• (The) Research of the performance art and culture
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• no.33
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• pp.195-222
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• 2016

This study says that giving a life through the mixed power of motions which can not be fixed. It is a fundamental activity of the art of dance. In the fact, the art of dance is defined as the most instinctive and intuitive arts show that dance is a harmony of emotion on the body, thus, this view wants to discuss the relations between "sense and body". This view doesn't focus on the mere motions of dancing form, but characterizes dance as an art of another vitality through the mixture and combination of these motions. In other words, this study emphasizes that dance transcends time and space on stages, and that dance, as an expression of identity, is an art which shows a sense from inside of human. Therefore, when we want to understand the true meaning of the art of dance, we should attend what attributes of dance define it as an art and show its creative. This study, thus, seeing those attributes as the life-giving function of dance, aims to help understand the principle meaning of the art of dance that realizes creation as well as the attitudes of audience who appreciate the art of dance. And by doing so, this study contemplates how we should see the creative idea of choreography, forming sympathy and the art of dance.

• The Research Journal of the Costume Culture
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• v.26 no.4
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• pp.613-631
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• 2018

The purpose of this study is to collect and analyze costumes presented in international dance sports competitions, and summarize the features of Latin American dance costumes' design. As for research methods, standards of Latin American dance costume design were analyzed via a literature review on dance sports. The scope of the study extended for six years from 2010 to 2015 to include the, top three UK Latin American dance competitions. The results are as follows. First, the silhouette analysis determined that the X silhouette to the lead with, -145 costumes (78%), followed by the H silhouette at 25 (13%), and other at 16 (9%). Amongst those there were 174 one-piece dresses (94%). Furthermore, the analysis on colors of Latin American dance sports costumes revealed that, amongst the 186 costumes, 115 were without color (62%), Bl(black) is the most frequent with 37%, then Wh(white) with 21% and Gr(gray) with 4%. Costumes with colors, based on the six basic colors in the Munsell color system, are comprised most often of red with 12%, the followed by Y(yellow) at 10%, B(blue) at 8%, YR(yellow-red) at 4%, P(purple) at 2%, and G(green) at 2%. Thirdly, the cloth materials of Latin American dance costumes are recognized through image inspection. Among visually recognizable materials, beading materials are the most common with 104 costumes (60%). Shiny materials like mesh, chiffon, organza, lace and burn-out are in 36 costumes in total (19%). Other cloth materials included Luster materials and; non-sheen materials, which were in 46 costumes (25%).

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.153-159
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• 2020

Character dance not only improves the expressive power of ballet majors, dancer and choreographers but also breathes life into the performance. Character dance, which has comprehensive educational implications, was difficult to conduct research due to lack of materials and incompleteness in the field of ballet education. Even popular concepts were not established. In order to establish the meaning of the character dance, this research examined the history of character dance from the Middle Ages to the present and the meaning and the category were also schematized. Also, I tried to find out the direction of development. Character dance through systematic categories and meaning establishment can provide extended educational forms to infants and children as well as dance majors and non-majors. This research of character dance is expected to provide basic materials not only for the ballet education but also for the various educations. Lastly, the author of this research is expecting that detailed researches will be conducted in the future.

• Journal of Digital Convergence
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• v.16 no.11
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• pp.621-631
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• 2018

The purpose of this study is to grasp the research trends of domestic journals about dance expression ability. The thesis was selected from 36 articles selected from Korean Academic Information (KISS) provided by KERIS from 2001 to December, 2017 and articles related to dance expressions included in DBpia, Research methods, research subjects, and research themes. First, the research trends of the academic journals by year were on average 3 from 2004 to 2017. Second, the research method is mostly related to quantitative research methods. Third, research theme trends were dance expressiveness, body expression ability, and dance expressiveness. Fourth, the research subjects were dance students major, dance program, dance expression in order. In the future, it is necessary to confirm the research techniques and overcome the researches to overcome the research tendency based on questionnaire scales or statistical results.

• International Journal of Advanced Culture Technology
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• v.7 no.3
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• pp.111-115
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• 2019

A 5G is 20 times faster than 4G. It also has hyper-connectivity, low latency merit and boundless potentials for medical education, transportation, entertainment and so on. In accordance with this, it is time to quickly look over on the utilization plan for 5G and sensible media in dance field, deal with the issue and its utilization. First of all, this study will review potential of 5G and sensible media in dance and its development plan. It seems like dance is able to communicate in a three-dimensional way. Utilizing sensible media can contribute to inform people of dance, and increase fun and interest which will make three-dimensional mutual communication. Also, in 5G environment, one can select whatever one wants in his or her viewpoint when utilizing sensible media such as VR, AR, hologram and so on. Supposing in a case of dancers and judges, it is possible for them to hire their own style of dancers in their countries. So, both the dancer and the judges have the positive merits. Third, streaming is possible without any installation, buffering is reduced. At the same time high-definition of media is allowed. This allowed collaborated performance of celebrities in dance and it also increased concentration and engagement. Dance field should acknowledge 5G sensible media, look for systemic and detailed method and disseminate and spread professional training and performance. In dance, testing fast developing sensible media due to 5G network, produce systemic dance training environment with various try is required and an effort for the performance situations in which advanced 5G sensible media is used.

• Journal of Digital Convergence
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• v.19 no.2
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• pp.471-479
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• 2021

The purpose of this study is to find out what meanings would be brought to the old females' lives, who took part in the line dance as programs for senior's health. 6 the old females were selected. Research materials were gathered from in-depth interviews and observations by researcher. As a result of content analysis, the following conclusions were drawn. First, elderly's motives for participation in line dance were found to be solicitation of the surroundings, recovery and maintenance of health, and participation in pursuit of happiness. Second, the elderly's line dance experience was changed the perception of dance. Third, line dance improved interest and confidence in the body and appearance. Fourth, the line dance experience provides a space for making new friends. Fifth, the line dance experience improved a sense of accomplishment and immersion through dance. Sixth, the support and praise of the family increased self-esteem and improved overall life satisfaction and happiness.

• (The) Research of the performance art and culture
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• no.33
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• pp.303-328
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• 2016

This paper identifies the life of Kim Jung Hyun who was so called kisaeng, a beauty and entertainer in modern times and serves as the study considering what kinds of dances she played going through modern times and the significance works in Korea Dance illustrated guide bear in terms of dance history. Kim Jung Yun who was designated as an important intangible cultural asset for her Korean traditional narrative song in the northwestern provinces (Number twenty-nine. designated in 1971) devoted herself to Korean classical music area after having been designated as cultural asset and became a stranger in dance area. However, in Kisaeng call-office, she had been estimated to learn dancing under the great dancer, Lee Jang Sin, and make efforts on dance activity until the early 1960's. Her works derived from such learning and creation activity came to be part of Korea Dance Illustrated Guide. This study aimed at studying Kim Jung Yun in addition to her works who had not received attention so far but worked on positive lines and made a significant accomplishment in modern dance history in order to reveal her importance status in modern dance history.

• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.664-675
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• 2021

This study is to analyze the selection criteria for street dance institutes in the subjects of ordinary people and students majoring in street dance who select the institutes. Moreover, it aims to enhance the perception and values of street dance and to provide with the required data for the development of institutes that train street dance. To do so, a survey was conducted in the subjects of 300 street dance learners who went to the street dance institutes. Frequency analysis, reliability test, correlation analysis, and one-way analysis of variance (ANOVA) were performed using SPSS 18.0 Program with the collected data, and the results are as follows. In summary, training programs, services, and promotional environment were identified to be important criteria to select the street dance institutes by the learners while the low level of perception on the price was found.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.75-85
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• 2021

The purpose of this study is to examine the importance and satisfaction of users in the use and selection of a dance academy and contribute to methods for the activation of a dance academy based on basic information. A questionnaire survey was conducted with 213 users attending 12 dance academies in G Metropolitan City using the IPA statistical method. The following conclusions were drawn. The highest importance of a dance academy in IPA analysis was a professional teacher, followed by clean dance equipment, transit accessibility, dance academy fee, and a kind teacher. The highest satisfaction was a professional teacher, followed by various dance programs, teacher's choreography ability, a kind teacher, and transit accessibility. Based on the findings, dance academy users felt that the professionalism and kindness of teachers who directly teach them, academy fee, and equipment cleanliness associated with the age of COVID-19 were important. High satisfaction factors were teacher-related factors and transit accessibility. Therefore, it is considered that a professional and kind teacher and clean and hygienic environment will contribute to the activation of a dance academy.

• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.