• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.263-264
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• 2019

이 연구는 대학 무용전공자를 위한 역량기반 교육과정의 중요도 및 우선순위를 도출하는 것을 목적으로 한다. 이 연구에서는 창의융합형 인재를 요구하는 시대적 요청을 반영하여, 무용전공자들의 미래사회 대비 핵심역량 함양을 목적으로 하는 진로개발과 교과영역의 개선 방안을 제시하고자 하였다. 이에 이 연구는 무용전공자들이 사회의 다양한 영역에서 도전하고 역량을 발휘할 수 있도록 하는 대학 교육의 체질개선을 위한 기초연구로서의 의의를 갖는다.

• 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.

• Convergence Security Journal
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• v.8 no.3
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• pp.93-99
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• 2008

The main aim of this study is to develope the 'Heung' archive related with Chelonian Hung Ta Rung. Hung archive helps to revitalization of festival 'Hung Ta Rung' and Hung archive is the alleviation for development of contents to record, to maintain, to popularization of dance for displaying in museum. Therefore, this paper develope ways to deploy systematically Hung archive to cope with the needs of integration of various types of dance.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.683-694
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• 2018

The purpose of this study was to investigate the effect of low intensity combined kinesitherapy on type 2 diabetes mellitus and to compare the effects of exercise and methodology aspects, the difference in the post - test scores between fasting glucose and blood lipids in the control group (exercise group) and the control group (exercise group) that prescribed the dance - exercise and low intensity combined exercise for the elderly diabetic patients for 12 weeks sample t-test. the main results of the study are summarized as follows. first, fasting blood sugar showed difference in pre - post - difference of group compared to control group. second, the total cholesterol was found to have a statistically significant difference in the experimental group from pre - post - difference. third, the neutral region showed no statistically significant differences in both experimental and comparator groupsfrom pre - post - difference. fourth, high-density lipoprotein cholesterol levels showed no statistically significant difference in both experimental and comparator groups from pre - post - difference. fifth, low density lipoprotein cholesterol showed statistically significant difference in the experimental group from pre - post - difference group. in conclusion, this study is significant in that the combined effects of dance - motion activities and low intensity combined exercise for elderly with type 2 diabetes were quantitatively proved by using physiological index who had not been treated previously.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.767-773
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• 2021

This thesis is a study on the rhythm of the funeri dance among the East Coast Guts. The jangdans used in the East Coast Gut are used for dance, samurai, and play scenes. In addition, it is a means for the shaman to perform the gut smoothly, and it also includes a role to represent humans and gods. In particular, the funeri jangdan has been performed in the preparatory stage before worshiping the god, prior to the ceremony of worshiping the god. Therefore, it can be said that it is a meaningful jangdan with a procedure for preparing to welcome the god and performing rituals and bows. In fact, if you are constrained by time while performing a gut, long jangdans respond with fast jangdans and sing samurai. On the other hand, the funeri jangdan is played without omission without any special measures. However, there are cases where one of Chapter 1 or Chapter 2 is omitted for circumstances, or only Chapter 3 is played. In other words, the verse of chapter 3 must be played. Judging from this aspect, it can be confirmed that the functional and ceremonial part of this jangdan is important to the progress of the funery jangdan. Therefore, if the position and function of the jangdan are recognized and the work is created through this study, its artistry and tradition will be further developed, and it is thought that it can be a stepping stone to increase the value of traditional art.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.425-434
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• 2021

This study is subjected to two linked research. First is the creation process of dance work applying noise and non-musical sounds in our daily life based on understanding the classification, perception, and factor of the sound, through Murray Schafer's concept of 'soundscape'. Second is to find the value of new type of choreography and musical effect of creation process of the dance work . According to methodological research of practice-based research, three stages which is practice, theory and evaluation were accumulated as somatic data, And the analysis was provided a basis by presenting in a figuration, form of the movement and method of specialization with reference to the paper 『space design and forming practice』(2003). As a result, the creation process was able to discover the musical effect of the sound in daily life and new method of choreography, and also find the possibilities that sound could convey the theme of the dance work, the meaning of the movement and the overall atmosphere of the work to audience. In addition, It is expected that will have been made another new creation environment by potential that music has based on concept 'soundscape'.

• (The) Research of the performance art and culture
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• no.38
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• pp.349-383
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• 2019

This discussion is focused on Donghaeanbyulsingut's 'gutchum-pan to pray'. 'Gutchum-pan to pray' is repeated in almost all of the geori in Byulsingut, so it is a crucial chum-pan that can never be disregarded in understanding Byulsingutchum. Meanwhile, it supposes that Donghaeanbyulsingut is grounded on the activity of producing 'praying (words) and dance (motions)' within its relationship with the structure of capitalistic society along with the context of traditional rituals. The motion that is newly generated as a response to the concrete expression of 'praying' conducted by a mudang (a shaman), that is, the expression coming from the inside associated with the praying is seen as gutchum. This dance is bound to be in competition and interest among shaman groups, and they tend to influence one another. If praying leads to dance, a mudang can gain profits from capital as well as the value of labor. When the mudang succeeds in forming a bigger bond of sympathy with her praying, the object of praying gets more eager to select byulbi and dances a heoteunchum (impromptu dance) more vigorously. This means that a mudang's ability to perform a ritual is associated with the object of praying's consumption. With his impromptu motions, the object of praying comes to go into 'the field of consumption' within the structure of capitalistic competition before he is aware of it. Behind the communication that praying leads to dance, a lot of things are associated with one another organically. 'Gutchum-pan to pray' is generated by the continuous movement of diversity and unity that the time has within the ritual of the mudang and the object of praying. It continues to create the future 'self' that is different from the present 'self', and it means that he expects variability from the present 'self' through 'gutchum-pan to pray'. The mudang also prays for him arranging the variability of the other (the object of praying) inside her labor. In a big picture, of course, the mudang expects the variability of herself, too, which is connected to the value of her labor. The variability that they expect forms a crucial axis that determines where the flow of time and space that the 'gutchum-pan to pray' has is directed to. The contents of praying are directly related with the villagers' lives, and what leads to dance is mostly related with their jobs. This implies that what the mudang experiences in her everyday consuming activity is directly associated with the villagers' activity for earning money. In other words, the contents of that praying change constantly according to the flow of capitalistic economy. Also, those striving to respond to it before anyone else also expect better life for them by substituting their self to the 'gutchum-pan to pray' eagerly. If so, who are the ones that generate 'gutchum-pan to pray'? This can be understood through relationship among mudangs, relationship between the mudang and villagers, and also relationship among villagers. Their relationships can never be free from the concepts like labor in capitalistic society, consumption and expenditure, or time; therefore, they come to compete with the other, the present self, or the better self within the diverse relationships. This gets to be expressed in any ways, words or motions. And the range that covers the creation of either group or individual 'gutchum-pan to pray' in the village is the village community. Outside the range, it is upsized to the competition of the village unit, so individual praying may become diminished more easily. Although mudangs pray in each geori, it does not mean all praying leads to dance. Within various relationships between mudangs and villagers, 'gutchum-pan to pray' comes to be generated, repeated, and extinct. As it is mitigated to more positive competition, it does not lead to gutchum any longer. In other words, repeating 'gutchum-pan to pray' previously created has turned the object of praying into the state different from the former. Also, the two groups both have experienced the last step of Byulsingut, and at that point, praying does no longer lead to dance. In other words, from the position of the shaman group, it is the finish of their labor time and ritual performance, and from the perspective of the villagers, it means the finish of consuming activity and participation in a ritual. The characteristics of 'gutchum-pan to pray' can be summarized as follows. First, it goes through the following process: competition in the village group → competition in the group → competition among individuals. Second, repeated praying does not lead to 'gutchum'. Third, in the cases of praying for each of the occupation groups, the mudang can induce a bond of sympathy from the objects of praying directly, and this lead to dance. Fourth, the group that fails in being included in the category of praying gets to be alienated from 'gutchum-pan to pray' repeatedly.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.12
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• pp.242-247
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• 2017

The foster care system is a social welfare service that supplements the functions of the family while enabling children, who cannot receive proper care from their biological parents, to receive the necessary protection under the plan within the prescribed period of time within a substitute or foster family. A large part of the emotional instability experienced by foster care children is interpersonal maladjustment. Low self-esteem leads to difficulty in forming social relationships due to negative interpersonal relationships. Thus, the purpose of this study is to investigate the effects of traditional dance programs on the foster children who live in Daejeon Metropolitan City. A comparison between the pre- and post-interpersonal scores showed that the scores were improved after the traditional dance program, and the children's intimacy formation and communication were also improved. The participants were less active at the beginning of the program, but became more interested and more active toward the middle of the program. The majority of the participants increased their degree of communication with the formation of intimacy toward the middle of the program, and their self-confidence improved in terms of their peer relationships. The purpose of this study was to investigate the effects of traditional dancing on the development of interpersonal relationships. In a subsequent study, a traditional dancing program consisting of various contents will be applied over a long period of time, which should provide them with the opportunity to improve their interpersonal skills. In addition, it is necessary to provide educational opportunities for helping foster children reduce their emotional instability with systemic and diverse traditional dance programs.

• 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 Contents Association Conference
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• 2016.05a
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• pp.335-336
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• 2016

본 연구는 현재 국내에서 문화시설로 활용 가능한 여가를 위한 바데 풀(Bade Pool)시설에 적합한 무용콘텐츠 활용가능성에 관한 것이다. 이에 따라 먼저 바데풀에 대해 알아보고, 국내 시설 현황, 해외사례, 그리고 무용콘텐츠 활용방안에 대해 다루었다. 국내에서 바데 풀은 정적 보양시설로 매뉴얼에 맞추어 기능에 초점을 맞추어 한정적으로 사용되고 있다. 가가움직임언어(Gaga Movement Lanquage), 에릭 프랭클린(Eric Franklin)의 무용심상훈련, 그리고 발레를 제시하였다. 바데풀에서의 가벼운 움직임을 동반한 프로그램을 제공한다면 신체적, 정서적으로도 다양한 체험을 제공할 수 있을 것으로 사료된다. 관리가 까다로운 기반 시설의 효율적인 운영을 위한 연구가 지속된다면 기반시설의 폐기로 인한 경제적 손실을 절감할 수 있다.