스포럼 잡지 중 5년 단위로 잡지를 선정하여 이로부터 안무가들의 인터뷰를 수집 후 안무방법에 대한 언급이 있는 기사들만을 추출 하여, 21세기 현장에서 이루어지는 안무의 실제에 대해 정리하였다. 안무의 사전적 개념은 17세기 안무의 개념과 크게 다르지 않았고 저작권에서도 동작의 형으로만 그 범위를 제한하였다. 20세기에 들어 움직임의 창작 뿐만 아니라 작품의 연출에 까지 그 범위가 확장되었다. 21세기의 안무가들은 사전적 안무의 개념에 집중하는 경우도 있었지만 주로 안무 작업 시 작품 전체의 연출에 집중하였으며, 움직임은 주로 무용가들과의 소통을 통해 창작하였다. 융 복합 환경으로 변화해가는 창작환경의 변화를 고려하였을 때 지식재산권의 문제를 고려한 안무 개념의 고찰에 대한 많은 연구들이 진행되어야 한다.

• Proceedings of the Korea Information Processing Society Conference
• /
• 2015.10a
• /
• pp.1435-1438
• /
• 2015

본 논문에서는 대용량의 K-POP 모션캡처 데이터베이스에서 특정 안무구간을 검색하는 방법을 제안한다. 제안 기술은 저가형 3D 카메라를 이용하여 사용자가 직접 검색하고자 하는 동작을 생성하고 이를 질의동작으로 입력하여 원하는 안무동작을 검색하는 직관적인 검색 기술로서 구간 동작의 명칭이 존재하지 않는 K-POP 댄스를 검색하기 위한 핵심기술이다. 역동적인 댄스 자세를 표현하고 매칭하는 방법으로 관절 및 바디파트 간의 상대적인 각도 정보를 추출하고 비교하는 방법을 설명한다. 대용량의 모션캡쳐 데이터베이스를 고속으로 검색하기 위해서 안무동작의 핵심 자세를 분석하여 후보구간 집합을 빠르게 생성하고, 이들 집합에서 Dynamic Time Warping(DTW) 알고리즘으로 안무동작 간의 매칭거리를 보다 정밀하게 산출한다. 약 358분의 K-POP 댄스 곡 100곡에 대한 성능평가에서 92%의 검색정확도를 보였으며, 이는 K-POP 댄스 동작의 복잡성을 고려할 때 경쟁력 있는 성능치이다.

• 한국체육학회지인문사회과학편
• /
• v.55 no.6
• /
• pp.625-641
• /
• 2016

The purpose of this study was to establish unified standards on the scope of protection of choreographic works and to suggest methods for the protection of choreography copyright. 20 experts was selected among dance experts or copyright experts and depth interview method, Delphi method and AHP analysis were used. The result was summarized as follows : First, 50 percents of the experts thought pure dance works and popular dance works should be protected by same standard, while 45 percents of the experts suggested different standard. Second, 55 percents of the experts claimed required fixation on certain medium, while 40 percents did not claim required fixation but only expression. Requirement of originality was to independently create choreography and to reflect creative characteristic(65%). 70 percents of experts were positive on defining dance choreography as independent work, while 25 percents were negative. Elements of the choreography protection scope were in following order of importance: pattern of movement, creative and concrete plot, combination of movements and steps, and movement pattern with specific space. Third, methods for the protection of dance copyright in hierarchical classification were in following order of importance : 'copyright education', 'activation of organization of dance copyright trust management', 'choreography registration' and 'inducement of social concern. Fourth, 'Active participation of dance copyright trust management organization' was thought as the most important development plan. 'Improvement of dancers' awareness of copyright', 'inducement of choreography registration', and 'reinforcement of copyright education' followed in order.

• The Journal of the Korea Contents Association
• /
• v.6 no.9
• /
• pp.124-131
• /
• 2006

Motion graphic is also developing into its own genre in graphic design by establishing individual industrial fields. images and graphics but also recognize even motions and sounds as communication elements delivering a message. Nevertheless, web communication designers have yet to experimentally test the visual motion priniciples or the audio sound expressions in terms of technology. If the dance are used, they may be new communication approaches in the age of multi-media, which allows for communication of visual and audio information or images. With such conceptions in mind, this study was aimed at reviewing the structural relationship between visual motion principles of the kinetic and the sound images to combine the audio and video effects. To this end, the basic structure of dance and music were substituted into the dance to determine their relevancy, and thereupon, examine the effective sound expression methods and techniques depending on movements of the objects in the monitor. Thus, this study, by inquiring into the uniqueness of choreography in motion graphic, presents the possibility of limitless expression of designer creation and inner world, and the ultimate goal lies in assuring the artistic value of motion graphic and its position as a synthetic art.

• Korean journal of communication and information
• /
• v.73
• /
• pp.92-128
• /
• 2015

We found that world wide popularity was attracted by Korea culture aspects of Psy's . The main factors that caused the syndrome, we noticed that the image of Korea. Expressly, we compared the Korea cultural scene that appeared in and . So, we analyzed successful Korea cultural factors of . For the analysis, we applied the Q methodology. As a result, in , we found 'Recreation Type', 'Advanced Development Type', 'Relieve fatigue type' and 'Adult Type'. Most of these factors have been recognized in Korea cultural factors. we found 'Communal Dancing Type', 'Cheeky Dance Type', 'Pleasant Packing Carriage Type', and 'afflicting type'. However, the Korean factor of were identified only 'Packing Carriage Culture'.

• Proceedings of the Korea Information Processing Society Conference
• /
• 2018.05a
• /
• pp.486-487
• /
• 2018

본 논문에서는 다선형 PCA(Principal Component Analysis)를 이용한 키넥트 센서 기반 댄스 모션분류방법을 제안한다. 댄스 모션 분류를 수행하기 위해서, 먼저 키넥트 데이터 깊이 영상과 이진영상을 보간법을 통해 데이터의 크기를 정렬시켜준다. 다음으로 다선형 주성분 분석 기법 (MPCA)을 이용하여 연속된 댄스모션영상들에 대한 특징을 추출하고, 유클리디안 분류기를 통해 클래스 분류한다. 본 실험에 사용된 데이터베이스는 키넥트 센서를 기반으로 전문 댄서 4명을 통해 취득된다. 총 100곡의 K-POP을 선정하였고, 곡마다 2개의 포인트 안무를 통해 총 200개의 포인트 댄스모션 데이터베이스를 구축하였다. 실험결과 제안된 방법은 89.5%의 성능을 나타낸다.

• Journal of the Korea Convergence Society
• /
• v.8 no.6
• /
• pp.283-289
• /
• 2017

This study examines the impact of dance in dance viral convergence advertising. Dance viral images appeal to a wide range of consumers. Especially, Dong-A Otsuka's Oronamin C ad released in 2015 achieved great results and won an advertisement award with an addictive CM song and dance. So this study selected the advertisements of Oronnamin C from 2015 to 2017 for its analysis. The theoretical background is analyzed through the element of dance choreography and characteristics. The results of the analysis of ads showed that they were made of simple and repetitive situations, which are the characteristics of dance comic style. There was little shift in space, choreography was mainly based on one straight line but with a crowded group, circle and V-shape appeared. Spatial composition was mainly first-person point of view. In the dance viral ads , dances were composed of short rhythmic phrases with simple and repetitive elements, eliminating complicated elements.

• Trans-
• /
• v.2
• /
• pp.1-38
• /
• 2017

Dance, as an art which expresses thoughts and emotions by movement human, is included in work that its copyright has to be protected, choreographers who are creators and dancers who are performing can exercise their rights included in copyright laws. However, artists who work in the dancing scene have lack of awareness about copyrights and the application level is low. The purpose of this thesis is to look into the current status and issues about dance copyright and to discuss activation plans and effectiveness plans for dance copyrights. The main point is to check into the level of awareness for dance copyrights with choreographers, dancers and students majoring in dance who are in charge of the art of dancing, to present issues about the necessity of the dance copyrights protection plans by analyzing interviews-in-depth and to prepare the dance copyrights protection plans which are concretely realistic. For the research methods, first, I looked into ideas and contents about copyrights through a document research and then, wanted to prepare theoretical background by reviewing actual cases of performing art copyrights related to dance. Next, I carried out surveys about awareness of copyrights with students majoring in dance, choreographers and dancers then carried out analysis of actual proof. Also, I chose three famous dancers who are actively performing in the current dancing scene and did interviews-in-depth about dance copyrights then carried out a recording analysis. I tried to complement the analysis by discussing deeper which I couldn't deal with in the previous surveys and to contemplate awareness activation of dance copyrights and plans. As a result of the research, the level of the awareness about dance copyrights through age, major, education and career was very low. The level of awareness was almost same compared to the previous research 10 years ago. 'Music', which can be an element of copyright issue in dance, was the highest in rate, and dance was recognized as an art which is combined with various elements as a combination work. The way of protection for works of choreography and performance only used data preservation and contracts and didn't register copyrights or record in dace notation. Majority of responders answered that they couldn't have any education about copyrights while they were recognizing the necessity of education and management for copyrights. The analysis of interviews-in-depth was also matched to the result of the previous surveys and a deeper discussion about the status of dance copyrights and issues was carried out. The plans of effectiveness for dance copyrights through the result of previous research are as followings. First, an advanced education is necessary above all to increase the awareness and application of copyrights in dancing scene. Long-term education like study curriculums and short-term education like special courses and seminars should be combined, and education about copyrights for dance groups, choreographers, dancers and students majoring in dance should keep on going. Second, revision of performing art works is necessary for the activation of dance copyrights, and establishing a dance copyright association to manage copyrights systematically and training dance copyright experts are necessary as well. Third, as the way of copyright protection for choreographers and dancers, an establishment for relation gain and loss about copyrights is necessary when creating dance works and performing, and registration of dance works should be activated. Also, the dancing scene should sign contracts for choreography and performance and this contract culture should be activated, and it should systematically preserve and manage choreography and performance records through basic ways. Hereby, it is considered to prepare a foundation to foster the awareness of dance copyrights and activate dance copyrights.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.5
• /
• pp.809-814
• /
• 2023

Currently, there is a lack of research that directly applies and integrates science and technology in the field of dance and translates it into creative work. In this study, the researcher applied motion capture to creative dance performance 'Youth' and described the process of incorporating motion capture into scenes for the performance. The research method involved utilizing practice-based research, which derives new knowledge and meaning from creative outcomes through the analysis of phenomena and experiences generated on-site. The creative ballet performance "<Youth>" consists of a total of 4 scenes, and the motion-captured video in these scenes serves as the highlight moments. It visually represents the image of a past ballerina while embodying the meaning of a scene that is both the 'past me' and the 'dream of the present.' The use of motion capture enhances the visual representation of the scenes and plays a role in increasing the audience's immersion. The dance field needs to become familiar with collaborating with scientific and technological advancements like motion capture to digitize intangible assets. It is essential to engage in experimental endeavors and continue training for such collaborations. Furthermore, through collaboration, the ongoing research should extend the scope of movement through digitized processes, performances, and performance records. This will continually confer value and meaning to the field of dance