• 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 Korean Academy of Nursing
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• v.26 no.4
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• pp.833-852
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• 1996

Regular long term dance movement could be one of ways to induce improvement of psychophysiological variables, resulting in improvement of quality of life. However, there have been few studies to evaluate the effect of dance movement training on both physiological and psychological variables in the elderly. This study was focused to determine the effect of Korean traditional dance movement training on psychophysiological variables-body weight, body fat, lean body mass, muscle strength, muscle endurance, flexibility, agility, resting heart rate and blood pressure, depression and life satisfaction-in Korean elderly women. Thirty four subjects, aged between 65 and 75years who have normal cognition, sensory function, cerebellum function, cardiovascular function, participated in this study. Seventeen experimental group subjects were selected from E-elderly university in Kyung Gi province, and Seventeen control group subjects were selected from N-welfare facility in Seoul City. Seventeen experimental group subjects participated for 12weeks dance movement program. Korean traditional dance movement program was developed on the basis of Korean traditional dance and music by the author. The program consisted of approximately 50minutes of dance, 3times a week for 12weeks. During 50minutes workout, there were 15minutes of warm-up dancing, 25minutes of conditioning dance and 10minutes of cool-down dancing. The intensity for the conditioning phase was at between 60% and 65% of age-adjusted maximum heart rates. The body weight, body fat, lean body mass, muscle strength(grip strength, leg strength), muscle endurance, flexibility, agility, resting heart rate and blood pressure, depression and life satis-faction were measured prior to and following the experimental treatment. The participants in dance movement were interviewed focusing on subjective feeling following 12 week's regular dance movement. Data were analyzed with mean, standard deviation, percentage of change, X²-test, t-test, and ANCOVA test using SPSS PC/sup +/ program. Subjective feeling was categorized into cognitopsy-chological and physiological responses. Results were obtained as follows : 1) The body weight (F=15.52, p=.000), body fat (F=18.33, p=.000) and lean body mass (F=7.28, p=.011) of the experimental group were significantly lower than those of the control group following the dance movement training. 2) The leg strength (F=30.96, p=.000), muscle endurance (F=9.06, p=.005), agility(F=44.92, 000), flexibility(F=6.84, p=.014) of the experimental group were significantly higher than those of the control group following the dance movement training. There was no significant difference of grip strength(F=.43, p=.515) between experimental and control groups. 3) The heart rate(F=26.96, p=.000), systolic (F=10.40, p=.000) and diastolic(F=3.99, p=.005) blood pressure at rest of the experimental group were significantly lower than those of the control group following the dance movement training. 4) No significant difference of score of depression (F=3.49, p=.071) was observed between experimental and control groups. 5) Score of life satisfaction of experimental group was remarkably higher than that of control group following 12weeks of dance movement training (p<0.05). 6) Thematic responses about the dance movement following the training were positive. "I feel good" was the most frequent among cognitopsychological responses and "I feel lightness of body" was the most frequent among physiological responses. The results suggest that Korean traditional dance movement training can improve psychophysiological variables of Korean elderly.

• Trans-
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• v.6
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• pp.97-127
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• 2019

This study investigated the specific effects of dance themed movies on dance students in their passion for dance and affect. The related data is generated by choosing a method of Convenience Sampling and used a sample of 112 dance students in high school of arts which located in Seongnam-si, South Korea. The dance students divided into 3 group of school year and also 2 group of gender. The dance themed movies which are used in this research are First Position, Billy Elliot and Mao's Last Dancer. Also, the dance students were asked to answer the survey which are based on the Self-administration. In order to obtain several findings below, Frequency analysis, Exploratory factor analysis, Reliability analysis, t-test, ANOVA, Correlation analysis and Linear structural relation model were applied to the gathered data using statistics utility SAS 9.4. First, there was a significant difference between the school years in the passion for dance and affect of students after watching movies. Second, there was a significant difference in students' affect depended on their majors (dance major is divided into three specialized major which are ballet, korean dance and modern dance). Third, there was a significant difference in the passion for dance and students' affect which is irreverent to their dance career (such as years they have learned dance). Forth, there was a significant difference in the passion for dance and negative affect of 'dance' students after watching movies. To summarize, the findings demonstrate that there is a partial difference, specially significant effects on their negative affect in the dance passion and affect of dance students depended on their characteristics after watching dance themed movies.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.961-969
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• 2021

In the historical trend of Korean dance, Korean traditional dance continues to evolve through the transition to stage dance due to the modernization process, the tangibleization of traditional dance, the reconstruction or re-creation of traditional dance. Moreover, the trend of reconstruction and re-creation of traditional Korean dances has been common in traditional dance performances since the 2000s, with two directions: performance of original restoration and preservation and evolution of traditional dances. Therefore, this study is a study of the change in the form of traditional dance and the process of the evolution of traditional dance, and among them, the change of the traditional paradigm of the Lee Dong-an Ryu Jin-so dance. The paradigm shift of traditional dance was staged through the trend of the times to the extent that the original's meaning and form were not undermined, and we can recognize that the paradigm of traditional dance is a way of introducing new aspects as a way of transmission.

• 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 Fashion Business
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• v.13 no.5
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• pp.1-12
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• 2009

This study looked into the characteristics of participants in dance sports, which is being positioned to be one of everyday athletic activities among people, and investigated the actual purchasing of dance sports wear with the subjects of its participants as a preceding study for the development of dance sports wear to consider their characteristics. The questionnaire method was used, and descriptive and crosstabulation analysis was conducted with a spss 12.0. The findings are as follows. 1. As the results that examine general characteristics of dance sports participants, the number of those in their 20's was the largest, while the number of women was larger than that of men. Regarding the practicing period, those of one year or longer up to 4 years occupied the largest proportion, and the rate of Latin American dance participants was larger than that of modern dance ones. 2. As to the actual purchasing of dance sports wear, the purchase motivations were found to be in the 'contest participation' for teenagers and those in their 20's, while those in their 40's or over purchased their wear for the purposes of 'following the fashion' or 'club gatherings.' As for the sources of information at the time of purchase, teenagers relied on internet and those of 20's or over got the information through the persons nearby. As their ages got higher, the ready-made sports wear was preferred, while as their practicing periods got longer modern dance participants purchased the sports wear of higher prices. Participants in their 30's and those practicing 7 years or longer possessed a comparatively larger number of dance sports wear and they considered importantly of designs and fit at the time of purchase. Therefore, the development of dance sports wear designs should be made to accord with the participants' age groups so that they might be sensitive to the fashion and clearly represent their personality for the junior group and durable enough to last long for the senior group.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.268-276
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• 2022

This study examined whether K-pop dance is qualified as an academic subject and how university students perceive K-pop dance as a liberal art subject. The survey was conducted with 138 students. Among the total of 138, 40 participants were male, and 53 participants were female. Fourteen(14) participants had experience with K-pop classes, and 124 participants did not have any experience with K-pop dance classes. According to the study, K-pop is a form of Korean culture that adds unique cultural and social characteristics to Koreans. It is in the cultural and art education category. In addition, K-pop dance is a socio-cultural phenomenon characterized by dance. However, K-pop dance is not qualified as an academic subject because it lacks theoretical foundations. The survey result also revealed that the students did not perceive that K-pop dance had personal, aesthetic, social, or educational value. They did not want to take a class if K-pop dance is offered as an academic subject in liberal art class. When analyzing the data by gender and experiences with dance classes, there was a difference based on gender in the two questions. In the case of females, they responded to having fun and joy from K-pop dance, while male respondents did not. Regarding the learners' interest in Kpop dance class, female respondents were more optimistic about the learner interest than male respondents. In conclusion, K-pop dance is a sociocultural phenomenon, and many informal online courses are created daily, spreading everywhere. However, the status of K-pop dance as an academic area is not set up yet.

• Journal of Korean Academy of Nursing
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• v.29 no.2
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• pp.429-444
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• 1999

This study was performed to explore the effects of a dance therapy on physical and psychological characteristics in the elderly. The design of this study was a non-equivalent pre-post test experiment. The subjects consisted of elderly persons living in a facility located in Suweon and Bucheon. Fifty eight subjects, aged between 65 and 93 years who had normal cognition, sensory function, balance, and resting blood pressure. They underwent tests of balance, flexibility, muscle strength, depression, and anxiety as baseline data before dance therapy, and at 6th week and at the end of the 12nd week after following dance therapy. Twenty seven elderly persons were assigned to the experimental group and participated with the dance therapy between April and July, 1998. The dance therapy was developed by the author with the help of a dance therapist and a physiatrist. This therapy was based on the Marian Chace's dance therapy and Korean traditional dance with music. The dance therapy consists of 50 minutes session, 3 times a week for 12 weeks. One session was consisted of warming-up, expression, catharsis, sharing, and closing stage. The intensity of the dance therapy was at the 40 % of age-adjusted maximum heart rates. Data were analysed with mead standard deviation, Chi-square test, unpaired t-test, repeated measures ANOVA, and Bonferroni multiple regression using SAS program. 1. The results related to the physical characteristics were as follows : 1) The balance (standing on one leg, walking on the balancing bar), flexibility and muscle strength (knee extensor, knee flexor, ankle plantarflexor and dorsiflexor) of the experimental subjects significantly increased over time mere than that of the control subjects. 2) The experimental group had significantly higher score for balance, flexibility, muscle strength of knee extensor, and knee flexor than the control group at the 12nd week after dance therapy. 3) The experimental group had significantly higher score for muscle strength of ankle dorsiflexor and plantarflexor than the control group at the 6th week and the 12nd week after dance therapy. 2. The results related to psychological characteristics were as follows : 1) Scores of Geriatric Depression Scale, Hamilton Depression Rating Scale, and Zung's Self-rating Anxiety Scale of the experimental group were significantly decreased over time more than that of the control group. 2) The experimental group had significantly lower score for depression than the control group at the 12nd week after dance therapy. 3) The experimental group had significantly lower score for anxiety than the control group at the 6th week and the 12nd week after dance therapy. The findings showed that the dance therapy could be effective in improving the balances, flexibility, and muscle strength of lower limb, and effective in decreasing the depression and anxiety of the elderly. Additional merits of the dance therapy would be inexpensiveness, easy accessibility, and increasing interpersonal relationship. It can be suggested that the dance therapy is effective in the health promotion of the elderly.

• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.623-634
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• 2022

Chinese Korean dance has been handed down in its original form, and some of the dances have changed slightly due to changes in the names of people or places, but it is a creative dance developed based on the roots of the Korean people. Therefore, it is a unique form of dance art that reflects the history and life of the ethnic Koreans while imbuing the unique psychology, emotions, artistic symbols, and creative talents of the Korean people. In this study, however, it is most important to identify the identity of Korean dance through historical changes in Korean dance and representative works by period, and to increase awareness by examining the characteristics of Korean dance. Therefore, based on the literature, this study will understand the concept and formation process of Korean dance, and examine the characteristics of the representative works of each period by dividing the history of Korean dance into four periods. On the other hand, this study suggests that the biggest challenge of the present era is not to establish and protect the identity of Chinese Korean dance, rather than simple dance.

• CELLMED
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• v.7 no.2
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• pp.7.1-7.3
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• 2017

Ok-jin Gong's hunchback dance is considered to be a strange dance in Korea. However, there have been no reports of the effects of music and dance therapy as a pain treatment. The aim of this article is to argue that watching and listening to the hunchback dance of Ok-jin Gong may have significant effects as a form of pain treatment. The creator of this style of dance suspected that dance in general can be an outlet for our inner emotions. Her dance in this case has received critical and complimentary reviews as well. However she has been cited as the main culprit behind the destruction of traditional dance forms in the Korean dance world. Nonetheless, her bewitching stage presence attracted much attention. She satirized the feelings of the under privileged' through music and dance. We tend to feel somehow relative poverty and small in the presence of a rich and successful man. On the other hand, the artist felt that it is the public who would be relatively comforted and satisfied in the presence of the weak and handicapped. A free spirit that makes us forget pain is the very essence of her dancing. Her dance and music sound as if she sublimated her sadness and ugliness, changing it to happiness and beauty. She puts herself in a low position and spreads a sense of freedom and relief to the world. Hence, the author felt that innumerable people have been comforted in these ways by her dance.