• Journal of Intelligence and Information Systems
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• v.29 no.4
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• pp.1-13
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• 2023

The widespread adoption of smartphones and advancements in internet technology have notably shifted content consumption habits toward video. This research aims to dissect the nature of videos posted on YouTube, the global video-sharing platform, to understand the characteristics of both produced and preferred content. For this study, dance was chosen as a specific subject from a variety of video categories. Data on YouTube videos associated with the term "dance" was compiled over three years, from 2019 to 2021. The investigation revealed a clear distinction between the types of dance videos frequently uploaded to YouTube and those that receive a high number of views. The empirical analysis of this study indicates a viewer preference for vlogs that provide insights into the daily lives of dance students, as well as for purpose-driven videos, such as those highlighting dance exam preparations or school dance events. Notably, the vlogs that attract the most attention are typically created by dance students at the college or secondary school level, rather than by professionals. Although the study was focused on dance, its methodologies can be applied to different subjects. These insights are expected to contribute to the development of a recommendation system that aids content creators in effectively targeting their productions.

• Physical Therapy Rehabilitation Science
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• v.2 no.1
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• pp.12-20
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• 2013

Objective: To determine the energy consumed and muscle use during dance compared to different standard exercise devices. Design: Longitudinal study. Methods: Fifteen female subjects were evaluated to assess the energy cost and muscle activity during a 20 minute dance video compared to treadmill, elliptical track and bicycle ergometry. The later 3 forms of exercise were accomplished in four, 5 minute bouts at different intensities of exercise. Subjects were in the age range of 22-24 years old, were free of cardiovascular disease and did not have any neurological injuries. They were not sedentary and exercised at least twice a week. During the exercise, muscle activity was measured by the electromyogram recorded by surface electrodes on 6 muscle groups. A Cosmed metabolic cart was used to measure oxygen consumption during the exercise. Results: The aerobic dance video that was tested here was equivalent to a hard workout on any of the 3 exercise modalities. The dance routine was equivalent in terms of energy consumed to running at 225 watts of work or running for 20 minutes at a speed of 2 meters per second (4.47 miles per hour). Compared to the bicycle, it was equivalent to cycling at 112 watts for 20 minutes (2.25 kpm), and for the elliptical trainer, dance was equivalent to 435 watts. Concerning muscle use, the dance routine was the most balanced for upper, core and lower body muscles. Although the elliptical trainer was close, it required muscle less muscle use. Conclusion: A good dance video can be more effective than standard exercise equipment.

• Journal of the Korea Society of Computer and Information
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• v.24 no.8
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• pp.51-58
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• 2019

In this paper, we propose to characteristics of mobile phone dance live broadcast platform and the second-generation technology acceptance model TAM2, this paper established the user acceptance model of mobile phone dance live broadcast platform, aiming to study the influencing factors of users' acceptance on mobile phone dance live broadcast platform. Based on the empirical analysis of user survey, the model is validated, and the relationship between variables in the model is clarified. It is also confirmed that human-computer interaction, scene interaction, relationship interaction and other factors will affect the user's acceptance on mobile phone dance live broadcast platform. At the same time, based on the relationship among variables obtained in the research, this paper tries to analyze how the variables affect each other based on the actual practice of mobile phone dance live broadcast platform. In addition, the video design strategy and marketing strategy for further development of mobile phone dance live broadcast platform are given to help the platform and dance creators to carry out better promotion on the mobile side. In the end, this paper summarizes the shortcomings of this study and points out further research directions in the future, providing a reference for researchers in the field of mobile phone dance live broadcast platform acceptance.

• Journal of Korea Game Society
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• v.12 no.4
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• pp.65-75
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• 2012

This study aims at identifying the physical, emotional effect on dance education by using "Dance Central" among Xbox-360 Games. In order to achieve the target, this study adopts case study methodology through Dance Central program among qualitative methods. The participants of this study were 8 adults who do not have experienced dance games from a homogeneous group composed of persons into who are called the Net Generation. The period of this study was from July 18, 2011 to August 14, 2011, during which the observation was conducted for 5 weeks. In total, 15 times of participant observation were made. Dance game experience Through data collection and analysis Participatory Video, self-reports, un-Structured interview, Observations. As a result of the study, the educational effect of aspects physical, emotional and the of dance game was analyzed into dance educational aspect. Educational effect on physical aspect was divided into subjects of 'preceded rhythm and familiarity of dance moves', 'changes by type of moves' and 'dance game requiring active physical activities'. Emotional learning effect was divided into subjects including, 'alleviation of stress'. 'changes of fun by stage and concentration' and 'dance game which has no risk of addiction'.

• Trans-
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• v.4
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• pp.37-63
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• 2018

Dance films, which started together as a combination of dance and video technology, have evolved into a new genre. Overseas, from early 1950s, experimental dance films have been produced and the dance film association is organized along with many dance film festivals are being held. However, it has not been long since the perception and creativity of the genre of dance films in Korea. Under these circumstances, holding of the 'Seoul Dance Film Festival' and experimental approaches by 'Dance Film Project' are important for the development of domestic dance films. Therefore, this paper explores the concept and development of dance films, the status and features of various overseas dance film festivals and the 'Seoul Dance Film Festival'. This paper also explores the roll and function of 'Seoul Dance Film Festival' and 'Dance Film Project', and their expected benefit along with possibilities of prosperity of domestic dance film. 'Dance Film Project' is the educational and experimental venue for producing of dance films, and the 'Seoul Dance Film Festival' is a platform for producing dance film makers, show of works, dialogue with audiences, international exchanges, and distributions. The dance film festival embodies the value of the past and current flow of the dance film and is intrinsic to the existence of a live content that can be predicted the future aspect of its roll. The two groups mutual growth and development are expected to play a positive role in the development of domestic dance films.

• Journal of Korea Game Society
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• v.15 no.1
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• pp.155-170
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• 2015

This study aims to investigate the Learning and fun aspects of dance games by examining their instructive values. Dance Central 2 was analysed with a focus on its educational functions by observing dance moves. Therefore this study looked into the game's educational elements that create learning effects and fun elements that attract continuous and voluntary participation. Analysis was implemented based on the physical, cognitive, and emotional aspects for Learning elements and the aspects of graphics, sound, video, rewards, target-setting, difficulty levels, and control for fun elements. As a result, it was found that the practice and performance modes of Dance Central 2 have elements that can improve players dance skills. Of course, there may be difference in players' participation and effects depending on their goals and objectives. Consequently, the continuous use of the dance game supported by player's dance skills and commitment will improve learning.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.77-85
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• 2013

This study aims to analyze the effects that video image in Seo-an's , claiming to China's first gigantic historic dance drama, has on the performance; it focuses on investigating which video image is used to accomplish the effects in showing specific themes and materials in . Image is meant by 'reflection of object', such as movie, television, dictionary, etc, with its coverage being extensive. The root of a word, image', is founded on imitary, signifying specifically and mentally visual representation. In other words, video image is considered combination of two synonymous words, 'video' and 'image'. Video is not just comprehension of traditional art genre, like literary value, theatrical qualities, and artistry of scenario, but wholeness as product, integrating original functions of all kinds of art and connecting subtle image creation of human being. The effects of video image represented in are as followings; first, expressive effect of the connotative meaning, reflecting the spirit of the age and its culture. Second, imaginary identification. Third, transformation scene. Fourth, dramatic interest through immersion. Last but not least, visual effect by dint of dimension of performance.

• Trans-
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• v.1
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• pp.67-89
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• 2016

This study aims to examine the present (Western) modern dance by analyzing the works of three choreographers who are currently at the forefront of the dance scene to identify and understand the current choreographic trend. The three selected choreographers for this study are Justin Peck (USA), Sidi Larbi Cherkaoui (Belgium) and Zach Morris (USA). These choreographers were chosen on the basis of their significant identity within the current dance scene. For analysis, one noteworthy works of each choreographer were selected for video analysis. The result of the analysis illustrates that in the current era of promoting technology convergence in the performing arts industry, the three choreographers approach convergence differently by integrating dance and other mediums in their choreography. Peck converges between ballet and the ordinary, Cherkaoui converges between dance and other cultures and Morris converges between dance and venue.

• 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.