• 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.

• Korean Journal of Applied Biomechanics
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• v.18 no.1
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• pp.129-135
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• 2008

This research was examined the effect of Backward Walk on ground reaction force and we achieved it by using ground reaction force machine during the Backward Walk activity with Latin and Rumba dance. We find that it was significant difference of vertical(Fz) ground reaction force of right foot in touchdown and toe-off and vertical(Fz), horizontal(Fx), front-rear(Fy) ground reaction force of left foot. There was not significant differences in vertical ground reaction force between superior athlete and unskilled athlete, but there was a significant difference in left foot. Through this, we know that the sports capability of left foot which has been developed through the training is better in superior athlete group. Therefore understanding of difference in ground reaction force and repeated training can help the unskilled athlete and beginner to accomplish the accurate movement.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.591-600
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• 2015

Recently high interest in health and fitness has led to vibrant researches for the active fitness system to learn and enjoy the exercise program for oneself. In this paper, we design and implement the active spinning training system which enables user to have self-learning and experience of customized spinning training program by the biometric and movement information acquired from user's physiological signals. The proposed system provides the appropriate difficulty of spinning program which reflects the concordance rate of spinning dance gestures and the amount of exercising by analyzing the physical status of participant from his brain and pulse waves and recognizing the skeletal movement in real time. For the higher exercise effect, the system offers a virtual personal trainer to show the correct poses and controls the level of difficulty depending on the concordance rate of participant's motions. The experiment with various participants through the proposed system shows that it is able to help users in getting the available exercise effect in comparatively short time.

• (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.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.809-814
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• 2023

Currently, there is a lack of research that directly applies and integrates science and technology in the field of dance and translates it into creative work. In this study, the researcher applied motion capture to creative dance performance 'Youth' and described the process of incorporating motion capture into scenes for the performance. The research method involved utilizing practice-based research, which derives new knowledge and meaning from creative outcomes through the analysis of phenomena and experiences generated on-site. The creative ballet performance "<Youth>" consists of a total of 4 scenes, and the motion-captured video in these scenes serves as the highlight moments. It visually represents the image of a past ballerina while embodying the meaning of a scene that is both the 'past me' and the 'dream of the present.' The use of motion capture enhances the visual representation of the scenes and plays a role in increasing the audience's immersion. The dance field needs to become familiar with collaborating with scientific and technological advancements like motion capture to digitize intangible assets. It is essential to engage in experimental endeavors and continue training for such collaborations. Furthermore, through collaboration, the ongoing research should extend the scope of movement through digitized processes, performances, and performance records. This will continually confer value and meaning to the field of dance

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.155-164
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• 2019

This paper studies the possible ways to make the most of Namsadang Nori Deotboegi which has been designated as National Intangible Cultural Property No 3 as well as UNESCO World Intangible Cultural Heritage in training actors. Considering the fact that all six parts of a Namsadang performance were included as Important Intangible Cultural Properties, the historical and traditional value of the itinerant performance troupe is significant. The improvisatory characteristics of witty remarks, the 'Korenness' of the movement and breathing in Deotboegi dance, the spatial awareness realised through performing witty remarks with musician as well as the 'Koreaness' in the emotions conveyed are the particular values of Deotbeogi for training actors. The required ability to listen to the co-performer and not to anticipate what might be said next helps the performer do develop a strong focus to be able to stay in the moment. The heightened awareness of the body, and the ability to control it as well as the awareness of the space including the co-performers are helpful in the context of both traditional and contemporary performance.

• 한국체육학회지인문사회과학편
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• v.55 no.6
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• pp.749-757
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• 2016

The purpose of this study was to investigate the effect of stability on one leg standing posture in yoga practice. Thirteen women college student who have never done yoga participated in this study. In order to collect data before and after yoga practicing for two years, we were used 3D motion capture system and electromyography. The results were as follows. First, ranges of motions for Y axis of left knee joint and X axis of right ankle joint were significantly different in dancer posture(p<.05), and then X axis of right ankle and Y axis of left ankle joint were significantly different in tree posture of pre and post training. Second, the planar alignment angle of trunk-pelvis was not significant difference in dancer and tree posture. Third, CoM-distances of Y, Z directions were significant difference in the tree posture(p<.05). Fourth, Muscle activities of both rectus abdominis, erector spinae and left quadriceps were significant difference in tree posture(p<.05). These findings suggested that yoga training played important roles in stable postures as results of decreasing rotation ankle joint and movement of CoM and enforcing core muscles. This study provides evidence for effectiveness of the stability on standing posture and can get a great effect on posture correction by means of yoga training. Hereafter, study on alignment angle, which is a measurement of postural stabilization will be needed by future yoga training.

• Research in Community and Public Health Nursing
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• v.16 no.2
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• pp.177-185
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• 2005

Purpose: This study was to examine the effects of an exercise program on physical fitness, cardiopulmonary function and life satisfaction for adult women. Method: The exercise program combined dance and resistance training. The subject group consisted of 114 women aged between 33 and 60. Three 8-week sessions consisted of 55-80% HR max for 60-90 minutes a day and 3 times a week from March to November, 2004. Data were collected through pre- and post-exercise tests before and after each session. Data were collected with dynamometer, sphygmomamometer, spirometer and structured questionnaires. Data were analyzed employing descriptive statistics and paired t-test with SPSS/PC(10.0version) program. Results: There were significantly positive changes in muscle strength, flexibility, balance quality, forced vital capacity and life satisfaction, but no significantly positive changes in agility and blood pressure. Conclusion: This study showed that an exercise program has partially positive effects for adult women. The results of this study suggest that there should be programs of continuous exercise at community health centers for adult women's health.

• Journal of Hospice and Palliative Care
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• v.18 no.2
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• pp.85-96
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• 2015

In Korea, modern art therapy was developed in the 1960s and 1970s in the form of supplementary activities for patients in psychiatry. Along with the foundation of the Korean Association for Clinical Art in 1982 by psychiatric doctors, the therapy involved more various arts forms such as music, art, dance, poetry therapy, and psychodrama. More organizations with specific expertise opened such as the Korean Art Therapy Association, Korean Art Therapy Association, etc. in the 1990s and the Korea Arts Therapy Institute in 2001. As of April 2015, the members of the Korean Art Therapy Association total 15,000, including 6,200 regular members. The arts in integrative arts therapy (IAT) is an individual's creative activity which is related to his inner world, and the forms of IAT include music, drawing, dance and poetry therapy. From the aspect of phenomenology, IAT is psychophysical therapy involving the arts that helps patients recognize and perceive their experiences with an aim of at a recovery of the body and creativity from the phenomenological aspect. It is also a therapeutic activity that targets growth and development of the body and mind. Meta-analysis of the effects of art therapy with a focus on that involving music, drawing, dance movement and IAT in recent years in Korea, significant effects were observed in all factors but physical function. The biggest effect was mentality adaptation followed by activity adaptation and physiology. In the run up to the implementation of the daily flat-rate system for the health insurance reimbursement for palliative care in July 2015, the Ministry of Health and Welfare is reviewing the coverage of music therapy, drawing therapy and flower therapy, which are currently practiced by 56 hospice institutes in Korea. This is a meaningful step because the coverage of hospice and palliative care came after that of art therapy for psychiatric patients was approved in 1977. Still, there is a need clarify the therapeutic mechanism by exploring causality among the treatment media, mediation type and treatment effects. To address the issue of indiscriminately issued licenses, more efforts are needed to ensure expertise and identity of the licensed therapists through education, training and supervision.

• Cartoon and Animation Studies
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• s.36
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• pp.237-257
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• 2014

This study is the process of performing the interdisciplinary fusion study between multiple fields by identifying the status on the previous artistic education considering the brain scientific mechanism of image creativity and brain-based learning principles. In recent years, producing the educational methods of each field as the fusion study activities are emerging as the trend and thanks to such, the results of brain-based educational fusion studies are being presented for each field. It includes artistic fields such as music, art and dance. In other words, the perspective is that by understanding the operating principles of the brain while creativity and learning is taking place, when applying various principles that can develop the corresponding functions as a teaching method, it can effectively increase the artistic performance ability and creativity. Since the animation drawing should be able to intuitively recognize the elements of movement and produce the communication with the target beyond the delineative perspective of simply drawing the objects to look the same, it requires the development of systematic educational method including the methods of communication, elements of higher cognitive senses as well as the cognitive perspective of form implementation. Therefore, this study proposes a literature study results on the artistic education applied with brain-based principles in order to design the educational model considering the professional characteristics of animation drawing. Therefore, the overseas and domestic trends of the cases of brain-based artistic education were extracted and analyzed. In addition, the cases of artistic education studies applied with brain-based principles and study results from cases of drawing related education were analyzed. According to the analyzed results, the brain-based learning related to the drawing has shown a common effect of promoting the creativity and changes of positive emotion related to the observation, concentration and image expression through the training of the right brain. In addition, there was a case of overseas educational application through the brain wave training where the timing ability and artistic expression have shown an enhancement effect through the HRV training, SMR, Beta 1 and neuro feedback training that strengthens the alpha/seta wave and it was proposing that slow brain wave neuro feedback training contributes significantly in overcoming the stress and enhancing the creative artistic performance ability. The meaning of this study result is significant in the fact that it was the case that have shown the successful application of neuro feedback training in the environment of artistic live education beyond the range of laboratory but the use of the machine was shown to have limitations for being applied to the teaching methods so its significance can be found in providing the analytical foundation for applying and designing the brain-based learning principles for future animation drawing teaching methods.