• Korean Journal of Applied Biomechanics
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• v.22 no.3
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• pp.295-304
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• 2012

This study, through biomechanical analysis, conducts a risk assessment of injury occurrence in ballet dancers while they perform running and jumping movements. The participants were nine female collegiate students majoring in ballet(age: $20.89{\pm}1.17years$; height: $160.89{\pm}7.01cm$; mass: $48.89{\pm}3.26$). Descriptive data were expressed as $mean{\pm}standard$ deviation(SD) for all variables. An independent t-test was conducted to determine how the following variables differed: duration time, position of the center of gravity, angle of the hip, torque of the hip, and muscle activity. All comparisons were made at the p<0.05 significance level. The results show that the jump time was two times longer than the run time in the duration time. The jump length was also longer than the run. The angle of the hip and the torque at the hip were higher in the right. The vastus medialis muscle was most frequently used. These findings demonstrate that participants' jumps may require more biomechanical variables for performance of better and more correct $jet{\acute{e}}$.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.161-170
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• 2020

The purpose of this study is to examine satisfaction at using leisure time and quality of life in the elderly women's participation of a ballet program. A questionnaire survey was conducted with 148 elderly women registering for 10 dance academies in G Metropolitan City in relation to self-esteem, leisure satisfaction, and quality of life. After data processing, the following conclusions were drawn. The results of correlation and regression analysis between self-esteem and leisure satisfaction and quality of life were as follows. Positive self-esteem had positive effects on all sub-factors of leisure satisfaction and quality of life. Negative self-esteem had negative effects on social satisfaction of leisure satisfaction and health and psychological factors of quality of life. The results of research model fit and hypothesis testing between self-esteem and leisure satisfaction and quality of life were as follows. Self-esteem had positive effects on leisure satisfaction and quality of life and high leisure satisfaction had significant effects on quality of life factors. In conclusion, the elderly women's participation in the ballet program improved their self-esteem and significantly positive effects on their leisure satisfaction and quality of life. It is, therefore, suggested that the elderly's ballet exercise through constant physical activity will prevent diseases and promote health in their old age.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.49-60
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• 2002

This study is to study the peculiar world of work that endeavored the stage setting and costume production in Ballet-russe centered around one of 20th representative artist Pablo Picasso and Diaghilev. Picasso worked four pieces ballets such as parade, Le Tricorne, Puchnella, and Le train bleu with Diaghilev. The originality of costume was well represented without losing the whole work's sense of unity. and designed foreasy movement as well as visual effect. As cubic is most common in parade especially, cubic stave costume were introduced at dancing costume of Paris manager and New York manager flrst time in Ballet's history. Picasso used the Cubism for dancer's beautiful appearance and primary color and decoration for oriental feeling. Picasso pursued the beauty and action at the same tome, and tried to represent the stage setting, impersonation and costume towards units, so the Importance of his work has still been referring.

• Journal of Gifted/Talented Education
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• v.23 no.6
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• pp.919-945
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• 2013

Exploring the conceptions of giftedness in arts is very important as the essential prerequisite to identification of giftedness and organizing the curriculum for the gifted in arts. So I have explored the conceptions of giftedness in western music, korean traditional arts(music, theatricals, dance) and ballet based on the results of various studies and cases. The three fields of performing arts mentioned above are operating in the present fields on gifted education in Korea. As the result of this study, I have converged three or four factors on main psychological constructs of giftedness in arts. The giftedness in western and korean traditional music is composed of three sub-factors: high ability in relevant domain, high creativity in general and specific areas, and high motivation including task commitment. However, the giftedness in traditional theatricals, dance, and ballet consists four sub-factors: the physical condition, high ability in relevant domain, high creativity in a specific area, and high motivation including task commitment. The internal characteristics of the gifted in arts mentioned above can be maximized through supporting external conditions like social environments including family and school, and crucial opportunity to meet the teacher who affects the development of giftedness.

• (The) Research of the performance art and culture
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• no.20
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• pp.339-367
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• 2010

Despite that it is relatively difficult to compare the movements in eastern and western dancing, this study approached hand-foot coordination movements, which involve lifting both an arm and a leg to stand on one foot, from a figurative point of view. In ballet, arabesque, developpe, and attitude were recognized as the example hand-foot coordination movements, and in Korean Dance, Oesawi, Gyeopsawi, and Meongseokmari of Mask Dance were classified into the hand-foot coordination movements. The figurative characteristics of these dances were approached from the aspects of racial traits, philosophies of dancing, and forms of movements. The following summarizes the findings about hand-foot coordination movements of this study. First, in relation to human physiology, eastern and western races have different traits. The forms of dancing have developed differently according to the builds and figures of dancers. Ballet is an elegant form of dancing using long legs and arms and its arabesque, developpe, and attitude movements emphasize stretching the body for an elegant and beautiful presentation. On the other hand, Korea was an agricultural society and lived closer to the land. As its people developed petite figures, its dancing movements, especially the hand-foot coordination movements, involved 'twisting' and 'walking down and up.' Second, despite that the hand-foot coordination movements are identical for east and west, ballet aims at the heaven and Korean Dance aims at the land according to the differences in the views of nature. Although the principle of hand-foot coordination movements is about aiming at the land, western philosophies and aesthetics pursue the heaven. Third, in ballet, the focus of beauty is the presentation of beautiful movements. Therefore, the hand-foot coordination movements precisely control the position and angle of arms and legs for the perfect balance of the body. On the other hand, the hand-foot coordination movements of Korean Dance are mostly rooted from natural daily movements and movements that enhance the efficiency of labor. Therefore, it is considered beautiful techniques even if the body looks rather unbalanced.

• Journal of Life Science
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• v.19 no.8
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• pp.1093-1103
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• 2009

The purpose of this study was to analyze the effects of ballet program training at the Royal Academy of dance (RAD) on body composition (BC), physical fitness (PF) and bone mineral density (BMD) in college women. The subjects for this study were 14 females aged 19 to 22, who were divided into the Experimental group (n=7, EG) and the Control group (n=7, CG). The RAD ballet program training was done by 7 subjects (EG), 60 minutes per day, three times a week for 12 weeks. The TBF and %fat significantly decreased and LBM increased in the Experimental group, but all the variables of Body composition in the Control group did not significantly changed. The AMS, Sit ups, STF, SLJ CFB and 1,200 m R & W in the EG significantly increased, but 1,200 m R & W in the CG decreased. The lumbar vertebra (LV), femoral neck (FN), greater trochanter (GT) and ward's triangle (WT) did not significantly change in the EG, but LV, GT and WT in the CG decreased. There was no significant difference in osteopenia for EG, but there were increases in GT and WT for the CG. There was significant correlation between BMDs and body weight, TBF, LBM, %fat, BMI, AMS. There was significant correlation between LV and FN and LV and whole body. In conclusion, regular and continuous RAD training was effective in improving the body composition, physical fitness and bone mineral density. Consequently, RAD training will be effective for preventing osteopenia and osteoporosis, and for improving the health-related fitness for college and middle-aged women.

• (The) Research of the performance art and culture
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• no.32
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• pp.305-332
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• 2016

This article is the second one of the continuous study that considering 'body' as important and researching bodies as 'literature-media': the phenomena and functions. The present writer first of all have paid attention to the study of the contrast between pansori and ballet to secure definite, historic and theoretical prospect of this continuous study. In the process, the Korean creative ballets based on Korean classic narratives were illuminated as the glocal culture contents. And then the necessity of citing Korean characteristic rhythm and tune was insisted to acquire the true individuality and identity(What is the reason Chunhyang dances?(I)). The solution is jangdan and chang of pansori. This article aimed the supplementation of detailed and actual arguments to strengthen and formulate the opinion. And then this article desired to estimate the way to improvement of Korean creative ballet by properly citing jangdan and chang with the actual application cases of Korean ballets. Until now, at least pansori have gotten a sort of visual effectiveness: simply be seen and heard as unusual constituent. Thus the necessity of pansori to work motions and choreography beyond the simple usages. Also the way to be extended generally through being refined by the partial applications.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.779-785
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• 2023

In the creation of non-verbal dance performance, stage costumes are an important element of visual expression and serve an expanded role in addition to its fundamental decorativeness, representation of status reflective of the historical setting of the act and functionality for the dance movement. We intends that the purpose of this research is to analyze the expanded role of the costumes in the creative ballet <'That' Girl>, and through this exercise, provide foundational data on and suggest new future directions for stage costume design. <'That' Girl> is composed of two acts, offering condolences and eliciting empathy by conveying the fear experienced by the victims of the time. The second dance act representing freedom and "Haan" requires this expanded application of costume design. The costume design was inspired by the "Statue of Peace" representing comfort women, and completed through three draft designs and material experiments testing the ease of operation of the strings and fabrics installed in the costumes as well as the functionality of the associated ballet movements. In conclusion, expansion of time & space, expansion of form and expansion of symbolic expression were shown in the dance of liberation using strings wrapped around the arms and through the cloth embodying 'Haan' hidden in front of the costume.

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.100-101
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• 2004

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.31-44
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• 2014

The purpose of this study was to identify the characteristics of stage costumes of a children's play and to creatively design them for the play, 'The Nutcracker', in an attempt to expand the means of expressing designs for stage costumes for children's plays. The Nutcracker, a play written by the German author, E. T. A. Hoffman in 1816, is better known today through its ballet adaptation by Tchaikovsky, and various versions have been presented by ballet companies and drama producers. The characteristics of the stage costume in a children's play are visual artistry, decoration, activity, and visual attention. The costume shows visual artistry because stage costumes with high artistry can increase the elements of fantasy and visual satisfaction in a play for children. The various decorative elements in stage costumes can help capture the attention of children and enhance their interest in the play. As dynamic movement and lines are often used to prevent children from becoming bored, activity must be taken into account when designing stage costumes. Visual attention is required to help children become better immersed in a play, and color selections for the stage costumes need to be emphasized. Thirteen characters were selected to develop a total of 13 pieces of stage costume in a standard size for a 9-year-old child. The design was focused on enhancing the fantastic elements and the entertainment value, and diversified surface decoration techniques were applied to the costume to draw the attention of children and express the formative beauty.