• Journal of Korean Theatre Studies Association
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• no.40
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• pp.5-27
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• 2010

The Korean Mask-Dance Theatre has been developed closely related to Korean Shaman rituals. As many scholars noticed, the performers of the Mask-Dance Theatre were closely related to the Shaman family. In addition, there are mask-dance performances in actual shaman rituals. and are the representative performances among them. This essay intends to compare these two mask-dance performances in the shaman rituals to the similar performance of Old Grandpa and Grandma episode in the regional Mask-Dance Theatre. This study would bring us further in proving the close relation between the shaman ritual and the Mask-Dance Theatre. is one episode, Keori, in the shaman ritual of 'Baeyeonsin-kut' and 'Taedong-kut' in the mid-west seashore area. 'Taedong-kut' is the village shaman ritual for fertility and prosperity, while 'Baeyeonsin-kut' is a private shaman ritual for a large catch of the ship. is held in the later part of the whole shaman ritual since the later part tend to be more for entertainment than actual ritual. The story of is very similar that of in Pongsan Mask-Dance Theatre of the mid-west region. In addition, some of their dialogues are very similar. Only the later part is different. These similarities indicate that the Mask-Dance Theatre, which came into being in later period than the shaman ritual, has likely taken the story motif of the shaman ritual. is also a performance in the shaman ritual of east coasts. is more elaborate and recreational than of the west coasts. is also performed near the end of the ritual, and sometimes it is not performed at all. This indicates that has little ritual meaning left. When we compare it with the regional Mask-Dance Theatres such as Keosung Okwangdae, Tongyong Okwangdae, and Suyong Yaryu, the structure and the story lines are also very similar. It is a question why only the motif of the Grandpa and Grandma isfound both in the shaman ritual and the Mask-Dance Theatre. Many other motifs of other episodes in the Mask-Dance Theatre are not found in the shaman rituals. It seems that the Grandpa and Grandma motif is related to the ur-belief in fertility. In other words, this motif seems to be originated from the old belief in the fertility couple of Chonha Taechanggun and Jiha Yeochanggun. The shaman ritual for fertility first picked up this motif, and then the mask-dance theatre also adapted this motif for its recreational purpose. When we compare with , still has more aspects of fertility ritual, while lost its ritualistic meaning and its main purpose is to develop dramatic needs. and are invaluable existent performances to prove theatre's origin in ritual. The existence of mask-dance performances in the shaman rituals shows us the transit performance between theatre and ritual.

• (The) Research of the performance art and culture
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• no.35
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• pp.373-404
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• 2017

As an art, Korean dance is a history, a tradition, and a continuing activity of consciousness. It is a present and future activity in the past that will continue the identity of Korean people. So storytelling is not just a description of the historical background, but of eternity that is being recreated. From this study, the inquiry of artistic beauty of Korean traditional dance is questioning the original essence and value of 'storytelling' through old tradition and historical art. If the study of the Korean dance among them was a study of the theorists for the aesthetic essence or the ideological system, the point of view of the storytelling of the Korean dance is that the public understanding about the core structure and reason of Korean dance and the study of the humanistic value It reminded me of a desperate attitude. The meaning of this study is to verify the usefulness of storytelling as a way to construct various contents of Korean dance in conceptual definition of storytelling. In the symbolic meaning of Korean dance, Cheoyongmu text formed the deep meaning network of the original art beyond the linguistic narrative structure and suggested the importance of storytelling development as DB of original contents.

• Journal of the Korean Home Economics Association
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• v.11 no.2
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• pp.166-188
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• 1973

This thesis chiefly to investigate and study about the historic transition of the dress and ornament which is based on the costume of the folk dance. The folk dance is devide into the styled of the Court and common people I. Investigated and studied on the description of Hak-mu (the crane), Ryun-wha-dae (the lotus blossom) and chu-yong dance (a mask drama) which are the typical models among the folk dance on the view of the scale and history of playing. This research materials are made on abstract of Ak-Hak-Gyae-Bum (the pattern of the music which was compiled by Sung-hyun on the King of Sung-Jong of Yi-dynasdty) and selected from the conservation material and playing in the National Classical Music Bureau nowadays. I am sure the understanding the style of common people is to investigate and research the folk dance which is specified and conserved by cultural property control Bureau. Generally Bong-San mask dance is the typical mask drama on the view of the scale and transmitted, which occupies the wide range of the folk dance. So I selected it as the research material. I am interested in the historic origin and the structure of the dress and ormant conserved till the nowadays and so can catch the hidden conception about the colour and concern of religion in the Korean peculiar living consciousness. From this point, the study of the classical folk costume is activated in this part and I hope this poor article will become a small assistance for another study.

• (The) Research of the performance art and culture
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• no.38
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• pp.71-109
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• 2019

In this study, succession aspects of direction structure and dancing were reviewed in Moondoong drum dance succeeded by Yong Bae Cho of Goseong Ogwangdae. Sung Rak Hong who succeeded to Moondoong drum dance before Yong Bae Cho directed only 'drum dance' mainly with Goodguri rhythm. While Sung Rak Hong succeeded, the drum of Moondoong Gwangdae became smaller, which was changed from drum before 1965, to semi-drum in 1966 and tabor in 1967 and thereafter. Yong Bae Cho succeeded to Moondoong drum dance since 1970, adding 'Moondoong dance' directing tabor at the floor together with 'drum dance' before August 1972 and directing Dutbaegi rhythm. From the first succession of Goseong Ogwangdae since the winter in 1974, obscene movements were disappeared, and the setting with Yangban and contents to sublimate resentment were added in Moondoong drum dance. These changes seemed to be affected by succession format of Tongyoung Ogwangdae Moondoong drum dance and Ok Jin Gong's idiot dance. There are succession patterns when reviewing Moondoong drum dance directed by Yong Bae Cho. In case of 'Moondoong' dance, repeated forms were succeeded including 'fixed dance'->'impromptu dance'->'jump' in center of three fixed dances. In case of 'drum dance,' repeated forms were succeeded including 'fixed dance'->'rolling tabor'->'concluding' -> 'impromptu dance'->'jump' in center of four fixed dances. In 'drum dance' by Yong Bae Cho, many parts of succeeded dance by Sung Rak Hong who was a prior successor were remained. After Yong Bae Cho's death, Jong Bok Heo summarized the dance with more completed order focusing on the structure of Moondoong drum dance succeeded by Yong Bae Cho. Since then, multiple scenes were added continuously including hobbled appearance by Jong Won Heo, happy scene eating barley and scene to catch tabor stick difficultly, by Chang Ryol Heo. Yong Bae Cho added 'Moondoong dance' to the prior works only with 'drum dance' and started adding the story with resentment. The direction structure summarized by Yong Bae Cho became the basic framework in which the following directors added the scenes very easily. Like this, Yong Bae Cho was an excellent director of Goseong Ogwangdae who inherited Moondoong drum dance from the previous generation to establish and develop to hand over the next generations.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.

• (The) Research of the performance art and culture
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• no.35
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• pp.93-123
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• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.

• Korean Journal of Applied Biomechanics
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• v.17 no.2
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• pp.83-91
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• 2007

This experiment studied the change in a human's control of his or her static posture by analyzing the stabilogram diffusion and, by using the said study, evaluated the control ability of different groups with different experiences. The postures had a rising requirement of heel-rise according to three conditions: heel-toe, ball, toe; the groups were divided into dance major student and non-dance majors. The results of the critical points according to posture did not show a direct relation with the change in postures that had a rising requirement of heel-rise. The diffusion coefficient(D) had greater stochastic activity for short-term regions that utilize open-loop controls without feedback than for long-term regions that used closed-loop controls with feedback to maintain balance. The directional results of the body undergoing disturbance showed that A/P direction's diffusion coefficient (D) was larger than that of M/L direction. Both feet's planar diffusion coefficients were a linear combination of the diffusion coefficients calculated for the x and y axis. In studying the different abilities to control posture between a dance major student and a non-dance majors, a comparison of open-loop control's diffusion coefficient(D) was effective, and dance major student had superior control ability to that of non-dance majors.

• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.15-37
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• 2011

This study is on dancing dresses of the costumes of Gum-Mu(劍舞, sword dance) in southern, central, and northern region of Korea, focusing on the origin, characteristics and the way of dance. The reason why the Gum-Mu is full of local color is that royal Korean Gisaeng(妓生) and local Gisaeng returned to their hometown and propagated this dance to each regional Kyobang. They combined court sword with each local dance and music and formed the present style of regional Gum-Mu. Dance and music native to area, which has formed today's regional Gum-Mu. The composition of current dancing costume of the sword dance is Jeogori, Chima, Jeondae(戰帶), Jeonrib(戰笠), Kwaeja(快子) Also, The complement colors harmonizing with color of Yin-Yang & Five Elements. which are yellow, blue, white, red, and black, are usually used. And the masculinity in dance were expressed withmore use of blue, and red in the opposite but if a sword dance takes on masculine character, blue color is more used, if feminie character, reddish colors, such as pink and red, are used. Thus, JinJu, Honam, Haeju, Pyeongyang dancing Suit of Gum-Mu feature blue color, Tongyeong, Kyeonggi, Court(seoul)dancing Suit of Gum-Mu feature reddish color.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.122-134
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• 2019

This study aims to conceptualize characteristics of the Korean traditional dance, and to categorize and analyze the recognition of experience of passing down education of Seungmu(Buddhist Dance), Salpurichum(Exorcism Dance) and Taepyeongmu(Dance of Peace). Dividing into groups of two: an experienced person twenty years or more in the Korean dance and a person who completed the traditional dance three years or more, three groups were selected. We connected the characteristics of the traditional dance experienced in passing down education with the recognition experience in the training courses. Categorizing thematically the process and the recognition of experience in the passing down education program, we attempted mutual group discussion and inductive area analysis on the basis of in-depth interview, tutorial discussion and analysis contents. As a result of this study, first, the characteristics of the Korean traditional dance that graduates of the program by repertory empathize were the experience of the sinmyung(the excess of mirth) and improvisation, the supreme self-controlling beauty and the best beauty of expression. Second, the recognition of experience in the passing down education program runs as follows: Interacting in the centre of the process, new education system for transmission, and formation of social discourse for appreciation. Conclusionally, the experience and the new vision for transmission of passing down education of the traditional dance are required to be based on the appreciation of the rationality of mutual communication and recognition of experience.

• The Journal of Korean society of community based occupational therapy
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• v.2 no.1
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• pp.37-47
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• 2012

Objective : The purpose of this study was to identify Effects of the ROM dance on cognitive function, neuropsychiatric in using wheelchair senior in nursing home. Methods : The subjects of the experimental group were 15 seniors using wheelchair who attended an ROM dance program in a nursing home. It was carried out for 18 weeks from Mar. 2010. to August. 2010. The evaluation tools used for the presented study were the Mini-Mental Status Exam-Korean(MMSE-K) and Neuropsychiatric Inventory-Questionaire (NPI-Q). Results : In the terms of cognitive function there was no significant defference between the mean pre/post test. but the factor(orientation of time) of MMSE-K and the factors 2 (sleep/nighttime behavios, apathy/indefference) of NPI-Q was significant improvement. Conclusion : In this study, the ROM dance program was effective in improving cognitive function and neuropsychiatric in seniors using wheelchair. also ROM dance program was decreasing and regression delay effect in cognitive and neuropsychiatric.