• (The) Research of the performance art and culture
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• no.38
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• pp.71-109
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• 2019

In this study, succession aspects of direction structure and dancing were reviewed in Moondoong drum dance succeeded by Yong Bae Cho of Goseong Ogwangdae. Sung Rak Hong who succeeded to Moondoong drum dance before Yong Bae Cho directed only 'drum dance' mainly with Goodguri rhythm. While Sung Rak Hong succeeded, the drum of Moondoong Gwangdae became smaller, which was changed from drum before 1965, to semi-drum in 1966 and tabor in 1967 and thereafter. Yong Bae Cho succeeded to Moondoong drum dance since 1970, adding 'Moondoong dance' directing tabor at the floor together with 'drum dance' before August 1972 and directing Dutbaegi rhythm. From the first succession of Goseong Ogwangdae since the winter in 1974, obscene movements were disappeared, and the setting with Yangban and contents to sublimate resentment were added in Moondoong drum dance. These changes seemed to be affected by succession format of Tongyoung Ogwangdae Moondoong drum dance and Ok Jin Gong's idiot dance. There are succession patterns when reviewing Moondoong drum dance directed by Yong Bae Cho. In case of 'Moondoong' dance, repeated forms were succeeded including 'fixed dance'->'impromptu dance'->'jump' in center of three fixed dances. In case of 'drum dance,' repeated forms were succeeded including 'fixed dance'->'rolling tabor'->'concluding' -> 'impromptu dance'->'jump' in center of four fixed dances. In 'drum dance' by Yong Bae Cho, many parts of succeeded dance by Sung Rak Hong who was a prior successor were remained. After Yong Bae Cho's death, Jong Bok Heo summarized the dance with more completed order focusing on the structure of Moondoong drum dance succeeded by Yong Bae Cho. Since then, multiple scenes were added continuously including hobbled appearance by Jong Won Heo, happy scene eating barley and scene to catch tabor stick difficultly, by Chang Ryol Heo. Yong Bae Cho added 'Moondoong dance' to the prior works only with 'drum dance' and started adding the story with resentment. The direction structure summarized by Yong Bae Cho became the basic framework in which the following directors added the scenes very easily. Like this, Yong Bae Cho was an excellent director of Goseong Ogwangdae who inherited Moondoong drum dance from the previous generation to establish and develop to hand over the next generations.

• The Journal of the Korea Contents Association
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• v.19 no.4
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• pp.490-501
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• 2019

This study is aimed at researching Gyobang Dance performed by gisaeng of Gyobang in the banquet of Tonshinsa in Yeongnam Jwa-do Province. For this study, Hae-haeng-chong-che, a collection of 28 travel essays written by Joseon Tonshinsa after visiting Japan, and a collection of literary works were analyzed. Joseon Tonshinsa used Yeongnam Jwa-do Province as a route to Japan in obedience to a royal command, and Yeongnam U-do Province as a way back to Hanyang after completing their missions. The country gave a huge banquet to relieve Tonshinsa's anxiety about the voyage and to pray for a safe trip. The banquets were concentrated in Yeongnam Jwa-do Province, the way down to Busan departing from Hanyang. Looking into Tonshinsa's records, it can be seen that Tonshinsa banquets took place in Andong, Yeongcheon, Gyeongju, Milyang, and Busan. Gyobang Dance performed at Tonshinsa banquets includes Geommu, Hwangchangmu, Cheoyongmu, Cheondo, Mudong, Ipchum, and Jungchum. Through Tonshinsa envoy, 'Jeseon Tonshinsa-gil' was formed in Yeongnam Jwa-do Province, and through Tonshinsa banquets, the artistry of Gyobang Dance was compiled. Nevertheless, present Yeongnam Jwa-do Province has remarkably less Gyobang Dance passed down in comparison to Yeongnam U-do Province. For this reason, there is a need to look into Gyobang Dance of Yeongnam Jwa-do Province. The purpose of this study is to closely examine the cultural and artistic characteristics of Gyobang Dance performed at Tonshinsa banquets in Yeongnam Jwa-do Province formed through Joseon Tonshinsa-gil.

• (The) Research of the performance art and culture
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• no.41
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• pp.157-186
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• 2020

It illuminates the representation of Korean dance in the sense of color. The unique color and light of Korean dance reflects the essence of Korean art and the consciousness of Koreans. Therefore, analyzing Korean art, colors and meanings can provide the principle of aesthetic interpretation to re-examine Korean colors. This means that it is necessary to pay attention to the possibility of developing original contents as a humanistic basis, asking the origin of Korean art. The Korean thought and philosophy in which color and life become cultures remain the roots for another re-creating vision of Korean art. Therefore, it is time to establish a system of Korean identity as an art with the expansion of various interpretations of various aesthetic attitudes that recognize Korean dance.

• International Journal of Advanced Culture Technology
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• v.5 no.1
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• pp.40-50
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• 2017

Taepyungmu is a performing art that can be called the most skillful dance among Korean dances. It expresses the meaning of honoring the peace and peacefulness of the country in dance. The construction of 3D stereoscopic digital contents for Taepyungmu is in a series of processes such as 3D recording of intangible cultural properties and implementation of hologram contents. The purpose is to try various possibilities through various technologies and methods, to establish a technical basis of the preservation paradigm change of intangible cultural properties and to present a leading direction to realize real digital cultural properties.

• Journal of the Korean Applied Science and Technology
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• v.39 no.2
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• pp.246-260
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• 2022

This study was conducted to analyze the creativity education contents of dance activities in physical education textbooks for the 3rd and 4th grades of elementary school. For this purpose, 16 types of textbooks and auxiliary data for physical education in the 3rd and 4th grades of elementary school were collected and analyzed using the creative education content analysis frame of the physical education textbook based on the 4P model. In order to secure the integrity of the research, expert consultation was operated. The results of this study are as follows. First, from the viewpoint of creative person, 'inquiry' was the most common in creative mind, and the rest of the elements appeared relatively evenly. As for the subject of activity, 'individual' and 'colleague (team)' showed similar frequencies. Second, from the viewpoint of the creative process, all activity areas appeared as 'learning', and most of the elements of the activity purpose appeared evenly, and the creative process was explored. Third, from the viewpoint of creative output, physical activity performance was the most common activity method, and two or three activity methods were used together. In the creativity factor, all factors appeared evenly, and sensitivity and sophistication were the most common with 4 factors. Fourth, from the viewpoint of the creative environment, most of the activity spaces were no restrictions, and the activity media consisted of many educational contents using the body. Through this study, it was requested that creativity education in dance activities should be expanded quantitatively and intensified in quality, and the necessity of spreading creativity education contents of dance activities to other areas was explored.

• Journal of Digital Convergence
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• v.18 no.11
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• pp.527-538
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• 2020

This research measures the urgency and importance listening to experts' opinions as a proposal for vitalization of folk modern dance groups. Firstly, the open type FGI(Focus Group Interview) was implemented for five groups of an expert by applying the new industry foster theory, and total 24 types of second questionnaire were developed through importantly referred or repeated contents. They were distributed to 20 people including a dance group representative, a planner, a university professor and etc to measure experts' importance and urgency. In the research result, For big list, Financial aid for both importance and urgency appear first, and for comparative analysis of importance and urgency for small list, differences in infrastructure construction are shown. "expansion of dance program's advertisement channels" and "rank 1" appeared in "Secure space for dancers". Suggestions for analyzing such results are as follows. It is shown that "detailed financial aid for the operation of dance groups" and etc in the aspect of financial aid, "the employment of professional human resources including design and producing etc" in that of performance and education related production development, "training a dancer who can assimilate a complex genre" in that of manpower training, "arrangement of exclusive space for a dance group" in that of infrastructure building, and "the employment of professional human resources including design and producing etc" in that of consulting support are important and urgent matters considered by experts.

• The Journal of the Korea Contents Association
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• v.10 no.8
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• pp.407-416
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• 2010

The purpose of this study was to examine the relationship among women's leisure dance participation, physical image and self-esteem. The subjects in this study were 300 female adults who were selected by cluster sampling from the population that consisted of women who were in their 20s to 50s. In the population, some women got leisure dance at fitness clubs, sport lovers' clubs and dance academies in Seoul and Gyeoggn Province as of 2009, and the others didn't. As for the reliability of the questionnaires used in the study, the Cronbach alpha coefficient of the questionnaires was above .70. The major statistical methods utilized in this study were Frequencies, reliability factor analysis, analysis covariate, regression analysis and path analysis. The findings of the study were as follows: First, the women who got leisuer dance evaluated their own physical image and self-esteem more favorably than the others who didn't. Second, the length of participation affected the body shape, satisfaction level and flexibility, and the intensity of participation impacted on the body shape and muscular power. Third, the length of participation had an impact on self-esteem, and the frequency of participation exerted a negative influence on that. Fourth, the degree of participation had a causal impact on physical image and self-esteem. In other words, the degree of getting leisure dance affected self-esteem in a firsthand manner and exerted a secondhand influence on that through physical image as well. The findings of the study suggested that physical image was one of major parameters to link participation in rhythmic exercise and self-esteem.

• Cross-Cultural Studies
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• v.39
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• pp.97-125
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• 2015

Significance of the R16 Korea Contest as Culture Contents. Known for relentless practice and intense moves, widespread presence on the Internet, strong ethnic elements highlighting Korean physical attributes and collective culture, b-boying occupies a special place in Korea today. News of four consecutive wins in major b-boy contests around the world have changed the common public conception that b-boys are simply a group of problem boys and students in hip-hop clothes intent on showing off their dance moves. B-boying is no longer perceived as a dance that is performed in the shadowy underground but as a dynamic and beautiful art form of physical expression that is part of today's popular culture. This paper examines the significance of R-16 Korea as culture contents and its main event, the World B-boy Masters Championship. It introduces how the contest has developed since 2007 to reach popular influence and gain international recognition. The paper also compares R-16 Korea to the world's four major b-boy contests, Battle Of The Year, UK B-boy Championship, Free Style Session, and Red Bull BC One to see if any distinctions could be found among them and to evaluate the significance of R-16 Korea as cultural content in its rise to one of the world's top 5 major b-boy contests. Finally, this study makes suggestions for b-boying to become more established as part of Korea's culture contents.

• Trans-
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• v.2
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• pp.1-38
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• 2017

Dance, as an art which expresses thoughts and emotions by movement human, is included in work that its copyright has to be protected, choreographers who are creators and dancers who are performing can exercise their rights included in copyright laws. However, artists who work in the dancing scene have lack of awareness about copyrights and the application level is low. The purpose of this thesis is to look into the current status and issues about dance copyright and to discuss activation plans and effectiveness plans for dance copyrights. The main point is to check into the level of awareness for dance copyrights with choreographers, dancers and students majoring in dance who are in charge of the art of dancing, to present issues about the necessity of the dance copyrights protection plans by analyzing interviews-in-depth and to prepare the dance copyrights protection plans which are concretely realistic. For the research methods, first, I looked into ideas and contents about copyrights through a document research and then, wanted to prepare theoretical background by reviewing actual cases of performing art copyrights related to dance. Next, I carried out surveys about awareness of copyrights with students majoring in dance, choreographers and dancers then carried out analysis of actual proof. Also, I chose three famous dancers who are actively performing in the current dancing scene and did interviews-in-depth about dance copyrights then carried out a recording analysis. I tried to complement the analysis by discussing deeper which I couldn't deal with in the previous surveys and to contemplate awareness activation of dance copyrights and plans. As a result of the research, the level of the awareness about dance copyrights through age, major, education and career was very low. The level of awareness was almost same compared to the previous research 10 years ago. 'Music', which can be an element of copyright issue in dance, was the highest in rate, and dance was recognized as an art which is combined with various elements as a combination work. The way of protection for works of choreography and performance only used data preservation and contracts and didn't register copyrights or record in dace notation. Majority of responders answered that they couldn't have any education about copyrights while they were recognizing the necessity of education and management for copyrights. The analysis of interviews-in-depth was also matched to the result of the previous surveys and a deeper discussion about the status of dance copyrights and issues was carried out. The plans of effectiveness for dance copyrights through the result of previous research are as followings. First, an advanced education is necessary above all to increase the awareness and application of copyrights in dancing scene. Long-term education like study curriculums and short-term education like special courses and seminars should be combined, and education about copyrights for dance groups, choreographers, dancers and students majoring in dance should keep on going. Second, revision of performing art works is necessary for the activation of dance copyrights, and establishing a dance copyright association to manage copyrights systematically and training dance copyright experts are necessary as well. Third, as the way of copyright protection for choreographers and dancers, an establishment for relation gain and loss about copyrights is necessary when creating dance works and performing, and registration of dance works should be activated. Also, the dancing scene should sign contracts for choreography and performance and this contract culture should be activated, and it should systematically preserve and manage choreography and performance records through basic ways. Hereby, it is considered to prepare a foundation to foster the awareness of dance copyrights and activate dance copyrights.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.321-322
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• 2014

원작이 뮤지컬 "노트르담 드 파리"로 변환되면서 관객에게 효과적으로 소구하기 위해 어떤 무대화(Mise en sc$\grave{e}$ne) 과정을 거치는지 관심을 집중해보도록 하겠다.