• The Journal of the Korea Contents Association
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• v.12 no.3
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• pp.171-180
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• 2012

The purpose of this study is to analyze the relationship between the self-leadership and the cognitive flexibility of the university students who are majoring in dance to provide useful information in the field of dance instruction. Participants were the students majoring in dance who are enrolled in the dance department of the four-year universities nationwide and 282 data have been used for the final analysis. The analytical method for verification of hypothesis was multiple regression analysis to be performed at a significance level of ${\alpha}$=.05. As the result, the following conclusions have been gained. First, the constructive thinking pattern among the sub-factors of self-leadership had a positive influence on the flexibility of preferred varieties which is a sub-factor of cognitive flexibility. However, the behavior-oriented and natural reward self-leadership did not have influence on the diversity preferred flexibility. Second, the natural reward and constructive thinking pattern among the sub-factors of self-leadership have positive influence on the flexibility of preferred complexity which is a sub-factor of cognitive flexibility while the constructive thinking pattern flexibility was shown as exercising a very powerful influence. But the behavior-oriented self-leadership did not have influence on the flexibility of preferred complexity.

• Physical Therapy Korea
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• v.14 no.3
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• pp.41-47
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• 2007

Dance movements consist of combinations of movements such as jumping, rotation, maintaining balance, leg lifts, and plantar flexion with toe shoes. Dance movements require great muscle strength of lower extremities as well as muscular endurance. The purposes of this study were to investigate correlation between the anthropometric variables and the peak torque in young female dancers and to identify variables that affect isokinetic peak torque. Twenty-six female dancers ($19.7{\pm}1.2$ years of age) performed concentric maximum force efforts on the knee extensors and flexors at $60^{\circ}/sec$ and $120^{\circ}/sec$, the ankle plantar flexors (PF) and dorsiflexors (DF) at $30^{\circ}/sec$ and $120^{\circ}/sec$. Antropometric variables such as age, height, weight, body mass index (BMI), thigh girth, calf girth and duration of dance training were measured. To identify antropometric variables related to muscle strength, Pearson correlations were computed and a stepwise multiple regression analysis was performed. Pearson correlation coefficients of Knee extensor at $60^{\circ}/sec$ and $120^{\circ}/sec$ revealed moderate positive associations with BMI and thigh girth. Pearson correlation coefficients of ankle PF revealed low-to-moderate positive associations with height. Ankle DF also revealed moderate positive associations with BMI and calf girth. The main predictor variables of knee extensor at 60/sec, were stepwise multiple regression, age, height, thigh and girth.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.147-162
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• 2011

The performance-art costume is a tool for expression that can dynamically display the intention of a production. The purpose of this study is to examine the whole costume for performance arts targeting musical works, to which were added such elements as music, dance, and drama, among performance arts in several genres. This study aims to consider how the symbol contained in the costume was intended to be expressed by inferring a change in performance costume and character as the stage costume. Accordingly, the following research problems were established in this study. First, Which role does the costume play in performance art? Second, into which types can the performance-art costume be classified depending on the kind of performance art? Third, what is the expressive method for the performance-art costume? To examine the types of performance-art costume, the acting costume, the singing costume, the dancing costume and the rhythmic performance costume were considered. As a result, the performance costume can be seen to have been designed through the effect of a change in color by lighting, through the differentiation of character caused by excessive decoration, through the differentiation in material for free movement, and through symbolic expression.

• Korean Journal of Applied Biomechanics
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• v.20 no.3
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• pp.293-301
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• 2010

The purpose of this study was to investigate the kinematic difference between skilled and less skilled group for the forward walk at dance sports rumba. Six female players(skilled group: 3, less skilled group: 3) were participated as the subjects. To obtain the three-dimensional location coordinates in the joints and segments, it shot with 100Hz/s using 8 video cameras. Step length, shoulder rotation angle, orientation angle and angular velocity of pelvis were analyzed for each trail. The skilled group showed a bigger movement than the less skilled group at the shoulder rotation angle and ROM. The skilled group showed a bigger movement than the less skilled group at the up/down obliquity and internal/external rotation movement for pelvis. And the skilled group showed a bigger movement than the less skilled group at Maximum angle (down obliquity) of P2 and Maximum angle (up obliquity) of P3 to pelvis ROM. The skilled group showed a faster angular velocity than the less skilled group at P2 (+ direction, posterior) of anterior & posterior tilt, P2 & P3 (- direction, up) of up & down obliquity, and P2 (+ direction, external) of internal & external rotation.

• Women's Health Nursing
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• v.12 no.4
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• pp.348-354
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• 2006

The purpose of this study was to examine the effects of an abdominal obesity management program on a woman's body composition and physiological indicators. A sample of 20 women who were 33 to 62 years old with abdominal obesity (greater than 80cm of waist circumference) participated in the program for 12 weeks. The program consisted of aerobic dance and yoga for one hour, twice a week. Their body composition was measured with BMI, body fat %, waist circumference, and waist/hip ratio. The physiological indicators were measured by systolic blood pressure, blood glucose, total cholesterol, and triglycerides before and after the program. The results showed that waist circumference, waist/hip ratio, and fasting blood glucose decreased significantly after the program. However, BMI, systolic blood pressure, and blood lipids did not change. An abdominal obesity management program with aerobic dance and yoga is partially effective in decreasing abdominal obesity. Further studies are required to replicate the study with a control group using an experimental design.

• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.243-244
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• 2012

본 연구는 교양무용교육에서 가장 중대한 과정으로 인식되고 있는 무용의 가치인식과 신체 움직임 의식변화에 초점을 두었다. 연구방법은 실제사례를 통한 연구자의 참여관찰과 참여자의 심층면담자료 검토, 자기보고서 분석을 제시하여 결과를 제시하였다. 첫째, 교양무용 수업참여를 통해 신체 움직임에 대한 인식변화가 나타났으며, 특히 내적요인으로 동기인식에서 뚜렷한 변화로 이어졌다. 둘째, 신체 움직임의 집중도가 높아질수록 자신감과 만족감에 영향을 미친다. 또한 학업에서 받는 스트레스를 해소할 수 있는 긍정적 효과를 느낀 것으로 나타났다.

• Korean Journal of Applied Biomechanics
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• v.24 no.4
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• pp.349-357
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• 2014

The purpose of this study was to examine the differences in the performance of dancing motions depending on the level of skill by investigating pulmonary functions, ground reaction force, and jerk cost. The subjects of this study were 12 professional dancers (career: 16 yrs) and 12 amateur dancers (career: 9 yrs) who had similar physical conditions. We selected four motion phases which included the diagonal line motion, the deep flexion motion, the breath motion, and the turn motion with one leg after a small step walking motion, with Goodguri Jangdan. In the experiment, 6 infrared cameras were installed in order to analyze the value of the jerk costs and the force plate form. Finally, we measured the pulmonary functions of the subjects. For data analysis, independent t-tests according to each event, were carried out in the data processing. According to the results of FVC % Predicted, the professional dancers showed greater lung capacities than the amateur dancers, indicating that the level of dancing skill influences lung capacity. Based on the result of the balance test, the professional dancers used more vertical power than did the amateur dancers when performing maximal flexion motion. The professional dancers used a propulsive force of pushing their body forward by keeping the center of body higher while the amateur dancers used a braking power by keeping their bodies backward. When performing medial-lateral movements, the amateur dancers were less stable than the professional dancers. There were no differences in values of jerk costs between the amateur dancers and the professional dancers.

• Journal of The Korean Society of Integrative Medicine
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• v.1 no.4
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• pp.37-47
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• 2013

PURPOSE : Club dance is one of the most popular cultures worldwide and is getting popular in Korea over time. However, club still has negative awareness in the country due to the media spreading only harmful aspects of club culture. At any rate, nowadays many young aged people can easily have chances to experience clubs so we tried to find out the bad effects caused by clubs. METHOD : We conducted a survey and the number of participants who agreed to participate in this survey was 500, including both men and women. There are a total of 50 questions in the questionnaire form used by this study and the questions were divided into three categories: general(18), psychologic-related(7), social-cultural(9), and physical-related(16) questions. Data collected for this study was analyzed via frequency analysis using SPSS. RESULT : In our survey, most students who had already experienced the club culture tend to go to club once or twice a month, and they answered that they would feel bored if they were nor able to do so. In terms of social life, most respondents said that they had lower efficiency in working and studying the next day after going to clubs because of fatigue. In physical aspect, club users use then pelvis and lower back a lot while dancing. The respondents answered that they experienced muscle soreness, a loss in weight, and changes in their body as a consequence of intense dancing. They complaint pain mostly in lower limbs, so we could find out the fact that legs were primarily used for the club dance. CONCLUSION : To sum up, the club culture in undergraduate students affects on their daily living and body, and also has good effects as well as bad ones. Therefore, we need to look at the club culture positively and to improve bad effects of club culture.

• The Korean Journal of Ecology
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• v.19 no.5
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• pp.477-486
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• 1996

The freshwater goby, Micropercops swinhonis ($G\"{u}nther$) was studied on the spawning behavior and egg develeopment at the two areas of Chollabukdo, Korea from March to May 1995. Egg mass attached to a layer under stones and the inner wall of waterplant, Cyperus. Spawning behavior was divided in to 1) premating stage: selecting spawning sites and formation of territory by male, 2) mating stage: enticement with zigzag-like dance and intermittant shaking of head by male and fertilization, 3) postmating stage: fanning, guarding and cleaning the nest by male. The eggs were transparent and spherical in shape, measuring $0.9\times1.4mm$ with yellowish yolk sac and many oil globules. Hatching began in about ten days after fertilization at water temperature $16~20^{\circ}C$. The newly hatched larvae were 3.8~4.0 mm in total length with 30 myomeres and their mouths and anuses were opened. Melanophores appeared at the air-bladder and the ventral side of caudal region.gion.

• Trans-
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• v.11
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• pp.65-95
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• 2021

Grotesque, which has often emerged as a breakthrough in Western art to protest rational and classical pure beauty, is often seen in modern art. Grotesque, along with the concept of pendulum, appears in infinitely expanded forms across cultures, arts, and society. In particular, transformed body images through deformatization and deformatization of the body are interpreted as strong rejections that seek to break away from formalized beauty. The main purpose of this study is how the body reproduced through body deformation, distortion, and bonding in Dimitris Papaioannou's work can be interpreted within the grotesque category. To this end, he examines the Grotesque discourse and modern meaning underlying the interpretation of the work and identifies how the fragmented and expanding body, which is currently actively discussed in the dance world, has an interaction with Grotesque. It selects , , , and , which are the main attributes of the grotesque, focus on conflicting familiarity, life, hatred, and beauty. Based on this, we would like to confirm that in contemporary dance, the reconstructed body reveals concealed things rather than expressing an unrealistic fictional world, and seeks new possibilities beyond boundaries as well as reconsider existing aesthetic views.