• (The) Research of the performance art and culture
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• no.23
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• pp.185-212
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• 2011

Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance's unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style's dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance's dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han's dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee's dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation's dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.

• Journal of Korean Academy of Nursing
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• v.29 no.6
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• pp.1273-1283
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• 1999

This study was done to explore the effects of dance therapy on pulmonary and cognitive functions 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 Kyoungi-Do. Fifty eight subjects had normal cognition, sensory function and resting blood pressure. They underwent tests of pulmonary and cognitive function as baseline data before dance therapy, and at 6th week and at the end of 12nd week after following dance therapy. Twenty seven elderly persons were assigned to the experimental group and participated with the dance therapy. This therapy was based on the Marian Chace's dance therapy and Korean traditional dance with music. The dance therapy consisted of 50 minutes session, 3 times a week for 12 weeks. One session 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 analyzed with mean, standard deviation, Chi-square test, unpaired t-test, repeated measures ANOVA, and Bonferroni multiple regression using SAS program. The results were as follows : 1. Pulmonary function(forced expiratory volume at one second and forced vital capacity) of the experimental subjects significantly increased over time more than that of the control subjects. 2. The experimental group had significantly higher score for pulmonary function than the control group at the 12nd week after dance therapy. 3. Cognitive function of the experimental subjects significantly increased over time more than that of the control subjects. 4. The experimental group had significantly higher score for cognitive function than the control group at the 6th week and 12nd week after dance therapy. The findings showed the dance therapy could be effective in improving the pulmonary and cognitive function of the elderly.

• (The) Research of the performance art and culture
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• no.22
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• pp.185-221
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• 2011

This study overseas compatriots in the North during the propagation and development of dance patterns and was going to be based, people living outside of the dance culture as a group of overseas Koreans, especially dance culture of Koreans in Japan, China are interested in and thought about the necessity of the study. Issues discussed in the literature of research results, autonomous community of Koreans in Japan ethnic Koreans and Chinese dance culture dance Choi Seung-hee starting point common was, two ethnic groups, directly or indirectly from the Choi Seung-hee learn to dance or have received specialized training to work, compiled by Choi Seung-hee Korea on the basis of basic dance training was learning the dance. In addition, specialized training and dance training institutions in the North Koreans in Japan Social Dance Group for the system, such as dance training in a separate place where talented people through the exhaust, to act in a professional troupes have maintained a system. In contrast, Chinese ethnic Koreans in Yanbian Autonomous University and Central University for Nationalities in the dance departments are stationed there, the transfer from the Joseon dance dance by educating gifted talents have been dispose, South Korea and similar aspects of the dance education system can be seen. Dance work based training and the tendency of Koreans in Japan in terms of social practice and dance in the North of basic training as basic training and specialized training, and work to represent the North korea's famous dance folk dance performances have been transmitted intact. In China, however, ethnic Koreans Choi Seung-hee compiled by borough basis and the work of the North korean dance training or specialized training received directly from her, she founded the dance student of Choi Seung-hee developed basic techniques of Chinese ethnic dance and ethnic Koreans in China, while receiving only Sewonaga dance training system as a deal on exchanges with the North Korean dance dancing free dance culture for creation peppered ethnic Koreans in China was formed. When passed down to the time, Koreans in Japan since the 1960s, society began to visit Pyongyang in the 1970s, subjected to a direct transfer, and education and through the 1990s, the North Koreans in Japan by inviting dancers and dance directly to basic training by getting education bukhanchum As can be seen in the spectacular aspects will have to reproduce. However, ethnic Koreans in China in the 1950s in districts in Beijing, Pyongyang and received direct guidance from Choi Seung-hee, Dancers from the North after Pyongyang rather than direct guidance on the occasion of his visit to China Dance Troupe was affected. On the other hand Korean dance since the 1990s, starting with Ethnic Koreans in China only began to absorb a different dance culture has been created. The same nation, yet living in the region and to configure the ethnic groups, the configuration of the system and political system, according to the North Dancing transfer process and the development pattern similar, but each of the identities to ensure their own traits with a dance culture, the formation and develop the arrival of You can find out. In other words, Koreans in Japan and Federation of Koreans in Japan under the control of social forces of the dance culture by Acculturation variation of dance culture, dance culture of the borough ethnic Koreans in China Acculturation by the voluntary and free borrowers were able to gauge the changes in development.

• Journal of Life Science
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• v.18 no.9
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• pp.1299-1304
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• 2008

The purpose of this study was to develop a exercise program adopted from Jazz dance and to analyze the effect of the Jazz dance program on the Body composition, Blood components and Bone metabolism and also to study the supplement effects of Iron with Jazz dance. The Jazz dance program was composed of warming-up (10 min), Jazz dance (40 min) and cooling-down (10 min) parts. The 21 adult women between 25 and 35 year were divided into three groups; Jazz dance + iron intake group (7), Jazz dance group (7) and control group (7). The Jazz dance program was applied three times a week and 80 mg intake per day were given. The results were as follows. The body weight and lean body mass were decreased in the Jazz dance + iron intake group. The body fat mass were increased in the Jazz dance + iron intake group. The lean body mass were decreased in the Jazz dance group. The RBC, WBC, Hb were increased in the Jazz dance+iron intake group. The MCV were decreased in the Jazz dance+iron intake group. The WBC, MCHC were increased in the Jazz dance group. The MCHC were decreased in the Jazz dance group. The Deoxypyridinoline, Osteocalcin were decreased in the Jazz dance+iron intake group and the Jazz dance group.

• (The) Research of the performance art and culture
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• no.22
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• pp.413-439
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• 2011

This study aims to look for the proper directions of following and developing Gyeonggi sinawi dance in the fashion of Kim Sukja by closely examining its kinds and patterns. First, its characteristics and education reality were investigated. Second, the seven kinds of Gyeonggi sinawi dance Kim Sukja allegedly handed down (according to the 121st Report of the Intangible Cultural Assets) were concretely examined. Third, the composition of each dance pattern was studied. Fourth, various beats used in Gyeonggi sinawi dance were revealed. The late Kim Sukja had outstanding artistic talent and ability in Gyeonggi sinawi dance movements, musical composition, gayageum accompanied singing, and pansori episodes. Behind her were master singer Kim Seokchang (grandfather), father Kim Deoksun (belonging to Hwaseong Artist Board), shaman-mother Jeong Gwiseong, and great dancer Jo Jinyeong. Kim sukja's seven Gyeonggi sinawi dance types were bujeong nori, teo beollim, jinsoe, jeseok, kkaekkeum, ollimchae, and dosal puri (designated as Important Intangible Cultural Asset in 1990). Such beats as seopchae (dosal puri), mori, bal ppeodeurae, bujeong nori, ollimchae, jinsoe, and teo beollim (ban seoreum) were mainly used in Gyeonggi sinawi dance. In sum, Kim Sukja's dance was more than an individual's dance to represent the cultural types and life at that time in Gyeonggi-do and be a very important academic historic material. Therefore, it is the responsibility of the present generation to hand down and develop such invaluable traditional cultural materials.

• Journal of the Korea Society of Computer and Information
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• v.24 no.8
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• pp.51-58
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• 2019

In this paper, we propose to characteristics of mobile phone dance live broadcast platform and the second-generation technology acceptance model TAM2, this paper established the user acceptance model of mobile phone dance live broadcast platform, aiming to study the influencing factors of users' acceptance on mobile phone dance live broadcast platform. Based on the empirical analysis of user survey, the model is validated, and the relationship between variables in the model is clarified. It is also confirmed that human-computer interaction, scene interaction, relationship interaction and other factors will affect the user's acceptance on mobile phone dance live broadcast platform. At the same time, based on the relationship among variables obtained in the research, this paper tries to analyze how the variables affect each other based on the actual practice of mobile phone dance live broadcast platform. In addition, the video design strategy and marketing strategy for further development of mobile phone dance live broadcast platform are given to help the platform and dance creators to carry out better promotion on the mobile side. In the end, this paper summarizes the shortcomings of this study and points out further research directions in the future, providing a reference for researchers in the field of mobile phone dance live broadcast platform acceptance.

• Journal of Korean Academy of Nursing
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• v.25 no.3
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• pp.538-548
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• 1995

Exercises are achievement oriented, the process is frequently perceived as hard and difficult Participants drop out from exercise programs in the middle of the training period. Dance movement, which is the deliberate and systematic use of movement, is enjoyable during the movement and provides opportunities for persons to express them-selves. Regular long term dance movement may in-duce a training effect with a decreased drop out rate. Dance movement could be one way to attain wellness, however, there have been few studies to evaluate both physiological and psychological aspects of dance movement. This study focused on evaluating the effects of dance movement training on body weight, resting blood pressure and heart rate, limb circumference and strength, stress response and subjective feelings. This quasi-experimental study was designed as a nonequivalent control group pre test -post test study. Ten healthy fe-male subjects, aged between 19 and 31 years volunteered for an eight week dance movement program. Ten healthy female subjects, between 19 and 21 years of age paticipated as controls. None of the subjects had performed regular physical activity for six months prior to the study. Dance movement was created with reference to Heber's movement guide. The Dance movement program consisted of approximately 30 minutes of dance, three days per week, for eight weeks. During each 30 minute work out, there were approximately 5 minutes of warm-up dancing, 20 minutes of conditioning dance and 5 minutes of cool-down dancing. The intensity for the conditioning phase was at between 60% and 65% of age-adjusted maximum heart rates. Body weight, resting blood pressure and heart rate, circumference of mid upper arm, mid thigh and mid calf, muscle strength of upper and lower limb, physical and psychological response to stress were measured prior to, and following the experimental treatment. Body weight was measured by digital weight scale(Kyung In Corp., Korea). Resting systolic and diastolic blood pressure were measured by sphygmomanometer, Resting heart rate was measured for one minute in a relaxed sitting position using the radial artery. Circumference of mid upper arm, mid thigh and mid calf was determined by tape measure. Muscle strength of the upper extremities was measured by a grip dynamometer (Takei Corp. No.1857, Japan) and that of the extremities was measured by the length of time the leg could be held at 45° Physical and psychological responses to stress were measured using the Symptoms of Stress (SOS)Scale. Paticipants in the dance movement were interviewed by the facilitator following the eight weeks, and their thematic responses about the dance movement were recorded. Following the eight week dance movement train-ing, body weight decreased significantly, circumference of mid thigh and mid calf increased. The length of time leg - raising could be held tended to increase following the dance movement training. Resting systolic and resting heart rate showed a tendency to decrease. Total mean score of stress response tended to de-crease, and mean score of habitual patterns, do-pression, anxiety / fear, anger and cognitive disorganization decreased remarkably following the eight week dance movement. Thematic responses about the dance movement were positive following the training.

• (The) Research of the performance art and culture
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• no.43
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• pp.381-403
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• 2021

Cheonsubara Dance is one of the most important ceremonies in Buddhist rituals. This paper is a study on principles of Cheonsubara Dance in Yeongnam. This also distinguishes the Cheonsubara Dance performed for about 7 minutes with no patterns according to 'The Great Dharani of Spiritually Sublime Phrases' by dance words, and analizes its combinations and principles. Cheonsubara Dance in Yeongnam consists of 7 dance words(Greeting, Carrying, Carrying with 180° rotation, Bara-Garugi, Bara-Garugi with both hands, rotate once, Bara-chigi), and put together according to the number of letters from 'The Great Dharani of Spiritually Sublime Phrases'. Usually, the principles can be seen through 4 types of changes from the dance: 1) When letters of 'The Great Dharani of Spiritually Sublime Phrases' appear consecutively with the same number of characters, 2) When a two-letter word turns into a three-letter word, 3) When the opposite of 2) occurs, 4) When 2~3 letter words change in a row.

• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• (The) Research of the performance art and culture
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• no.33
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• pp.303-328
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• 2016

This paper identifies the life of Kim Jung Hyun who was so called kisaeng, a beauty and entertainer in modern times and serves as the study considering what kinds of dances she played going through modern times and the significance works in Korea Dance illustrated guide bear in terms of dance history. Kim Jung Yun who was designated as an important intangible cultural asset for her Korean traditional narrative song in the northwestern provinces (Number twenty-nine. designated in 1971) devoted herself to Korean classical music area after having been designated as cultural asset and became a stranger in dance area. However, in Kisaeng call-office, she had been estimated to learn dancing under the great dancer, Lee Jang Sin, and make efforts on dance activity until the early 1960's. Her works derived from such learning and creation activity came to be part of Korea Dance Illustrated Guide. This study aimed at studying Kim Jung Yun in addition to her works who had not received attention so far but worked on positive lines and made a significant accomplishment in modern dance history in order to reveal her importance status in modern dance history.