• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.111-122
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• 2019

The advent of the Fourth Industrial Revolution provides new civilized convenience, while the humanistic ecological environment is at stake. Therefore, looking at our culture and arts ecological foundations is ultimately for the preparation of a rich life for the future. Therefore, establishing a desirable cultural ecosystem begins with an enduring tradition of traditional art.This study examined the dancing characteristics of gabbigochanong-ag, which maintains the nongsapul-inong-ag performance pattern. Two field studies and image analysis studies showed that gabbigochanong-ag maintained the characteristics of traditional nong-ag, which strengthened the solidarity and cooperation of village community members and shared community identity. gabbigochanong-ag encourages the participation of the members of the village community through mechanistic dance movements based on soundness, imitative dance movements with minimal movement, repetitive dance movements, and communicative dance movements, As a result of the change, the members of the group were attracted to each other. Although gabbigochanong-ag was not sophisticated or sophisticated, it had a dancing structure that could create aesthetics and marginal aesthetics of slowness from the swiftness and convenience of civilization and bring harmony among the members of the community with warm emotion.

• Research in Community and Public Health Nursing
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• v.20 no.4
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• pp.403-411
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• 2009

Purpose: The purpose of this study is to explore the effects of a group movement exercise program on psychophysiological variables in the institutionalized elderly. Methods: This research adopted the non-equivalent control group pretest-posttest design. Twenty elders were selected as an experimental group, whereas twenty-two elders were as a control group. The group movement program consisted of 35 minutes of dance and three days a week for eight weeks. Resting systolic blood pressure, diastolic blood pressure and heart rate were measured in a relaxed sitting position. The range of flexion and extension of joint was measured with a gonimeter. Life satisfaction and self-efficacy were measured by self-report. Data were analyzed through $x^2$-test, t-test and ANCOVA using SPSS/WIN program. Results: The results were as follows: Resting systolic blood pressure, diastolic blood pressure and resting heart rate decreased significantly by the group movement training. The range of flexion and extension of the shoulder and hip joints increased significantly. The scores of life satisfaction and self-efficacy increased remarkably by the group movement. Conclusion: The results suggest that group movement training can be an effective intervention to improve psychophysiological variables and the range of motion for the institutionalized elderly.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.49-60
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• 2002

This study is to study the peculiar world of work that endeavored the stage setting and costume production in Ballet-russe centered around one of 20th representative artist Pablo Picasso and Diaghilev. Picasso worked four pieces ballets such as parade, Le Tricorne, Puchnella, and Le train bleu with Diaghilev. The originality of costume was well represented without losing the whole work's sense of unity. and designed foreasy movement as well as visual effect. As cubic is most common in parade especially, cubic stave costume were introduced at dancing costume of Paris manager and New York manager flrst time in Ballet's history. Picasso used the Cubism for dancer's beautiful appearance and primary color and decoration for oriental feeling. Picasso pursued the beauty and action at the same tome, and tried to represent the stage setting, impersonation and costume towards units, so the Importance of his work has still been referring.

• (The) Research of the performance art and culture
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• no.41
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• pp.285-320
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• 2020

This study aims to examine the processes of changes of the two main roles, Sangjwa(the young Buddist monk) chum and Omjung(the monk with a boil on his face) chum, performed in Yangju Byeolsandae Nori, on the basis of Chumsawi (dance-movement). Above all, having studied many artistic remains performed by Jo jong sun, Jung han gyu, Park jun seup, Kim sung tae from 1929 to 1942, two main roles, in which Geodeureum chum is now an essential part in almost all performances, were then played only in Kkaekki chum to Taryong Jangdan without performances of Geodeureum chum. In case of Sangjwa chum, players had performed ad libitum and without restraint only on the basis of five sorts of Kkaekki chum's movements. In Omjung chum, witty remarks along with the drama had become more important factors than dances. Let alone two main roles, other parts then also showed no big changes in dance performance. Performers just tried to maintain its slender existence within stifling atmosphere because of oppressions and restraints during the Japanese imperialism. After the restoration of independence in 1945, Kim sung tae and his disciples made a great effort on the restoration of Talnori. During the Korean war, many players also endeavored to keep a good track of Talnori, teaching and training their young followers. Especially performers such as Park jun seup, Park sang hwan, Kim sung tae, and Lee jang sun put much more efforts on restoring Talnori. From that time, Geodeureum chum began to appear in two main roles' performances. In Sangjwa's performances, Byeogsa ritual dance, which was performed to Taryong Jangdan, changed into performances to Yeombul Jangdan, and Kkaekki chum -originally slow and ritual dance, became very fast and active one. Geodeureum chum, called Yongteulim, was added in Omjung chum, so that dance had more important role in performance. Even at this time, dance movements were not clearly and completely organized and arranged, because Geodeureum chum's performance was not clearly defined as orderly dance movements but was regarded as just a movement. After Geodeureum chum being designated as a cultural treasure, Lee byeong kwon took over the task from Park sang hwan, Sangjwa chum's performer, so Geodeureum chum became much more well organzied, arranged and orderly. Geodeureum chum played by Sangjwa had almost the same order of scenes and movements as Geodeureum chum played by Yeonnip. Based on this performance, the order of dances and movements was consistently arranged and settled. Following Park jun seup's performances, Jangsam was more widely applied and used in Omjung chum than ever before, so Omjung chum became much more organized and arranged. Well-arranged Omjung chum had also almost the same dances and movements as Nojang chum's. Yeonnip and Nojang's performances were not directly and intentionally studied and applied to two main roles in Yangju Byeolsandae Nori. Players seemed to borrow those parts naturally through many times of performances. Through their persistent efforts, Jangdan and dance movements have more clearly and completely been organized, establied, and improved through many years' performances. And dance movement can be performed exactly to Jangdan, so we have more complete and orderly types of dance movements. Thanks to many performers' efforts, Sangjwa chum has been established as one that only top performer can play, and Omjung chum has become an integral part in Yangju Byeolsandae Nori.

• Journal of the Ergonomics Society of Korea
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• v.19 no.2
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• pp.47-61
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• 2000

To study the characteristic of the weight center control of humans, the tracking control capability of circular and wave motion by weight center movement was conducted by using the force platform. The control performance(the integrated value of the $|Object\;value(X)-Control\;Value(Y)|^{2}$) and control trace record was used to evaluate the individual performance characteristics. The size of the population for this study was 73, which consisted of engineering students, students majoring in taekwondo, students majoring in dance, all of which were in their twenties, and also people in their sixties. The results of this study indicate that the weight center control characteristics of humans can be represented by the evaluation method and values. People who were capable of tracking the object did not stop nor overshot the objective. In addition, habits or training characteristics and aging seemed to influence the performance of the subjects. In the future, development of different objectives for weight center control could be used to determine the severity of the disease of the subject and the effects of the treatment.

• Korean Journal of Applied Biomechanics
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• v.14 no.1
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• pp.145-160
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• 2004

The purposes of this study to provide quantitative data in necessary to advance techniques kinematic analysis of Cucarachas which is an action of Rumba. Then, this study is performed on 5 female players who have won within the third prize at a national athletic meeting. When whole foot reached to floor, Displacement of right-left hip joint (until $E1{\sim}E3$ average moved 15.15cm)is found at right-left direction since the hip joint is turned to right back. On the other side, large displacement is shown because Rumba Cucaracha Movement is expressed by maximum shift of hip joint to right and left direction. Displacement of right hip joint(E3$57.40{\pm}7.46$) is found in front and in rear direction since hip joint is moved in rear and in front to turn the hip joint. It may be stated that this is ideal displacement expressed by movement of whole body with artistic poise and presentation because role of hip joint is very important in technical and artistic side. Angle of right shoulder joint E2($105.44{\pm}9.64$) is got wider. It may be stated that player shifts up and abduct elbow joint to right since center of gravity of player is exceedingly shifted to right in this motion of Cucarachas. On the other hand, since this motion is abducted right elbow and shrunk external abdominal oblique to him center of body to left front of hip joint, the angle becomes narrow. It is shown that angle of knee in right knee joint E4($75.44{\pm}2.61$) is large since right leg and hip joint is turned by foot using reaction of ground and so center of body is shifted to left. Large angle of ankle E4($134.40{\pm}10.50$) in Cucaracha Movement is shown by the action of twist force using narrow part of foot and compression force against ground with adduction speed of arm. The various kinematic analyses associated with motions of dance sport have not been sufficiently peformed so far, and thus a number of research projects for dance sport should be proposed and performed to be continuous.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.12
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• pp.186-192
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• 2016

The purpose of this study is to examine how Korean dance affects middle-aged women by acting as a cultural mediator. A qualitative approach was taken in order to best achieve the purpose of this study. The data used in this study were collected from Feb 10th to April 1st, 2016, using in-depth interviews. The results are as follows; firstly, on an emotional level, the middle-aged women participating in Korean dance as a cultural mediator, feel a sense of self-achievement and social belonging, as well as experiencing an improvement in their psychological stability by resolving their depression. Those who had lost their sense of autonomy and productivity were able to recover some of their self-esteem through this activity. Secondly, in terms of their activity, the Korean dance enabled the ladies to exercise their poorly used muscles by strengthening their gross and fine motor skills through the movements associated with the Korean traditional music. This allowed them to ease their chronic physical pain and it can be considered that their overall exercise function was increased by expanding their exercise radius. Third, in the cognitive area, it was possible for them to revive their happy memories by listening to the music which was loved by their preceding generations. This is because the melody of familiar Korean music provides them with the chance to remember their former days. Lastly, in the social area, the Korean dance allowed the middle-aged women to accept themselves through music and movement, as well as playing the role of a mediator which enabled them to overcome their isolation and the conflicts they face in their social relations. In addition, they achieved self-realization by reconnecting with the regional community through the Korean dance performances, which they learned as social community members.

• 한국체육학회지인문사회과학편
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• v.58 no.5
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• pp.201-217
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• 2019

The purpose of this study was to consider composition of the movement program for the elderly with dementia to develop visit-customized movement program. For the study, 20 experts were selected including 8 dance therapists, 2 dementia-specialized doctors, 5 physical education leaders of the elderly, and 5 geriatric care helpers. First Delphi data, which listed items, was used to analyze content. Second and third Delphi questionnaires, which evaluated importance in Likert scale, was used to calculate content validity rate, average, standard deviation, quartile, convergence degree, and concurrence degree of each composition. 46 core composition of movement program for the elderly, which were selected and highlighted by the experts, were departmentalized into 6 considered compositions of movement program. 7 required composition of movement program, 1 Appropriate frequency of 3 times in a week and 1 30 minutes for each exercise, 1 operation method, 5 appropriate exercise of rhythm expression, 4 appropriate aerobic exercise, 4 appropriate muscle exercises, 5 appropriate stretches, 3 appropriate partner exercises 4 Appropriate massages, 5 appropriate tools

• 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.

• (The) Research of the performance art and culture
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• no.37
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• pp.33-60
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• 2018

This article is to present that the research on the Mudang Gut Chum should be within the context of the performance of Mudang Gut and examines its meanings and implications with focus on Seoul Mudang Gut Chum and Hwanghae-do Mudang Gut Chum. Seoul and Hwanghae-do Mudang Gut Chums do not exist in the form of simple dance or movement. They feature continuity while serving the function of revealing the existence of spirit and sometimes show the process of the spirit joining the Gut ritual, which means that the Mudang Gut Chum should not be understood as the dance itself only. Instead, care attention should be paid to the status of the tune of Gut where the dance is placed, relationship between the gut and the spirit, and the flow of narrativity. Also, the Mudang Gut Chum has a lot to do with the tune. Looking at the Mudang Gut Chum simply focusing on dancing steps, and the movement of feet and/or hands fails to gain an accurate understanding of the fundamentals of the Mudang Gut Chum. Closely connected to the tune, which is also associated with the grade of the spirit, the dance shows a variety of performances conducted by entering the Gut ritual of the spirit. In that respect, complex views on the Mudang Gut Chum are required. The same applies to the hereditary shaman Mudang Gut as well. The Korean Mudang Gut Chum has a slight difference between the Gangshinmu gut and the hereditary gut but is in basically the same aspect. The Gut Chum holds its meaning in the flow of gutgeori (tune or dance performed during exorcism, a shaman song) and delivers its own meaning in connection with the tune. It is definitely meaningful to focus on the individual movements of a dancing shaman but one should be able to derive the network of meanings that such movements have within the performance of the gutgeori, which means that intensive studies on the field performance and circumstances should be completed before studying the Mudang Gut Chum. In addition, the Mudang Gut Chum discloses the characteristics of the performance group. The Mudang Gut Chum exists in a complex manner. With respects to the status of the spirit, it shows the characteristics of the performance group. It represents the progress of Gut while closely connected with the tune. Therefore, the way of describing the Mudang Gut Chum should be far more than just simply keeping the dance notations. With this in mind, one should investigate and record the Mudang Gut Chum.