• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.43-53
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• 2009

This study is to investigate the utilization of Indoor Proscenium Stage Zone Lighting method in the dancing performance. In other words, it is about how we can utilize the principle of zone lighting in dancing performance, a kind of stage art. Stage lights give lights on the stage. Therefore they play big and important roles in dancing performances. Lightings make big influence on the overall atvosphere and situations of the dancing work but most of dancers do not perceive their importance and furthermore they don't know about the lightings very well. To let them know about stage lightings better, we studied lightings form the perspective of the dancers who face the lightings without great knowledge thresh the articles and literature related general lightings and lighting design, books related to stage lightings and dancing lightings, previous studies and academic articles. The most important part of this study is to understand and utilize the principle of zone lightiing. Zone lighting is generally called as cross lighting, which means single light from the crossed two lights. When looking into the principle of the zone lighting of the Indoor Proscenium Stage, it means 45 degree lighting from both sides of the top form the point of the dancer When more than two lights are used, the angle of the light should be $90^{\circ}$or 120. It is the principle of the lighting technology showing the face and body of the dancers ing three dimension. Applying for the principle of this zone lighting to the dancing performance of Indoor Proscenium Stage, the lighting methods and the usage of the lightings were studied. As shown above, the role of the lighting is very important in dancing configuration. We hope that the perception on the dancing lighting will be changed and studies on the dancing lightings. By understanding and applying more principles of lighting, we will make efforts to make better dancing performance and dancing conporsers and dancers shall make more efforts and studies on lighting for better works. Through such efforts, we can have more experts and professionals In dancing lighting field and they will help us to describe and express the intention of the dancing work better as dancing artists. We hope that there will be better quality performances through more and diversified studies in this field.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.7
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• pp.284-289
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• 2017

This study examined Korean traditional dancing performances in small theaters as a phenomenological approach. Korean traditional dances, as cultural welfare, are expected to be attractive to the public and our cultural heritage is expected to be inherited from them. The purpose of this study was to provide basic data for Korean tradition dancing to be supplied to the public as a Traditional Cultural Welfare Program. A qualitative approach was taken to best achieve the aims of this study. The data used in this study were collected from July 10th to September 1st, 2016, using in-depth interviews. Seven Korean dance professionals with more than 15 years' experience in traditional dancing performance were enrolledin this study. The traditional dancing performance in small theaters is necessary in terms of providing concert halls to local cultural artists and high quality performances to audiences as traditional cultural welfare. The traditional dancing performance in small theaters as cultural welfare will provide a platform to enjoy various traditional cultures across all ages and all class levels of the society in auniversal dimension.

• Journal of Fisheries and Marine Sciences Education
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• v.27 no.5
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• pp.1413-1423
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• 2015

This research paper looks into the interrelationships between physical self-perception, performance confidence, physical self-efficacy, dance flow and dance performance satisfaction with dance major students as the central figure. It also looks into the needs of dance majors, and in order to understand the accomplishment in dance and performance satisfaction, studies were carried out on 313 dance major students. According to this research, firstly, in the difference from physical self-perception according to general characteristics, specialists that major in dance have perception about one's body when specialists have a longer dancing time and experience. In the relationship between dancing experience and self-efficacy it could be seen that self-efficacy is postirely comelated with dancing experience. Also, in dance performance satisfaction, the more experience or time one encounters dance the higher the satisfaction. Secondly, when looking at the effect physical self-perception has on performance, confidence and self-efficacy, among the lower factors of physical self-perception, sports competence, condition and fitness have notable amount of effect on performance confidence. Thirdly, when looking at the effect on physical self-perception and self-efficacy, sports competence and condition have a certain amount of influence on body competence. Also sports competence, condition and fitness have some influence on physical confidence. Fourth, when looking at the influence of performance confidence and self-efficacy on dance flow, performance confidence, body competence and physical attraction have some effect on behavioral devotion. Lastry looking at the influence dance flow has on dance performance satisfaction, only behavioral devotion has much influence on dance performance satisfaction.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.2
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• pp.111-121
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• 2004

The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.

• (The) Research of the performance art and culture
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• no.20
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• pp.339-367
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• 2010

Despite that it is relatively difficult to compare the movements in eastern and western dancing, this study approached hand-foot coordination movements, which involve lifting both an arm and a leg to stand on one foot, from a figurative point of view. In ballet, arabesque, developpe, and attitude were recognized as the example hand-foot coordination movements, and in Korean Dance, Oesawi, Gyeopsawi, and Meongseokmari of Mask Dance were classified into the hand-foot coordination movements. The figurative characteristics of these dances were approached from the aspects of racial traits, philosophies of dancing, and forms of movements. The following summarizes the findings about hand-foot coordination movements of this study. First, in relation to human physiology, eastern and western races have different traits. The forms of dancing have developed differently according to the builds and figures of dancers. Ballet is an elegant form of dancing using long legs and arms and its arabesque, developpe, and attitude movements emphasize stretching the body for an elegant and beautiful presentation. On the other hand, Korea was an agricultural society and lived closer to the land. As its people developed petite figures, its dancing movements, especially the hand-foot coordination movements, involved 'twisting' and 'walking down and up.' Second, despite that the hand-foot coordination movements are identical for east and west, ballet aims at the heaven and Korean Dance aims at the land according to the differences in the views of nature. Although the principle of hand-foot coordination movements is about aiming at the land, western philosophies and aesthetics pursue the heaven. Third, in ballet, the focus of beauty is the presentation of beautiful movements. Therefore, the hand-foot coordination movements precisely control the position and angle of arms and legs for the perfect balance of the body. On the other hand, the hand-foot coordination movements of Korean Dance are mostly rooted from natural daily movements and movements that enhance the efficiency of labor. Therefore, it is considered beautiful techniques even if the body looks rather unbalanced.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.136-148
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• 2013

I would like to trace back periodic social trend by searching if regular performance might have reflected on social trend on its theme by analyzing theme trend of The National Dance Company of Korea, Dance Company of Seoul city, Dance Company of KyungKi-Do and to provide the meaningful results for further study by checking if the theme of dancing performance is in relation with social structure. To perform this research, I had studied on previous thesis and reference books. For example, I selected three groups, of The National Dance Company of Korea, Dance Company of Seoul city, Dance Company of KyungKi-Do, to research their theme of regular performance through checking previous thesis related to, performance material, news articles, pamphlets from beginning to present. How to analyze is being proceeded from foundation of dancing company to present according to Kim Byungseok's classification method, which was consistently used for searching theme trend from previous study as below; 1) Theme based on traditional conscious,2) Theme based on Literature, 3) Theme based on Historic issues, 4) Theme based on abstract, 5) Theme based on reality, 6)Theme based on social issues.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.158-171
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• 2008

The purpose of the study was to examine how changes of women's sexual identity and gender role were expressed in designs of dance costumes by analyzing costumes used in creative dance works. Related articles, dance magazines, Internet information and dance costumes were used for the analysis of various performance cases to express persona and animus of a woman. The results of the study were as follows: 1. As a woman's role, persona, has recently changed into active propensity, dance directors have come to prefer bold and daring image of female dancer to strongly express animus, the masculine inclination of a woman. 2. Female dancers' costumes were frequently associated with daring body exposure such as body painting on half-naked body, to reflect the above and a number of female dancers dressed daringly in masculine style trom head to toe. Also, pants or hot pants instead of skirt were frequently used as dance costumes to symbolize animus. In addition, colors in dance costumes became vivid and bold in comparison to the simple and soft colors used in the past.

• (The) Research of the performance art and culture
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• no.33
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• pp.165-193
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• 2016

배구자는 1920~30년대 조선에서 큰 인기를 확보한 무용수이자 연극인이었다. 그녀는 배구자악극단을 창립하여 조선과 해외(일본)를 오가면서 공연을 펼쳤고, 대중들은 그녀의 작품을 보기 위해서 극장으로 몰려들었다. 그녀와 그녀의 극단이 인기를 확보하고 있을 무렵, 그러니까 1931년 배구자무용연구소는 '혁신 공연'을 선언하고 일련의 작품을 발표했다. 당시 공연 작품 중에는 가무극 <파계>가 포함되어 있었는데, 다행히 <파계>는 공연 대본으로 기록되어 현재까지 전해질 수 있었다. 남아 있는 가무극 <파계>를 통해, 배구자무용연구소(나아가서는 '배구자악극단')의 공연 전략과 레퍼토리의 실체를 파악할 수 있을 것으로 기대된다. 조선 근대연극(사)의 주요한 축을 담당한 배구자악극단에 대한 연구는, 일제강점기 조선의 대중극의 다양한 갈래와 그 특성에 대한 이해를 제고할 것으로 전망된다.

• CELLMED
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• v.12 no.1
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• pp.1.1-1.2
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• 2022

Mental health is attributed to person's well-being, abilities and productivity. The purpose of this study is to suggest the effects of K-culture to people in adversity. It is PungmulPanGut, represented by traditional Korean play culture. Pungmul is a performance with four percussion instruments, Janggu (Korean hourglass drum), Buk (barrel shaped drum), Jing (large gong), Kkwaenggwari (small gong), and play. In Korean, "pan" means that it's a place to do something. Gut means to make a wish. The ensemble Better Than Medicine (eBTM) is a team that has trained and worked with Gamuak (歌,舞,樂; singing, dancing, playing) for a long time, but is not perfect (we refer this as 2% lacking in music). The characteristic of our team is that we share joy while voluntarily participating and doing what we like. It is a combination of singing, dancing, playing musical instruments, and exciting people. There is wind-like energy and there is mutual cooperation, not competition. As we concentrate, we become immersed in each other's breathing and movement. So it makes us forget the hard situation, the hardships, the pain, and so on. In the meantime, our pleasures peak and share happy energy with each other. Even though we are two percent less skilled, our sense of happiness doubles. Music together is not competition but cooperative work and healing. Therefore, we suggest that PungmulPanGut can be better K-culture than medicine in promoting mental health.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.147-162
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• 2011

The performance-art costume is a tool for expression that can dynamically display the intention of a production. The purpose of this study is to examine the whole costume for performance arts targeting musical works, to which were added such elements as music, dance, and drama, among performance arts in several genres. This study aims to consider how the symbol contained in the costume was intended to be expressed by inferring a change in performance costume and character as the stage costume. Accordingly, the following research problems were established in this study. First, Which role does the costume play in performance art? Second, into which types can the performance-art costume be classified depending on the kind of performance art? Third, what is the expressive method for the performance-art costume? To examine the types of performance-art costume, the acting costume, the singing costume, the dancing costume and the rhythmic performance costume were considered. As a result, the performance costume can be seen to have been designed through the effect of a change in color by lighting, through the differentiation of character caused by excessive decoration, through the differentiation in material for free movement, and through symbolic expression.