• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.766-775
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• 2014

This study is aimed to research the actual wearing condition of ballet dancewear of girls aged between 2 and 6 years on its design, size and fit. Survey data were collected from 171 mothers who have a girl learning ballet dance. The questionnaire was composed with ballet education, ballet dancewear purchasing, preference on design, size selection, and fitting. The collected data were analyzed with frequencies statistics, ${\chi}^2$-test, ANOVA using the SPSS WIN 20.0. The results are as follows; High rate of respondents said that the purpose of ballet education was for good body balance, leisure activity, and height growth. The main method of purchase was online shopping. The design, price, size and fit were identified as important ballet dancewear attributes for girls. The most preferred style of ballet dancewear were 'short sleeve skirted leotard' and 'camisole skirted leotard' which look like dress. The respondents reported slight satisfaction with size and fit, price, convenience in action, sewing and durability. The most preferred sizing system was code by height but any ballet dancewear makers don't use code by height. Therefore it is difficult for consumers to select size. Retailers and manufacturers could potentially use the results of this study to improve the sizing system and fit for children's ballet dancewear.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.62-75
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• 2005

This study is focused on main performers' stage costumes in the 'Swan Lake', a masterpiece of classical ballet, which Is newly represented by Matthew Bourne, a choreographer. The objectives of the study is to help understand a trend of costume in modern public performance and art. First, this paper is attempted to describe the concept and the elements of ballet costume, secondly, to consider the performance generally, and finally to analyze main performers stage costumes. This study was performed by two processes; The first was to visit theaters to view the performances in person: the classical ballet by the Bolshoi Theater Ballet, the performance by Korea national ballet academy and the Matthew Bonne's modernly redefined ballet. The second was to review the regarding literatures and DVD. There are two apparent characteristics of main performers' stage costumes in modern-style ballet compared with classic-style ballet. First, there is an approach to gender identity; the character of swan with the classic tutu that has been the culmination of femininity in the classic-style ballet, used to be represented in an established idea on ballet costume, is now substituted by a creative idea, male ballerina and trouser-style ballet costume. Second, there is an approach to breaking the convention on the purpose of emphasizing popularity arousing real sympathy and art value. Also, modern-style ballet introduces bare body and ffot rather than tutu and toe-shoes, and adapts items from casual outfit fitted in earh performer's character with a present-day life.

• Korean Journal of Community Nutrition
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• v.10 no.6
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• pp.835-844
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• 2005

This study was carried out to investigate the dietary behaviors, nutritional status and hematological status of female ballet majors a university. The study was conducted from May 11 to June 20, 2004 by questionnaires, anthropometry and blood analysis and data analyzed by SPSS program. The results are summarized as follows: The body mass index (BMI) and body fat rate of the ballet majors were significantly lower than those of the controls. Eighty-six point four percent of the ballet majors and $58.3\%$ of the controls had weight control experiences. Intakes of the nutrients were lower than those of the Korean recommended dietary allowances (RDAs) , except vitamin C in the ballet majors. Intakes of calories, calcium and iron were lower than those of the RDAs in the controls. Serum triglyceride levels of the ballet majors were significantly lower than that of the controls. HDL-cholesterol concentration was higher in the ballet majors than in the controls. No differences were found in the serum total cholesterol level, hemoglobin level, and hematocrit value between the groups. Total iron binding capacity of the ballet majors was higher than that of the controls. Serum iron level was significantly lower in the ballet majors than in the controls. Nutrition knowledge scores and dietary attitude scores were lower in the ballet majors than in the controls. Self esteem and body-cathexis of the ballet majors were higher than that of the controls. These results indicate that the ballet majors should be given more nutritional education to improve their nutritional status and the dancing Performance. (Korean J Community Nutrition 10(6) : $835\∼844$, 2005)

• Korean Journal of Applied Biomechanics
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• v.13 no.3
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• pp.327-340
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• 2003

The purpose of this study was to investigate the height of jump, angle of the ankle and knee, the angular velocity of the ankle and knee between two types of ballet shoes during a jump in the 1st position. The subjects were 5 female ballet majors of university in Busan the majors who have been dancing ballet for six years on the average. The conclusions are as follows: 1. The height of jump had no significant difference between two types of ballet shoes, and then the average of the height of jump with point shoes group ($20.24{\pm}4.62\;cm$) was a little higher than ballet shoes group ($17.50{\pm}4.05\;cm$). 2. The angle of the ankle had no significant difference for all events between two types of ballet shoes. The minimum angle of ankle joint was represented to $54.36_{\circ}$ at the E1 of the left ankle angle of the ballet shoes and the maximum value was showed $155.43_{\circ}$ at the E3 of the right ankle angle of the point shoes. 3. The angle of the knee had no significant difference for all events between two types of ballet shoes. The minimum angle of knee joint was represented to $99.54_{\circ}$ at the E1 of the left knee angle of the ballet shoes and the maximum value was showed $174.25_{\circ}$ at the E3 of the right knee angle of the point shoes. 4. The ankle velocity of the ankle had no significant difference for all events between two types of ballet shoes. The minimum angular velocity of the ankle was represented to 4.35 deg/s at the maximum height(E3) of the point shoes and the maximum value was showed 597.81 deg/s at the take-off(E2) of the right ankle angle of the point shoes. 5. The angular velocity of the knee had significant difference between two types of ballet shoes at the event 1(p<.05). The minimum angular velocity of the hee was represented to -1.68 deg/s at the maximum height(E3) of the point shoes and the maximum value was showed 360.25 deg/s at the take-off(E2) of the left knee angle of the ballet shoes. The other events had no significant difference between two types of ballet shoes.

• Journal of Digital Convergence
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• v.19 no.2
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• pp.501-508
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• 2021

The purpose of this study is to qualitatively analyze the perceptions of aesthetic values of working women taking ballet fitness classes and to find ways to properly establish ballet fitness classes according to the opinions of the study participants. Participants in the study were 9 working women taking ballet fitness classes at local educational institutions, and FGI (Focus Group Interview) was conducted, and the interview was conducted based on a semi-structured questionnaire. Subsequently, the categorization content was derived through expert review and peer review. As a result, first, the study participants expressed their dissatisfaction, hoping that the ballet fitness class helped improve their daily enjoyment and pain, and even watched ballet performance with interest. Second, the participants of the study were actively publicizing the benefits of ballet fitness classes to their families and nearby acquaintances, and hoped that this exercise would help improve the difficult image of ballet. Based on this study, ballet fitness classes were expected to be sufficiently established as a hobby exercise for working women.

• The Research Journal of the Costume Culture
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• v.4 no.3
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• pp.447-464
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• 1996

In this study, observations were made on costumes of romantic ballet. Twelve ballets of romantic period were selected for this study; La Sylphide(1832), La Filledu Danube (1836), Le Diable Boiteux(1836), La Gitana(1838), La Gipsy(1839), La Tarentule(1839), L'Ombre(1839), Giselle(1841), La Peri(1843), La Esmeralda(1844), Pas de Quatre(1845), la Fille de Marbe(1847). Romantic age was acceptance of the ballerinas as the central figure on the stage. Famous ballerinas in romantic age were Marie Taglioni, Fanny Elβler, Carlota Grisi, Fanny Cerrito, Lucile Grahn. Romantic style of dancing sprung onto the stage of the Paris Oepra with M. Taglione's first performance of La Sylphide in 1832. Ballet costumes n romantic period except La Gipsy were with low decolletage, very short transparent sleeves that decorated with shining band or small cuffs, and the waist of the fitted bodice dipped to point in front decorated with sash or jewel. The form of skirts was bell-shaped and reached middle calf. That style became stereotype for ballet costume and called ballet blanc.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.98-111
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• 2012

The purpose of this study is to examine how the Hanbok is expressed in the ballet performances through the 'La, Chun-hyang', a classic Korean ballet. 'La, Chun-hyang', was performed from 2009 and 2010, but there were some differences in choreography by the director's intention. According to these changes, the methods of expression of ballet objects were changed as well. Therefore, totally different personalities were shown despite the fact that theses were same performances. Every costume objects in dance performances like the ballet can be used to express the story and the characters. Moreover, the object designs of Hanbok portray creativity and originality that simultaneously refers to history. In order for stage costume objects to popularize, the making method and process have to be developed like the objects of the Hanbok that signified historicity.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.3
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• pp.105-119
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• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• Physical Therapy Rehabilitation Science
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• v.11 no.2
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• pp.172-180
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• 2022

Objective: The purpose of this study was to investigate the effects of squat exercises using elastic bands of ballet dancers on muscle activity, arabesque angle, and static balance of ballet dancers during arabesque posture. Design: A randomized controlled trial Methods: A total of 25young female ballet dancer svoluntarily participated in the study. The participants were randomized to the elastic resistance squat group(n₁=13) and body squat group(n₂=12). The squats exercise was applied to a total of 12 exercises per four weeks and consisted of 15 times per one set in one to two weeks, 4 sets in three to four weeks. All subjects were evaluated muscle activity, arabesque angle, and static balance during arabesque posture at before-after intervention. All participants were measured muscle activity, arabesque angle, and static balance during arabesque posture at before-after intervention. Results: Elastic resistance squat group and body groups showed a significant increase in the muscle activity, angle, and static balance ability during arabesque posture(p<0.05). In the comparison between the groups, the elastic resistance squat group showed a significant increase in muscle strength, angle, and static balance during arabesque posture (p<0.05). The results showed that the elastic resistance squat exercise was more increased than the body squat exercise in all variables (p<0.05). Conclusions: Therefore, when planning a training program for a ballet dancer, the elastic resistance squat movement can be applied as an exercise method to improve the muscular performance and balance ability of the ballet dancer.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.41-52
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• 2004

The objective of this study is to contemplate both the formation and the aesthetic characteristics of the ballerina look represented in modern fashion by analyzing a ballet costume. The results of this study could be summarized as the following: the ballerina look is formed by ballet costume itself with being stick to or exposing human body line, or by casual dress mixed with a ballet costume; the materials consist of both the major materials for a ballet costume such as silk, chiffon, tulle, lace, or organza, and the usual materials for casual dress: a variety of color such as transparent, pastel etc. is also used with typically used colors like white and black: decoration is basically composed of ruffle, drape, gather and the distinctive accessory like toe shoes, ribbon tape, ankle warmer is used to show a feature of a ballet costume These formative characteristics of the ballerina look presented in modern fashion implies illusory, pure, and hybridity. traits. First, illusion of the ballerina look not only implicitly expresses a womans wish to experience a ballerina's fantastic world, but also recreates woman herself into a ballerina on a stage. Second, purity of the ballerina look makes design look feminine and smooth, which is expressed with girlish taste through materials and colors. Third, hybridity of the ballerina look suggests a standard of a new trend, which is active style, by adding comfortableness and flexibleness to romantic femininity.