• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• Proceedings of the KAIS Fall Conference
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• 2010.11b
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• pp.611-613
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• 2010

Constant Structure는 Non-Functional Harmony로써 현대 재즈에 적극적으로 사용되고 있다. 본 논문에서는 McCoy Tyner의 'Passion Dance'에서 Constant Structure Voicing이 어떻게 사용되었는지 분석하고, 이를 토대로 Constant Structure Voicing의 기초적 활용 방법을 연구한다.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.626-635
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• 2013

The purpose of this study is to research the practical cases of the reflective curriculum design and the improvement of the dance courses as a general education at University. This study deals with the recreation dance program with 40 students participating for 15 weeks. This study is qualitative research to explore the practical meaning and value the process on the basis of the interviews and reports of the students and the class evaluation of the instructors. The results were as follows: First is the experience of 'thinking dance'. Not just a functional movement, but moreover, they could experience the attraction, sensitivity and culture of the dance altogether. Second is the experience of 'communicating dance'. They experienced the sociability from the relationship with new partners, the overcome of the passivity (shyness) and the manner of consideration. The third is the experience of 'creating dance together'. As a member of a group, they could learn the integrity, responsibility and satisfaction in the middle of cooperative task performance. The view from the teacher regarding the class reflective assessment is as followed: The importance of dance instruction is to improve the expressive personality and potentiality of the students. Forcing the students to follow the basic choreography could be exhaustive.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.51-62
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• 2020

The study was conducted to verify the causality of the ability of high school and college dance majors to influence the successful goal orientation and how the change in goal affects the sense of dance performance self-confidence. In this regard, 172 dance majors were collected to collect data on their belief in dance ability, the direction of mastery goal of approach and avoidance, and the measure of confidence in dance performance, and the results of their studies were derived through correlation and structural equation analysis and path analysis. The analysis results showed reasonable factor structure and reliability based on the preceding study of feasibility analysis results between variables. Thus, the structural equation for the study variables confirmed that the theoretical hypothesis was suitable, and the path of each variable was verified through the path analysis. The analysis showed that the increased belief that ability can be improved by effort has been found to improve the effort and consequently the confidence in dancing. Also, the fixed belief that ability is not changing in a fixed sense has been found to affect the avoidance goal and reduce confidence. It can be interpreted that the more one believes that one can change one's ability by effort, the more one strengthens one's actions to achieve one's goal, thereby improving one's dance confidence. Therefore, it is deemed necessary for subsequent studies to explore whether the paths of these models differ by their major or dance careers, and to apply variables that can measure the success or failure of actual performances to enhance the explanatory power of these research variables.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.115-130
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• 2020

The purpose of this study is to analyze the difference between A Study on the Weight Change and Exercise Immersion for Activation of Aerobic Dance and to suggest the continuous activation of Aerobic Dance. To achieve this purpose, a questionnaire was conducted using a convenience sampling method, which is one of non-probability sampling, in April 2020, targeting general aerobic dance members in Gyeongnam. The results of this study are as follows. First, the demographic characteristics were partially different. The age was 40 to 49 years, height was more than 160cm, occupation was housewives, weight change was more than -3kg, participation intensity was more than 100 minutes, participation frequency was 4 days, and participation period was less than 5 years. Second, the results of this study are as follows: Weight Change(Body Confidence, Activity Confidence, Dance Confidence, Psychological Stability Effect, Dance Activity Effect, Perform-motion Effect) and Exercise Immersion(Behavior immersion, Cognitive immersion) were partially high There was a difference. Third, the results of this study are as follows: Weight Change(Body Confidence, Activity Confidence, Dance Confidence, Psychological Stability Effect, Dance Activity Effect, Perform-motion Effect) and Exercise Immersion(Behavior immersion, Cognitive immersion) were partially high It was shown that the influence was.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.47-57
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• 2019

The end of the 20th century, along with the popularity of new media technology and the rise of new media art, dance as a visual art, and body language art, has the features of more and more rich and changeful. In today's Internet booming new media environment, many different fields, such as film and theater, computer technology, digital art, etc.) with its commonness and characteristics of all kinds of interaction between the creation, produced a new interdisciplinary research with theoretical model. When cross-border interactions between various areas become a hot topic at the same time, the traditional form of dance performances are also seeking new breakthrough. Canada's famous social psychologist McLuhan believes that modern is retrieving lost over a long period of time "overall" feel, return to a feeling of equilibrium. The audience how to have the characteristics of focus on details of visual art back to the "overall" feel worthy of study. At the same time, the new media in today's digital dance teaching in colleges and universities dancing education remains to be perfect and popular, if continue to use the precept of the traditional teaching way blindly, so it is difficult to get from the development of the current domestic dance overall demand. In this paper, the main body is divided into two parts, the first chapter is the study of image device dance performance art, the second chapter is the research of digital dance teaching application system, thus further perspective of media technology to explore dance art crossover practice under the new media environment and mode of transmission.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.77-91
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• 2019

As of 2019, a report by the Ministry of Culture, Sports and Tourism showed that 884 diverse regional festivals are being held in the country. While there are successful festivals with large audience numbers and local economic effects, there are many festivals that only waste local budgets. Against this backdrop, the question of this study is "What are the key competences of a successful dance festival utilizing the VRIO model?" The development process and success factors of the success dance festival at home and abroad were analyzed in order to explore the key competences and specialization measures of the festival that our dance festival can take off as a successful dance festival. The purpose of the study is to examine what is the source of competitiveness of the regional festival through VRIO model, which can identify the key competencies of the festival to grow into a successful dance festival, and to derive the key competencies of the festival through the interview of the expert group(Focus Group Interview) to apply the development measures of our country's dance festival. According to the analysis, festival experts view the success factors of local festivals from various perspectives based on their empirical knowledge. The key competencies priority was 1. Theme, 2. the festival organization and professional personnel management, 3. The results came in the order of residents' participation. And the successful domestic and foreign dance festivals had their own core competencies. Growing up as a successful festival through festival management, which is worth no other festival, difficult to emulate, rare and difficult to replace, is seen as the biggest key to leading the regional festival to the world festival.

• 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.

• Women's Health Nursing
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• v.5 no.1
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• pp.51-64
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• 1999

Dance movement program. Psychological wellbeing, Middle aged women, Wellbeing with depression tendency, 율동적 동작 프로그램, 우울성향 중년여성 %600an This study was designed to confirm the effects of the Dance Movement Program on psychological health in middle-age women with depression tendency. 67 women with mile to moderate depression scoring between 16-25 were selected among 235 responded to CES-D (Radloff, 1977, Cho and Kim, 1993). The 46 volunteered to participate in the study were assigned the control. 7 attritions occurred during the course of the experiment leaving thirty-nine subject : nineteen experimental and twenty control, for the final analysis. Research subjects revealed to be homogenous demographically and by health-related variables. The 50-minute Dance Movement Program was performed by the experimental group 3 times a week for eight weeks, from October 6 to November 29, 1997. Depression, life satisfaction, self efficacy were measured before and after the course of Dance Movement Program. Plasma serotonin was measured to identify its relationship with depression, Homogeneity tests revealed satisfactory level on relevant research variables. Data were analyzed by $x^2$-test, paired and unpaired t-tests. The results are as follows : 1) The hypothesis that depresson score of experimental group will decreased than control group was supported by t-test(t=2.20, P=.0021) 2) The hypothesis that life satisfaction score of experimental group will increased than control group was supported by t-test(t=1.42, P=.0049). 3) The hypothesis that self-efficacy score of experimental group will increased than control group was not supported by t-test(t=6.20, P=.0616). 4) The hypothesis that level of plasma serotonin will increased than control group was not supported by t-test(t=1.88, P=.0524) Thus, the effects of the Dance Movement Program for the improvement of psychological health gram for the improvement of psychological health for the middle-aged women with depression tendency are scientifically confirmed by this study.

• Safety and Health at Work
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• v.10 no.3
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• pp.260-264
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• 2019

Background: Professional dance is a physically demanding career path with a high injury prevalence, yet an ingrained culture of hiding or pushing through injuries. Developing better knowledge surrounding the cultural beliefs and behaviors related to injury reporting is critical to understand their incidence and burden. Therefore, the aim of this study was to investigate injury fear and injury reporting behaviors in professional dancers in Australia. Methods: This study utilized data collected in a cross-sectional survey of professional dancers in Australia. Descriptive analysis of injury fear and reporting stigma are presented with comparisons between subgroups (full-time versus part-time dancers; men versus women) conducted using two-sided Fisher's exact tests. Results: A total of 146 professional dancers were included. Over half (63%) of the respondents reported that they fear sustaining a dance-related injury, that they believe there is still a stigma surrounding injuries in dance (62%), and that this stigma has led to a delay in reporting or seeking care for an injury (51%). A lower proportion of part-time than full-time dancers reported that they would usually tell someone within their dance employment about an injury (35.1% vs. 59.6%, p = 0.006). Conclusion: Professional dancers are at risk of losing contracts or roles if they are injured, and therefore, it is common to dance through their occurrence. Many dancers, particularly those dancing part-time, are unwilling to tell their employers about their injuries. Action is required to improve this culture regarding injury reporting and help seeking for more effective injury understanding, prevention, and management in dance.