• Journal of the Korea Convergence Society
• /
• v.11 no.10
• /
• pp.317-328
• /
• 2020

The purpose of this study was to identify the relationships between Korean traditional culture awareness, Korean dance image, cultural heritage preservation, and the intention for Korean teens to experience Korean dance. The respondents were 459 middle and high school students within Seoul and the Gyeonggi Province. The following results were obtained: First off, it was discovered that only interest in Korean traditional culture had a significant impact on the image of Korean dance. Also that Korean traditional culture education and utilization create the overall impact on the image of Korean dance. Secondly, the image of Korean dance was found to have a significant impact on the preservation of Korean cultural heritage. Next, the image of Korean dance was found to have a significant impact on the intention of teens to experience Korean dance. Finally, cultural heritage preservation was not found to have a significant impact on the teens intention to experience Korean dance.

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