• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.3_4
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• pp.310-321
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• 2003

The purpose of this study is clarify the formative characteristic of dance costume design and analyse stage effect based upon the formative factors. Classified design element of dance costumes by line, silhouette, color, material, lighting, and also this based on content analysis method about each formative factor of costumes that showed 10 dance performances which practically be performed and made. And individually interviewed the professional dance composers and dancers who participated in the performances fer objectivity and specialty of this study. The results were as follows; 1. Dance costume contains and harmoniously expresses theme of a dance work, formative characteristic of fashion design, movement and character of the dancers, lighting effect. 2. Korean creative dance costume is effectively expressed with formative factors of traditional costumes and modem sensibility and symbolic expression of image-centered. 3. Costume line is affected by dancer's movement and it's possible to be different effect that the atmosphere or stage effect by the original form of line and the expression method. 4. Costume color is effective to inform that dancer's character and image of a dance work. 5. Costume material is most important to consider that the dancers and the atmosphere and the image of a dance work. 6. Lighting effect can inform various feel of dancer's dance.

• Journal of the Korea Convergence Society
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• v.11 no.10
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• pp.317-328
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• 2020

The purpose of this study was to identify the relationships between Korean traditional culture awareness, Korean dance image, cultural heritage preservation, and the intention for Korean teens to experience Korean dance. The respondents were 459 middle and high school students within Seoul and the Gyeonggi Province. The following results were obtained: First off, it was discovered that only interest in Korean traditional culture had a significant impact on the image of Korean dance. Also that Korean traditional culture education and utilization create the overall impact on the image of Korean dance. Secondly, the image of Korean dance was found to have a significant impact on the preservation of Korean cultural heritage. Next, the image of Korean dance was found to have a significant impact on the intention of teens to experience Korean dance. Finally, cultural heritage preservation was not found to have a significant impact on the teens intention to experience Korean dance.

• The Journal of the Korea Contents Association
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• v.8 no.8
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• pp.196-205
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• 2008

The purpose of this study was to examine the relationship of participation in jazz dance to body image and mental health in an attempt to make a contribution to the spread of jazz dance. The subjects in this study were 183 people who were selected by purposive sampling from a population of Seoul and Gyeonggi province residents who were at the Western age of 18 and up. The selected people took general education courses at colleges, attended cultural centers or fitness clubs, or learned dance for all. One instrument used in this study to assess their body image was Jourard and Secord(1954)'s Body Cathexis Scale, which was modified into six factors and 39 items. The other was Kim Gwang-il, et. al.(1978)'s 46-item inventory, which translated Rickles and Rock(l976)'s SCL-90 with 90 items to suit Korean circumstances. That inventory was modified into 31 items and four factors. For data handling, factor analysis, reliability analysis, regression analysis and path analysis were utilized. The findings of the study were as follows: 1. The extent of jazz dance participation had an impact on their body image. Those who performed jazz dance more frequency had a better image about their health and the lower part of the body. 2. The level of jazz dance participation exerted an influence on their mental health. A longer participation term led to more interpersonal sensitivity, and a higher participation frequency was followed by more somatization. 3. Concerning the causal relationship of participation in jazz dance to body image and mental health, the participation frequency affected health, the image of the lower part of the body and somatization in the firsthand manner, and the image of the lower part of the body had a firsthand impact on interpersonal sensitivity, hostility, anxiety and depression. Accordingly, the image of the lower part of the body played a crucial role as a parameter in the relationship between the jazz dance participation frequency and mental health.

• 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.

• International Journal of Human Ecology
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• v.15 no.2
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• pp.23-31
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• 2014

Neo-Confucianism was the dominant ideology of the Joseon Dynasty Korea. Male and female costumes reflected a clear distinction in male and female sex roles. This study analyzes cross-dressing in sword dance performances. The research method examines relics, paintings, pictures, and documents relevant to sword dance costumes as well as for the military. The results are: First, the composition of sword dance costume was jeogori (upper garment), skirt, and shoes with military costume of jeollip (hat), jeonbok (long vest), and jeondae (belt). Second, the sword dance costume and military costume are very similar except for the basic inner wear, shoes, some details and methods of wearing. Third, the sword dance costume gradually adopted military items and features. The sword dance costume was basically female, with overall additions of a male costume, to express an androgynous image; however, the cross-dressing phenomena in the sword dance were not intended for the pursuit of sexual pleasure.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.1-7
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• 2003

The purpose of this study contains evaluation of techno-cyber fashion, specifically in the area of dancing costume which symbolize the stage performing art of techno-cyber fashion's formative elements. The way of study is to make foundation with the theory and picture backgrounds to analyze the fashion trends and finally produce symbolic dance costume which applies modern dance stage costume design to techno-cyber elements. The 'Adieu 1999' is the modern dance work contains social mood in retrospect of 20 century and prepare 21 century. To make design of dance costume, apply the simple geometrical pattern design which utilize techno-cyber element like hi-tech fabrics, see-through and image of band and finally produce costume both 20 and 21 century.

• The Journal of Korean Society for School & Community Health Education
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• v.6
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• pp.49-63
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• 2005

The purpose of this study was to investigate the weight control behaviors, the degree of fatness and dance major on behalf of finding the effects of eating disorders. 779 female high school students, 283 dance major students and 496 general major students, were participated in the study. A self-reporting type of questionnaire survey was conducted during the period from $6^{th}$ May to $18^{th}$ April of 2005. Collected data were processed using SPSSW in 12.0; they were analysed through frequencies, percentages, means and standard deviation, and stepwise multiple regression analysis. The results of this study are as follows : 1. With regard to the level of eating disorders(EAT-26), 33.9% of risk group of eating disorder female dance students, and 13.7% of risk group of eating disorder female general major students. Weight-control behaviors in this research were 1) weight control concerns, 2) weight control trial, 3) weight control methods (prescription of M.D., ways of weight control), 4) eating habits. First, 56.6% of subjects had high concerns about weight control, and 92% of subjects had tried weight control. Second, only 5.1% of subjects were prescribed by M.D. Third, subjects had been using wrong methods(25.7%) of weigh control such as fasting, using drugs, vomiting, wearing laps etc. Fourth, 42.7% of the subjects had bad eating habits. The degree of fatness was as follows: 1) BMI(Body Mass Index), 2) self report about weight 3) distorted body image. Depending upon the BMI, the subjects with obesity were not found in female dance students; Comparatively, 36.9% of dance students were fat and 1.4% of the students were very fat. In terms of distorted body image, only 14.9% of all subjects were the same between the subjective degree of fatness and the objective degree of fatness. 2. As a result of multiple regression, six variables were found significant($R^2=11.6%$, P < 0.01). Concerns about the weight control significantly influenced on eating disorders(EAT-26). At the same time, major(dance), wrong methods of weight control, distorted body image, prescription of M.D, and eating habits had significantly influenced on eating disorders. This results indicates that the risk of eating disorders among female dancer students was very high. Therefore, professional intervention is needed for female dance students to prevent the eating disorders.

• (The) Research of the performance art and culture
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• no.33
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• pp.195-222
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• 2016

This study says that giving a life through the mixed power of motions which can not be fixed. It is a fundamental activity of the art of dance. In the fact, the art of dance is defined as the most instinctive and intuitive arts show that dance is a harmony of emotion on the body, thus, this view wants to discuss the relations between "sense and body". This view doesn't focus on the mere motions of dancing form, but characterizes dance as an art of another vitality through the mixture and combination of these motions. In other words, this study emphasizes that dance transcends time and space on stages, and that dance, as an expression of identity, is an art which shows a sense from inside of human. Therefore, when we want to understand the true meaning of the art of dance, we should attend what attributes of dance define it as an art and show its creative. This study, thus, seeing those attributes as the life-giving function of dance, aims to help understand the principle meaning of the art of dance that realizes creation as well as the attitudes of audience who appreciate the art of dance. And by doing so, this study contemplates how we should see the creative idea of choreography, forming sympathy and the art of dance.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.383-393
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• 2018

The purpose of this paper is to study on the elements of the Sinmyung and the expression recognition of body movement in Korean dance of college students majoring in musical. The participants were 12 male and female college students in musical major who experienced in dance, song and acting. The program was composed of the experience of the Sinmyung: recognition of sound and dance, breathing and movement in the Korean dance, 8 hours twice a week for four weeks. As a qualitative approach is the discovery of the center of the process, we carried out an inductive analysis of the area on the basis of observation, in-depth interview and student report. The core of this analysis is to attempt to analyze contents concentrating on the recognition exploration of the Sinmyung sentiment and the body expression through sound and breathing. In conclusion, for college students majoring in musical, the expression recognition of the experience of the Sinmyung and the movement in the Korean dance contributes to the improvement of creative thinking through body perception, and the practical use of the capacity of image expression through concentration of sound and breathing. Finally, the results of this research could articulate with the value of body expression and the creative factors of college students majoring in musical.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.547-554
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• 2006

우리 춤은 우리 고유의 정서를 담고 있는 종합예술이므로 우리 춤을 분석하고 이해하는 것은 큰 의미가 있다. 본 논문에서는 기존의 춤 동작의 정량적인 분석을 통한 감정인식 기술을 이용하여 우리 춤에 내포된 감정 패턴의 변화를 살펴본다. 먼저 한국 전통춤으로부터 무용전문가들의 정성적 분석에 기반하여 추출된 우리 춤사위를 정해진 각 감정별로 재구성하여 창작하고 창작된 우리 춤을 무용전문가가 시연한다. 이를 카메라를 이용하여 획득하고, 영상처리를 통해서 시연자의 실루엣을 뽑아낸 후, 정량적 특징량들을 추출한다. 이어 신경회로망을 이용하여 각 감정별 춤사위를 학습 시킨 후, 임의의 춤사위에 내포된 감정을 인식 한다. 본 논문에서는 정면, 좌, 우 세 시점에서 획득된 다시점 영상을 이용하여 학습시킴으로써 보다 안정적으로 동작하는 인식 시스템을 제안한다. 그리고, 시스템에 의해 인식된 감정 패턴과 변화의 정성적 의미를 이해하기 위해 무용전문가들에 의해 정립된 정성적 분석 결과와 비교, 분석한다. 이는 정성적인 분석에만 국한되던 우리 춤의 특성에 대한 이해를 객관적이고 정량화된 분석을 통한 이해의 차원으로 확장시키는 것으로, 우리 춤의 특성을 새롭게 정의하는 계기를 마련할 수 있다. 다양한 장르의 한국 전통춤 가운데 우리 춤을 대표할 수 있는 춤사위를 선정하고, 정성적/정량적으로 분석함으로써 우리 춤의 특성을 이해하기 위한 체계적인 틀을 제공하고자 한다.