• 복식
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• 제57권7호
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• pp.84-97
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• 2007

Dancing with weapons existed spontaneously when war and hunting were common, and sword dancing, as a dance for banquets, developed and changed in various forms. In Korea, sword dancing was performed from the Three Dynasty Period, and in Joseon Dynasty, it was performed as court ceremony. The origin of the sword dancing, that has been performed from the Joseon Dynasty until now, and costumes for sword dancing isn't accurate. The purpose of this study is to analyze the sword dancing costume of China, Korea's neighboring country, and that of Korea in the same period, and to find out the process of wearing military uniform: Jun-mo, Jeo-go-ri, Chi-ma, Gwae-ja, and Jun-dae, being settled as the sword dancing costumes of Korea in late Joseon Dynasty. In China, sword dancing became famous in Han Dynasty, and in Tang Dynasty, it was the meridian of sword dancing with the most magnificent form. After the Song Dynasty, the sword dancing fades away. In Korea, the sword dancing started as a mask dancing of children that Hwa-rang(bravery youth) in Shilla Dynasty started. After the Unified Shiila Period, the sword dancing of Tang Dynasty spread to Korea, with active interchange between the two countries. After the Corea Dynasty, the mask dancing of children faded and the sword dancing of Tang Dynasty changes into Korean form. It was incorporated into the court ceremony after the mid-period of Joseon Dynasty, and the costumes were settled as the military uniform, which are Gwae-ja, and Jun-dae on top of Chi-ma, and Jeo-go-ri, and Jun-moon the head.

• 한국농촌생활과학회지
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• 제7권2호
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• pp.109-119
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• 1996

This research was conducted to investigate the characteristics of chosun people s dancing garments in Yanbian. The results were as follows : Yanbian dancing garments were generally based on Korean traditional royal-dancing garments or daily dress such as a wonsam, a bokgun, a kwaeja, a chunlip, a chogori, a bachi, and a chima. However, many parts of the dancing garments were transformed or recreated for combative, lively, energetic, and temperate dancing-motions, which represented the ideology of socialism. The transforms or recreations were found in a narrow sleeve of chogori, removal of collar and gorm in chogori, transformed kwaeja and vest, bachi, and flared chima, etc. Chosun people's dancing garments in Yanbin were mainly influenced by those of North Korea. There was great similarity between dancing garments of these two areas. The similarity could result from the acculuration of these two cultures.

• 복식
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• 제47권
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• pp.125-142
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• 1999

Dancing along with mankind has existed in various ways form old age to the present. This dancing combined with artistic meaning is called the art of dancing. This study is mainly about the functions decorations and expressions of dancing costume and the claracteristics of the costumes by the 20th century designers Leon bakst Oskar Schlemer Pablo Picasso. The dancing costume were not so much different from those of the public from old age to middle age. In 18th and 19th centuries the length of the cotstumes become short from the knee to the thigh. The functions have much to do with the development of dancing for example the appearance of toeshoes. The costumes are designed not to prevent the movements of dancers smooth line in old age and ladylike vend high-blown line in the 18th and 19th centuries. Cotton and hemp textiles are turning into the transparent forms such as lace and gauge. The personal ornaments earings and necklaces have change into the pattern with wings and tassels. The dancing costumes of Leon Bakst Oskar Schlemer and Pablo Picasso are designed after the due consideration of body shape. Bakst focused on the beauty of smooth lines with splendid colors and decorations. Schlemer analyzed the body abstractly and metaphysically and expressed it with detaile and simple lines. Picasso emphasized cubic forms with cubism and expressed the characteristics of costumes with clear colors and smooth curved line. Bakst Schlemer and Picasso made the early 20th century the age of functional dancing costumes putting a light on the concept of space and foundation for the modern dancing costumes.

• 복식
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• 제50권4호
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• pp.73-87
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• 2000

The court dancing suit, so-called "JeongJae(呈才) suit," has been worn by court dancers on the occasion of the royal court′s feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national quests from foreign countries. There are 53 kinds of court dancing suits, ranging from the age of the ancient Three Kingdoms to the period of Chosun Dynasty. The court dancing suits are divided into two styles : DangAk-JeongJae(唐樂呈才) style and HyangAk-feongjae(鄕樂呈才) style, depending on dancing styles. Since the court dancing suits in the age of the ancient Three Kingdoms and Koryo Dynasty have already been studied previously, this study discussed the change of dancing suit styles created in the latter period of Chosun Dynasty, such as YukHwaDae(六花隊), MuSanHyang(舞山香) and ChoonAengJeon(春鶯), and the thought of Yin-Yang and five elements(陰陽五行思想) that the colors of the court dancing suits imply. The purpose of this study is to understand the thoughts contained in the ancient suits as well as their styles in order to inherit and uphold our traditional culture properly.

• 한국실내디자인학회논문집
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• 제18권1호
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• pp.43-53
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• 2009

This study is to investigate the utilization of Indoor Proscenium Stage Zone Lighting method in the dancing performance. In other words, it is about how we can utilize the principle of zone lighting in dancing performance, a kind of stage art. Stage lights give lights on the stage. Therefore they play big and important roles in dancing performances. Lightings make big influence on the overall atvosphere and situations of the dancing work but most of dancers do not perceive their importance and furthermore they don't know about the lightings very well. To let them know about stage lightings better, we studied lightings form the perspective of the dancers who face the lightings without great knowledge thresh the articles and literature related general lightings and lighting design, books related to stage lightings and dancing lightings, previous studies and academic articles. The most important part of this study is to understand and utilize the principle of zone lightiing. Zone lighting is generally called as cross lighting, which means single light from the crossed two lights. When looking into the principle of the zone lighting of the Indoor Proscenium Stage, it means 45 degree lighting from both sides of the top form the point of the dancer When more than two lights are used, the angle of the light should be $90^{\circ}$or 120. It is the principle of the lighting technology showing the face and body of the dancers ing three dimension. Applying for the principle of this zone lighting to the dancing performance of Indoor Proscenium Stage, the lighting methods and the usage of the lightings were studied. As shown above, the role of the lighting is very important in dancing configuration. We hope that the perception on the dancing lighting will be changed and studies on the dancing lightings. By understanding and applying more principles of lighting, we will make efforts to make better dancing performance and dancing conporsers and dancers shall make more efforts and studies on lighting for better works. Through such efforts, we can have more experts and professionals In dancing lighting field and they will help us to describe and express the intention of the dancing work better as dancing artists. We hope that there will be better quality performances through more and diversified studies in this field.

• 대한지역사회영양학회지
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• 제9권4호
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• pp.501-510
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• 2004

This study was carried out to investigate the dietary attitudes, nutrition knowledge, nutrient intake, eating-related characteristics of dancing major and non-major female university students. The survey was conducted from October 1 to November 10, 2003 by questionnaires and data analyzed by SPSS program. The results are summarized as follows: 25.5% of the underweight group, 53.6% of the normal weight group, 12.5% of the overweight group and 66.7% of the obese group had correct perception about their body image. Eighty-one point three percent of the dancing majors and 77.2% of the non-majors were concerned about weight control, and 71.3% of the dancing majors and 64.5% of the non-majors had weight control experiences. There were no significant differences in nutrition knowledge scores and dietary attitude scores between dancing majors and non-majors. There were no significant differences in ‘predisposition to obesity scores’ between dancing majors and non-majors, and the scores were low. ‘Predisposition to anorexia’ scores and ‘uncontrollable urges to eat’ scores were significantly higher in the dancing majors compared to the non-majors. Intakes of the nutrients were lower than those of the Korean recommended dietary allowances (RDAs), except vitamin C in the dancing majors. Intakes of calories, calcium and iron were lower than those of the RDAs in the non-majors. Dietary attitude was positively correlated with nutrition knowledge but was negatively correlated with ‘uncont-rollable urges to eat’. In the dancing majors, ‘predisposition to obesity’ showed significantly positive correlation with obesity rate and ‘uncontrollable urges to eat’ and was negatively correlated with nutrition knowledge and dietary attitude. In the non-majors, obesity rate showed positive correlation with ‘predisposition to obesity’ and ‘uncontrollable urges to eat’. Therefore proper nutritional education program and recommended dietary allowances are required for dancing majors to improve their nutritional status.

• 복식문화연구
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• 제12권4호
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• pp.529-546
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• 2004

The Chosun Dynasty＇s establishment of Five-Ceremony, which occurred shortly after its founding, and the revision of traditional Korean music were based on Confucianism＇s Ceremony-Pleasure Idea(예약사상). The purpose of this study is to determine the effect of Cheo-Yong dancing, both social and political, on the role of royal dancing. Furthermore, this study will consider what the Chosun Dynasty＇s(조선) rulers pursued, by researching the reasonswhy Cheo-Yong dancing changed with the times along with the symbolic change of clothing for Cheo-Yong dancing through (Ak-Hak-Gue-Bum), a book which explains music and dance in Chosun Dynasty as a part of Ceremony-Pleasure Idea(예약사상) the people ruled ever the country tough courtesy etiquette and music. Consequently, Cheo-Yong dancing which was introduced in (Ak-Hak-Gue-Bum) played the roles of justifying, strengthening and displaying royal authority. And because the symbolism of Cheo-Yong dancing is reflected in clothing for Cheo-Yong dancing, it can be concluded that it expresses not only the sense of value of that times but also ruler＇s idea.

• 복식문화연구
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• 제5권3호
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• pp.142-150
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• 1997

Korean ritual dancing was doing in a royal court when an auspicious event happen in a country, a ritual ceremony was hold or reception for an envoy came from the other country was hold. There were 53 kinds of ritual dancing in Korea. Gumgee-Mu was the one among of them. Yea-Reung(woman ritual dancer) were dancing Gumgee-Mu with a sword. For Gumgee-Mu they wore a Kaeja(快子), Haebsuyoi(挾袖衣). Above it they took a Jeandae(戰帶), Jeanlib(戰笠). The dancing suit\`s color had a harmony with well mixed. Lunar-Solar-Five-Natural(陰陽五行) of oriented traditional concept.

• 복식
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• 제50권5호
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• pp.41-52
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• 2000

During the 3C(B.C.) and 2C(A.D.), there were large influx of variety of arts to Jin and Han dynasty such as music, dancing, and at performing from neighboring countries. It made a tremendous impact on the development of dancing an in Han dynasty. On the other hand, Kokurye people had also enjoyed their own singing and dancing culture (styles) for a long time. Han and Kokurye's dancing costumes were studied based on artifacts (data) such as wall paintings, clay doll, and other small paintings all from tombs in Han and Kokurye. A similarity was found between two dynasties' dancing costume, since both had tong sleeve dresses. However, the further detailed study showed that one can't simply say both are in the same style. For example, the dress in Han dynasty had a long length style of coat(深衣) covering all the way to feet, and there were round neckline coat(團領) and long Jacket(장유). In contrast, that of Kokurye had a shorter length in coat(直領) covering only up to calf of the leg or long jacket(장유).

• 복식
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• 제61권6호
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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.