• (The) Research of the performance art and culture
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• no.22
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• pp.185-221
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• 2011

This study overseas compatriots in the North during the propagation and development of dance patterns and was going to be based, people living outside of the dance culture as a group of overseas Koreans, especially dance culture of Koreans in Japan, China are interested in and thought about the necessity of the study. Issues discussed in the literature of research results, autonomous community of Koreans in Japan ethnic Koreans and Chinese dance culture dance Choi Seung-hee starting point common was, two ethnic groups, directly or indirectly from the Choi Seung-hee learn to dance or have received specialized training to work, compiled by Choi Seung-hee Korea on the basis of basic dance training was learning the dance. In addition, specialized training and dance training institutions in the North Koreans in Japan Social Dance Group for the system, such as dance training in a separate place where talented people through the exhaust, to act in a professional troupes have maintained a system. In contrast, Chinese ethnic Koreans in Yanbian Autonomous University and Central University for Nationalities in the dance departments are stationed there, the transfer from the Joseon dance dance by educating gifted talents have been dispose, South Korea and similar aspects of the dance education system can be seen. Dance work based training and the tendency of Koreans in Japan in terms of social practice and dance in the North of basic training as basic training and specialized training, and work to represent the North korea's famous dance folk dance performances have been transmitted intact. In China, however, ethnic Koreans Choi Seung-hee compiled by borough basis and the work of the North korean dance training or specialized training received directly from her, she founded the dance student of Choi Seung-hee developed basic techniques of Chinese ethnic dance and ethnic Koreans in China, while receiving only Sewonaga dance training system as a deal on exchanges with the North Korean dance dancing free dance culture for creation peppered ethnic Koreans in China was formed. When passed down to the time, Koreans in Japan since the 1960s, society began to visit Pyongyang in the 1970s, subjected to a direct transfer, and education and through the 1990s, the North Koreans in Japan by inviting dancers and dance directly to basic training by getting education bukhanchum As can be seen in the spectacular aspects will have to reproduce. However, ethnic Koreans in China in the 1950s in districts in Beijing, Pyongyang and received direct guidance from Choi Seung-hee, Dancers from the North after Pyongyang rather than direct guidance on the occasion of his visit to China Dance Troupe was affected. On the other hand Korean dance since the 1990s, starting with Ethnic Koreans in China only began to absorb a different dance culture has been created. The same nation, yet living in the region and to configure the ethnic groups, the configuration of the system and political system, according to the North Dancing transfer process and the development pattern similar, but each of the identities to ensure their own traits with a dance culture, the formation and develop the arrival of You can find out. In other words, Koreans in Japan and Federation of Koreans in Japan under the control of social forces of the dance culture by Acculturation variation of dance culture, dance culture of the borough ethnic Koreans in China Acculturation by the voluntary and free borrowers were able to gauge the changes in development.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.139-147
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• 2019

This study conducted bibliometric analysis on studies of Korean intangible cultural heritage dance in the Seoul area and it aimed to figure out the tendencies of that research. For this, a list of Korean intangible cultural heritage dance studies of 24 events was collected and analysis was conducted through the big data analysis solution of TEXTOM. Text mining was used as the method for analysis. Research results showed that first, most of the studies were conducted on the Bongsan Talchum and studies on teaching and learning methods were especially actively conducted. On the other hand, there were not many studies on Gut and the need for research vitalization in that area was confirmed. Second, in studies on Cheoyongmu events, the term'contemporary Cheoyongmu' was used frequently. This can be considered the use of meaningful terms with regard to intangible cultural heritage dance that has changed throughout history. At this, the vitalization of research that can reveal the typicality of dance is demanded from research of other events as well. Third, there was a notable amount of research that compared and analyzed dance styles with regard to the Munmyoilmu. This was seen as the result of discussions in the Korean dancing world regarding archetypal dance styles expanding into academic discussions. Therefore, it was revealed that academic discussions can connect to academic outcomes apart from whether the matter is right or wrong.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.193-202
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• 2019

This study focuses on what changes are required as to a curriculum of dance department in the university in the age of the 4th industrial revolution. By comparing and analyzing the curricula of dance department in the five universities in Seoul, five academic subjects as to curricula of dance department, which covers what to learn for dance education in the age of the 4th industrial revolution, are presented. First, dance integrative education, the integration of creativity and science education, can be referred to as a subject that stimulates ideas and creativity and raises artistic sensitivity based on STEAM. Second, the curriculum characterized by prediction of the future prospect through Big Data can be utilized well in dealing with dance performance, career path of dance-majoring people, and job creation by analyzing public opinion, evaluation, and feelings. Third, video education. Seeing the images as modern major media tends to occupy most of the expressive area of art, dance by dint of video enables existing dance work to be created as new form of art, expanding dance boundaries in academic and performing art viewpoint. Fourth, VR and AR are essential techniques in the era of smart media. Whether upcoming dance studies are in the form of performance or education or industry, for VR and AR to be digitally applied into every relevant field, keeping with the time, learning about VR and AR is indispensable. Last, the 4th industrial revolution and the curriculum of dance art are needed to foresee the changes in the 4th industrial revolution and to educate changes, development and seeking in dance curriculum.

• Journal of the Korean Applied Science and Technology
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• v.39 no.2
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• pp.261-270
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• 2022

This study was to analyze the related contents by securing 32 volumes of 8 types of physical education textbooks for grades 3, 4, 5, 6 that are being used in the school field for the revitalization of dance education. As a result, the 3rd grade expression area organized textbooks focusing on movement language and expression elements. For the 4th grade, most textbooks suggested gymnastics using balls, hoops, and ribbons. In the 5th grade, Ganggangsullae and Mask dance were suggested in relation to Korean folk dances, and Tinikling and Gustaf's skoal suggested in relation to foreign folk dances. had been In the case of 6th graders, the exploration of expression elements and the expression process were presented in relation to thematic expression, and the subject expression was made possible with a focus on creative gymnastics. Also, line dance among practical dances was presented in most textbooks. Despite the importance of the expression domain, field teachers at school are complaining of difficulties in teaching and learning due to various internal and external problems. The need for activation is raised in that the expression domain can exert effects in all cognitive, mental, and affective domains.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.367-372
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• 2021

The purpose of this study is to suggest that the movement expression activity of intellectually disabled people is effective in the learning process of LMA motion recognition based on Kinect sensor. We performed an ICT motion recognition games for intellectually disabled based on movement learning of LMA. The characteristics of the movement through Laban's LMA include the change of time in which movement occurs through the human body that recognizes space and the tension or relaxation of emotion expression. The design and implementation of the motion recognition model will be described, and the possibility of using the proposed motion recognition model is verified through a simple experiment. As a result of the experiment, 24 movement expression activities conducted through 10 learning sessions of 5 participants showed a concordance rate of 53.4% or more of the total average. Learning motion games that appear in response to changes in motion had a good effect on positive learning emotions. As a result of study, learning motion games that appear in response to changes in motion had a good effect on positive learning emotions

• Trans-
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• v.9
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• pp.37-66
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• 2020

Entering the 21st century, the flow of society and culture is emerging as a cultural phenomenon in which one experiences, enjoys, and experiences on one's own. This trend has emerged as community dance, which has been active since 2010. Community dances can be targeted by anyone and can be divided into children's, adult and senior citizens' dances depending on the characteristics and age of the group, allowing them to work in various age groups. It also refers to all kinds of dances for the happiness and self-achievement of everyone who can promote gender, race and religion health or meet the needs of expression and improve their physical strength at meetings by age group, from preschoolers to senior citizens. Community dance is a dance activity in which everyone takes advantage of their leisure time and voluntarily participates in joyous activities, making it expandable to lifelong education and social learning. It is a voluntary community gathering conducted by experts for the general public. The definition of community dance can be said to be the aggregate of physical activities that enrich an individual's daily life and enhance their social sense to create a bright society, while individuals achieve the goals of health promotion and aesthetic education. In the contemporary community dance, the dance experience in body and creativity as self-expression reflects the happiness perspective by exploring the positive psychological experience and influence of the participants in the process of participation, and participants have continued networking through online offline to enjoy the dance culture. Although research has been conducted in various fields for 10 years since the boom in community dance began, the actual methodology of the program has been insufficient to present the Feldenkrais Method, hoping that it will be used as a methodology necessary for local community dance, and will be used as part of the educational effects and choreography creation methods of artists that can improve the physical functional aspects of dance and give a sense of psychological stability.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1999.03a
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• pp.3-6
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• 1999

The study was performed to evaluate the sense of equilibrium by means of rotary chair system in middle school girls with dance learning. Control of equilibrium, which is the most important function in dancing, is maintained by vestibular, visual, and proprioceptive inputs. Experimental groups were divided into trained group with dance (experimental group, 13~14 ys, n=15) and untrained group (control group, 13~14 ys, n=15). experimental group was trained by programmed dancing for 12 weeks, 45 min/day and 5 day/week. Gain of eye movement was measured for vestibulocular reflex (VOR), visual vestibular stimulation (VVOR), optokinetic stimulation(OKN), and visual fixation (VFX). The gain of eye movement at higher than 0.08 hz was significant decrease in experimental group, and VVOR showed the similar fashion to VOR. The gain in OKN and VFX was not significant difference between experimental and control groups. These results suggest that programmed training of dancing improves control of balance by adaptation of the vestibular function, and rotary chair system would be useful to evaluate the sense of equilibrium ability.

• Journal of Korea Society of Industrial Information Systems
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• v.7 no.2
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• pp.40-45
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• 2002

In this paper, we design and implement an agent-based mask dance guidance system which provides multimedia information on traditional masques through WWW. When the server receives a query from the client, it produces the multimedia data by connecting several real full-motion videos, and synthesizing adequate voice data for guiding announcement. To develop an agent-based guidance system, we designed and implemented four agents such as interface agent, user modeling agent coordinator agent and data management agent. The mask dance guidance system also provides the functions of searching using the keyword and learning.

• Journal of the Korean Society of Costume
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• v.45
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• pp.133-146
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• 1999

Because adolescents are much inflicted with the sense of obsession in endless competition with their feers the costume of the pop singers relieving this agony and anxiety is becoming the object of immitation more than that of any oother entertainer. In this perspective it was thought that it was very necessary to attempt to investigate what relationship sense of mental anxiety the costume singers recently have worn had with adolescents sense of anxiety. The anxiety questionnaire used by Chu Young-sook and Kim Jung-hui and the questionnaire drawn up as the result- of the pilot-test and the pre-test were used and the questionnaires drawn up by a total of 228 middle schoolgirls in seoul were used a sfinal data of annalysis. Of them the anxiety questionnaire was made up of 8 sub-scales such as classic·social·morbid·learning examination·school record·poverty·war and other to anxieties. in order to survey the overall content concerning the costume of the singers preferred by teenagers the other questionnaire presented three vaiables such as musicality fashionability and dance as the distinct characteristics of singers and hiphop style tidy style and sexy style of clothing as the style of clothing preferred of singers' clothing. The importance fashionability and imitability of clothing were investigated as variables in relation to singers' clothing behavior. The SPSS PC+ program was used as the analytic method of data which were tested by the frequency analysis Duncan's multiple anaylsis of variance t-test and so on. As a result of investigation middle schoolgirls having a high level of learning and examinatior anxieties preferred the singers excellent in musicality while middle schoolgirls having a lower level of classic anxiety preferred the singers excellent in fashionability and dance wearing the hiphop style of clothing. And it was shown that middle schoolgirls having a lower level of classic anxiety preferred the singers wearing the clothing of sexy style. In the light of these results it was shown that there was the correlation between anxiety and clothing preference. Accordingly it is thought that the purpose of this study was achieved to some exent.

• Journal of Contemporary Eastern Asia
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• v.17 no.1
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• pp.94-111
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• 2018

This study examines Korea's international development volunteer program as a citizen diplomacy initiative. Informed by a cultural perspective of transmission and relational models of public diplomacy, I examine the ways in which volunteer training incorporates cultural-learning into its program. The study finds that volunteer training is largely based on an instrumentalist approach to culture that places emphasis on learning the "explicit" side of culture, such as Korean traditional dance, art, and food as a strategy to promote the country's national image. In contrast, much less covered in the training program is a relational approach to culture-learning that is guided by a reflexive understanding of the "implicit" side of culture, or the values and beliefs that guide the worldviews and behavior of both volunteers and host constituents. Whereas the value of the volunteer program as a citizen diplomacy initiative is in its potential to build relationships based on two-way engagement, its conception of culture is mostly guided by that of the transmission model of public diplomacy. Based on the findings, this study calls for an integrated approach to culture-learning in volunteer training program to move the citizen diplomacy initiative forward.