• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.405-414
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• 2022

The purpose of this study is to discover the possibility to expand the aesthetic interpretation of dance works. For this purpose, this study analyzes Maguy Marin's (1981) because it shows Sigmund Freud's concept of uncanny and grotesque images well. The theoretical framework of this study was centered on previous academic studies, and Hoffman's Der Sandmann(1816) was presented as an example to help the conceptual understanding of uncanny and grotesque. The analysis of of Magi Marin was divided into stage space, dancer's movements, costumes, and voice. As a result of this study, it was discovered that is a work with an experimental spirit that deviated from the stereotypes of traditional stage aesthetics. And it was implemented as uncanny and grotesque images in the choreography structure. In addition, as the changes of the times have a great influence on the creation of dance works, it is thought that the discourse of various aesthetic interpretation methods in dance works can provide various directions for dance creation in the future. Therefore, this study will be helpful in raising the aesthetic value and status of dance art.

• Journal of Intelligence and Information Systems
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• v.29 no.4
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• pp.1-13
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• 2023

The widespread adoption of smartphones and advancements in internet technology have notably shifted content consumption habits toward video. This research aims to dissect the nature of videos posted on YouTube, the global video-sharing platform, to understand the characteristics of both produced and preferred content. For this study, dance was chosen as a specific subject from a variety of video categories. Data on YouTube videos associated with the term "dance" was compiled over three years, from 2019 to 2021. The investigation revealed a clear distinction between the types of dance videos frequently uploaded to YouTube and those that receive a high number of views. The empirical analysis of this study indicates a viewer preference for vlogs that provide insights into the daily lives of dance students, as well as for purpose-driven videos, such as those highlighting dance exam preparations or school dance events. Notably, the vlogs that attract the most attention are typically created by dance students at the college or secondary school level, rather than by professionals. Although the study was focused on dance, its methodologies can be applied to different subjects. These insights are expected to contribute to the development of a recommendation system that aids content creators in effectively targeting their productions.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.299-300
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• 2019

린 화이민의 작품을 왜 대만 문화의 상징이라고 하는가. 린 화이민의 작품세계는 대만의 문화를 흡수하는 것을 목표로 삼았다. 린 화이민의 작품에 대한 분석과, 무용평론가들의 견해를 통해 린 화이민의 작품 스타일은 전기와 후기의 두 단계로 나뉜다. 전기에는 쌀, 사진, 분향이라는 세 가지 주요 요소들을 활용해 대만의 풍토에 대한 인식을 알리는 것을 목표로 작품 작업을 진행했다. 후기에는 주로 작품에 중국 특색을 띈 태극관, 무술, 서예 등을 도입해 창작에 영양을 받는 등 중국 문화를 구현하기 위해 개인적인 스타일을 만들었다. 따라서 린 화이민의 작품은 대만 문화의 결실을 농축하고 전통문화를 살리는 수단이 되기도 했다.

• Journal of the Korean Applied Science and Technology
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• v.39 no.2
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• pp.261-270
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• 2022

This study was to analyze the related contents by securing 32 volumes of 8 types of physical education textbooks for grades 3, 4, 5, 6 that are being used in the school field for the revitalization of dance education. As a result, the 3rd grade expression area organized textbooks focusing on movement language and expression elements. For the 4th grade, most textbooks suggested gymnastics using balls, hoops, and ribbons. In the 5th grade, Ganggangsullae and Mask dance were suggested in relation to Korean folk dances, and Tinikling and Gustaf's skoal suggested in relation to foreign folk dances. had been In the case of 6th graders, the exploration of expression elements and the expression process were presented in relation to thematic expression, and the subject expression was made possible with a focus on creative gymnastics. Also, line dance among practical dances was presented in most textbooks. Despite the importance of the expression domain, field teachers at school are complaining of difficulties in teaching and learning due to various internal and external problems. The need for activation is raised in that the expression domain can exert effects in all cognitive, mental, and affective domains.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.961-969
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• 2021

In the historical trend of Korean dance, Korean traditional dance continues to evolve through the transition to stage dance due to the modernization process, the tangibleization of traditional dance, the reconstruction or re-creation of traditional dance. Moreover, the trend of reconstruction and re-creation of traditional Korean dances has been common in traditional dance performances since the 2000s, with two directions: performance of original restoration and preservation and evolution of traditional dances. Therefore, this study is a study of the change in the form of traditional dance and the process of the evolution of traditional dance, and among them, the change of the traditional paradigm of the Lee Dong-an Ryu Jin-so dance. The paradigm shift of traditional dance was staged through the trend of the times to the extent that the original's meaning and form were not undermined, and we can recognize that the paradigm of traditional dance is a way of introducing new aspects as a way of transmission.

• (The) Research of the performance art and culture
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• no.22
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• pp.185-221
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• 2011

This study overseas compatriots in the North during the propagation and development of dance patterns and was going to be based, people living outside of the dance culture as a group of overseas Koreans, especially dance culture of Koreans in Japan, China are interested in and thought about the necessity of the study. Issues discussed in the literature of research results, autonomous community of Koreans in Japan ethnic Koreans and Chinese dance culture dance Choi Seung-hee starting point common was, two ethnic groups, directly or indirectly from the Choi Seung-hee learn to dance or have received specialized training to work, compiled by Choi Seung-hee Korea on the basis of basic dance training was learning the dance. In addition, specialized training and dance training institutions in the North Koreans in Japan Social Dance Group for the system, such as dance training in a separate place where talented people through the exhaust, to act in a professional troupes have maintained a system. In contrast, Chinese ethnic Koreans in Yanbian Autonomous University and Central University for Nationalities in the dance departments are stationed there, the transfer from the Joseon dance dance by educating gifted talents have been dispose, South Korea and similar aspects of the dance education system can be seen. Dance work based training and the tendency of Koreans in Japan in terms of social practice and dance in the North of basic training as basic training and specialized training, and work to represent the North korea's famous dance folk dance performances have been transmitted intact. In China, however, ethnic Koreans Choi Seung-hee compiled by borough basis and the work of the North korean dance training or specialized training received directly from her, she founded the dance student of Choi Seung-hee developed basic techniques of Chinese ethnic dance and ethnic Koreans in China, while receiving only Sewonaga dance training system as a deal on exchanges with the North Korean dance dancing free dance culture for creation peppered ethnic Koreans in China was formed. When passed down to the time, Koreans in Japan since the 1960s, society began to visit Pyongyang in the 1970s, subjected to a direct transfer, and education and through the 1990s, the North Koreans in Japan by inviting dancers and dance directly to basic training by getting education bukhanchum As can be seen in the spectacular aspects will have to reproduce. However, ethnic Koreans in China in the 1950s in districts in Beijing, Pyongyang and received direct guidance from Choi Seung-hee, Dancers from the North after Pyongyang rather than direct guidance on the occasion of his visit to China Dance Troupe was affected. On the other hand Korean dance since the 1990s, starting with Ethnic Koreans in China only began to absorb a different dance culture has been created. The same nation, yet living in the region and to configure the ethnic groups, the configuration of the system and political system, according to the North Dancing transfer process and the development pattern similar, but each of the identities to ensure their own traits with a dance culture, the formation and develop the arrival of You can find out. In other words, Koreans in Japan and Federation of Koreans in Japan under the control of social forces of the dance culture by Acculturation variation of dance culture, dance culture of the borough ethnic Koreans in China Acculturation by the voluntary and free borrowers were able to gauge the changes in development.

• 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.

• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.146-155
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• 2012

This study made an attempt to apply and meaningful research of the analysis of the scene with the actual creative work about the contradictory structure and the love of duality appeared in the Shakespeare's "Romeo and Juliet". The researcher set up the meaning of versus (對) between the contradictory structure and the duality of love. So I analyzed the duality of love appeared on the creative performance named "Romiet & Julio zwei Versus". With the Laban's behavior analysis, the analyzing instruments were separated into four parts as the body, the effort, the space and the shape. As a result of the analyzing, the duality of love in the original work was the expression of the artist's pluralistic vision, and dramatic structure of homogeneity rather than the paradoxical contrast. After analyzing a creative work, the duality of love has been proven as an important factor with ultimately a new dimension of absolute balance.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.237-250
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• 2020

The purpose of this study was to investigate the relationship between the performance factors of dance performance and the intention to revisit the audience, and to investigate the structural relationship between viewing satisfaction and viewing value. For data processing, SPSS Ver. 21.0 and AMOS Ver. The program of 21.0 was used. Structural relationships were analyzed using a two-step approach, and the significance of the effects was verified using bootstrapping. In addition, a full mediating effect and a partial mediating effect were presented using the three-step regression analysis mediating effect. The results of the study are as follows. First, it was found that the viewing factors influenced the viewing satisfaction and the viewing value. Second, it was found that viewing satisfaction had an intention to revisit and influenced the viewing value. It was also found that the viewing value had an effect on the intention to revisit. Third, in the relationship between the viewing factors of the dance performance and the viewing value, it was found that the viewing satisfaction had a partial mediating effect. Fourth, it was found that the attendance factor of the dance performance was not related to the intention to revisit. However, it was found that the satisfaction of viewing and the value of viewing had a complete mediating effect in relation to the viewing factors of dance performances and the intention to revisit. Through these studies, the dance performance should overcome the inherent limitations of space-time limitations and present basic data for establishing a mid- to long-term marketing strategy that can respond quickly.