• Journal of Korean Public Health Nursing
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• v.16 no.1
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• pp.135-147
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• 2002

It is essential to improve the quality of life of the elderly in aging society. Regular exercise as nursing intervention is needed to prevent diseases, maintain and promote their health, and thus promote the quality of life for the elderly, especially who generally had poor cognition for their health maintenance and promotion in a low class community. Subjects consisted of 30 women. over 65 years old in a community welfare center, who lived in the low class apartments financially supported by the local government in G city, Gangwon Province, Korea. The program consisted of dancing on music for approximately 50 minutes, 3 times a week for 10 weeks. Experimental data were analyzed with $x^2-test$, t-test, mean values, standard deviation, percentage of change and paired t-test using SAS program. After the recreation dance, the mean value of the experimental group was decreased from 7.62 to 7.44 (t=-0.258, P=0.799), and that of the control group was also decreased from 7.00 to 6.58 (t=-0.971, P=0.349) in depression. However, there were no statistically significant differences in scores of depression between two groups. In life satisfaction, the mean value of the experimental group was increased from 19.07 to 26.50 (t=2.392, P=0.030), but that of the control group was decreased from 15.92 to 13.71 (t=-1.060, P=0.305). Thus it shows that there was a statistically significant improvement on life satisfaction after the recreation dance.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.1-15
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• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.

• Journal of Nutrition and Health
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• v.21 no.1
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• pp.23-35
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• 1988

This study was designed to find out the effects of aerobic exercise on lipid and Ca metabolism in seven healthy college women, aged 20 to 22 years. Metabolic studies were conducted before and after a 10-weeks exercise period, during which subjects participated in the planned aerobic dance program every day except Sunday. The initial mean time engaged in the exercise was 28 minutes and it was gradually increased up to 45 minutes around the middle point of the exercise period. During both of metabolic study periods, the subjects ate experimental diets which supplied about 120g of protein and 600mg of Ca daily and during the rest of the experimental period they ate their usual diets. The use of alcoholic beverages and drugs were prohibited. The results were summarized as follows. 1) The effect of exercise on lipid metabolism. (1) Mean body weight decreased significantly after exercise(p<0.01) and it did not show a significant decline in skinfold thickness and total body fat contents. (2) Serum total cholesterol level decreased significantly after exercise(p<0.05) and TG level also tended to be lower than that of pre-exercise period. Exercise did not exert any influence on the level of serum HDL-cholesterol in this study. (3) Exercise did not alter total lipid content in feces and apparent lipid absorption rate. 2) The effect of exercise on Ca and P metabolism. (1) After exercise, focal Ca excretion was slightly reduced, however, urinary Ca excretion was not significantly changed. In the results, a slight increase was shown in body Ca retention after exercise. (2) Exercise tended to increase urinary P excretion, but neither P balance nor fecal excretion was significantly changed after exercise. (3) Bone mineral content was not affected by exercise. In summary, aerobic exercise decreased total cholesterol and TG level in serum and tended to increase body Ca retention. With the results, it can be concluded that the additional physical activities beyond the normal daily life in college women might prevent some degenerative diseases-suchas atherosclerosis and osteoporosis.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.364-371
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• 2015

This study investigated and analyzed Sadanggut for General Namyi, Agisee Gutdang in Haengdang-dong, Dodanggut in Bonghwa Mountainto examine the type and characteristics of official hats for shaman's costumes based on Seoul village gutas a spiritualistic shaman revealing the divinity of music for gutthrough singing, dancing, divine material and official hats. Commonly worn official hats were Goggal(conical hats), Jeonlip(soldier's felt hats), and Heuklip(black hats) for Seoul village gut as the object of thisstudy. Each official hat had a close relationship with subjects for divinity and musical meaning for gut. Julip(Red hats), Jokduri(bride's headpiece), helmets, Iksubgwan(King's official hat), and Daesu(Queen's a big wig with various hairpins) were also worn. Official hats worn for Seoul village gutwere understood to symbolize divinity and raise authority and dignity to the public through aggressive appearance, exaggeration and splendor. Concretely, official hats at Seoul village gut first had roles to materialize the divinity of each music of gut. Second, recognized as a part of performance or traditional culture in present day, aggressive official hats were favored to supply splendid attraction and maximize scenes of divined heroic epic poem in gut. Third, for Seoul village gut, colors and silhouettes of modern traditional costumes were reflected pursuing partial change and focused on exaggeration and splendor to express the mirth and festival of gutwhile maintaining traditional costumes.

• Journal of Fashion Business
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• v.2 no.3
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• pp.55-72
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• 1998

The purpose of this study is for consideration of the flapper fashion (1924-1928) in Jazz Age (1919-1929) of America and the influences of it on modern fashion. This study is started from the latest fashion trend which is pursuing it's inspiration into the Jazz Age, the 20s. The etimology of 'flapper' was based on mines is 'flap' such as 'flutter of skirt hemline', 'hands', 'arms', 'wings' and a slang which was applied to young women from 1830. In 20th century it has meant not only new American women but also their fashion and attitude. The designs of flapper fashion were expressed by simplicity, functionality, nudity and rhythm. Simplicity was the best value of this time and the simple image was considered the smartest. Functionality was represented by straight boyish style and loose baggy silhouette that was related to free dome. Nudity was expressed by revealing of legs, arms, backs in shapes and see-through by materials. It was related to sexual attraction and point to youth. Rhythm of flapper fashion expressed optical effect of movement. Using of light material was deep related to freedom of flappers, speed, rhythmical Jazz and dancing. The influences of flapper fashion were giving an opportunity that changed fashion leader from high class to young popular group and simple design of flapper fashion effected to modernization and popularization of American apparel business. And it influenced American casual fashion which was known as brightness, youth and openhearted mood. So flapper fashion can be reganded as the starting point of the street fashion of the 20th century.

• Perspectives in Nursing Science
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• v.16 no.1
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• pp.45-54
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• 2019

Purpose: The purposes of this study was to review the literature on intervention for treating anxiety and depression among unmarried mothers living in facilities, and to understand core that could promote the development of more effective interventions. Methods: Key words in English and Korean were used to search through eight electronic databases-PubMed, Cochrane Library, EMBASE, CINAHL, RISS, DBpia, NDSL, and the National Assembly Library. Results: Ten studies were ultimately selected for the integrative review and were evaluated in terms of contextual and methodological quality. The studies consisted of seven quasi-experimental studies and three case report studies. The selected studies utilized music, art, forest therapy, dancing, education, and play programs to change mothers' perceptions, emotions, and behavior and to improve their relationships with their babies or others. Conclusion: It is important to consider mothers' self-awareness and emotional expression, and to improve their relationships with their babies or others as core elements when developing intervention programs for anxiety and/or depression among unmarried mothers living in residential facilities.

• (The) Research of the performance art and culture
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• no.38
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• pp.385-421
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• 2019

Ulsan Dutbeki, naturally transmitted by customs, is almost disappearing in the rapidly changing environment of modern society. Therefore, this study, for the purpose of its inheritance, investigated how to teach the basic movements of Dutbeki through the lessons. The subject were mainly composed of the person who met Ulsan Dutbeki for the first time. The curriculum is, at first, the preparation of body and mind to learn Ulsan Dutbeki. And the lessons about movement were in the order of progress of education, Dutbeki to the beat of Gutgeori, and Dutbeki to the beat of Jajinmori. The next step was to learn the dancing by connecting movements. This process is a way for beginners to inherit Ulsan Dutbeki in a classroom which has a limited time and space. The reason for studying how to teach Ulsan Dutbeki dance is for the purpose of transmitting the intangible culture to the ordinary citizens in the reality that people are under cutting off from inheriting the dance which had been transmitted by customs in the past. The performance of this study is to examine the way to teach basic movements with a view to protect Dutbeki, Ulsan's intangible culture, and pass it on to citizens.

• (The) Research of the performance art and culture
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• no.20
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• pp.163-204
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• 2010

"Nectar of Immortality", also known as Suryukwha, is a painting which is hung on the wall during Suryukjae, a rite to console the spirits residing on both land and water. The Suryukwha at Bonyung Temple in the Ming Dynasty consisted of 139 scrolls depicting separate scenes. In Korea, however, Nectar of Immortality combines all the scenes into one large painting. The lower part of Nectar of Immortality describes pain, disasters, and the frailty of human life in this world. This is intended to inspire people to embrace Buddhism and be delivered from their worldly existence. However, it reflects the social realities of that time as well. The scenes at the bottom of the painting of nomadic troupes of entertainers and their performances are part of this reflection. In this section, various scenes of traditional Korean performance are illustrated, such as double and single tightrope walking, Sotdaetagi (performing atop a pole), Ssangjulbaegi (one form of Sotdaetagi), tumbling, bell juggling, mask dramas, dish spinning, puppet shows, the dance of Sadang, and sword dancing. Among these performances, some, such as Sotdaetagi, Ssangjulbaegi, double tightrope walking, bell juggling and sword dancing (Punggakjaengipae), have since ceased to exist. The troupes of entertainers depicted in Nectar of Immortality are Sadangpae, Namsadangpae, Sotdaejaengipae, Choranipae, Punggakjaenipae, Gutjungpae, and circus troupes. When, after itinerant lives, these entertainers die, they become forlorn wandering spirits with no descendants to perform their memorial services. The entertainers in the performance scenes are the embodiment of souls who are the subjects of salvation through Suryukjae. Among these entertainers, Sotdaejaengipae, Sadangpae, Choranipae, Punggakjaenipae and Gutjungpae no longer exist. In sum, Nectar of Immortality provides insight into the vanished content of numerous historic forms of performance and the activities of nomadic troupes of entertainers.

• (The) Research of the performance art and culture
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• no.37
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• pp.33-60
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• 2018

This article is to present that the research on the Mudang Gut Chum should be within the context of the performance of Mudang Gut and examines its meanings and implications with focus on Seoul Mudang Gut Chum and Hwanghae-do Mudang Gut Chum. Seoul and Hwanghae-do Mudang Gut Chums do not exist in the form of simple dance or movement. They feature continuity while serving the function of revealing the existence of spirit and sometimes show the process of the spirit joining the Gut ritual, which means that the Mudang Gut Chum should not be understood as the dance itself only. Instead, care attention should be paid to the status of the tune of Gut where the dance is placed, relationship between the gut and the spirit, and the flow of narrativity. Also, the Mudang Gut Chum has a lot to do with the tune. Looking at the Mudang Gut Chum simply focusing on dancing steps, and the movement of feet and/or hands fails to gain an accurate understanding of the fundamentals of the Mudang Gut Chum. Closely connected to the tune, which is also associated with the grade of the spirit, the dance shows a variety of performances conducted by entering the Gut ritual of the spirit. In that respect, complex views on the Mudang Gut Chum are required. The same applies to the hereditary shaman Mudang Gut as well. The Korean Mudang Gut Chum has a slight difference between the Gangshinmu gut and the hereditary gut but is in basically the same aspect. The Gut Chum holds its meaning in the flow of gutgeori (tune or dance performed during exorcism, a shaman song) and delivers its own meaning in connection with the tune. It is definitely meaningful to focus on the individual movements of a dancing shaman but one should be able to derive the network of meanings that such movements have within the performance of the gutgeori, which means that intensive studies on the field performance and circumstances should be completed before studying the Mudang Gut Chum. In addition, the Mudang Gut Chum discloses the characteristics of the performance group. The Mudang Gut Chum exists in a complex manner. With respects to the status of the spirit, it shows the characteristics of the performance group. It represents the progress of Gut while closely connected with the tune. Therefore, the way of describing the Mudang Gut Chum should be far more than just simply keeping the dance notations. With this in mind, one should investigate and record the Mudang Gut Chum.

• Korean Journal of Plant Resources
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• v.32 no.5
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• pp.486-498
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• 2019

This study was conducted to investigate the leaf growth and flowering characteristics of 85 Hosta cultivars. The 85 cultivars were grown in a pot in Useful Plant Resources Center in Yangpyeong, Korea. H. 'Abiqua Blue Crinkles', H. 'Abiqua Drinking Gourd', H. 'Dancing in the Rain', H. 'Elegance', H. 'Inniswood', and H. 'Venus' were classified as a large size group (> 50 cm), while 27 cultivars including H. 'Abby', H. 'Birchwood Parky's Gold', H. 'Blue Cadet', and H. 'Blue Edge' were classified as a small size group (< 20 cm). The others were classified as a medium size groups. 79% of Hosta cultivars had leaf variegation. Leaf variegation type was divided into 5 types (standard, marginata, mediovarigata, albomaculata, striata). Among them 31 cultivars including H. 'Abby', H. 'Abiqua Moonbeam', and H. 'Atlantis' has a variegation type of marginata in the leaf. 36 cultivars including H. 'Abby', H. 'Abiqua Drinking Gourd', and H.'Abiqua Moonbeam' bloomed in late May and 9 cultivars including H. 'Black Hills', H. 'Boeun', and H. 'Fragrant Bouquet' started to flower on late August. Most flowers were below 3.0 cm in length, while H. 'Avocado' was longest on 10.0 cm. Most flowers have a lavender color group (63.5%), and 14 cultivars of Hosta showed white color group (16.5%). 12 cultivars including H. 'Blue Mouse Ears', H. 'Captain Kirk', and H. 'Fragrant Bouquet' had the fragrance in their flowers. H. 'Cherry Berry' and H. 'Revolution' had a colorful stalk, red and yellow, respectively.