• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.124-137
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• 2005

Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Religion is the essence of human life and the source of ideas about life, the universe and existence, so they become hidden inside of the structure of culture. Dancing costumes present the process of cultural modification and acceptance more vividly than general costumes. This research shows that, among foreign cultures, it is Buddhism that most influenced Chinese dancing costume. Taoism was the Chinese native religion that played an oppositional role against Buddhism. Taoism was hidden in Chinese dancing costume in every age. Chinese dancing costume changed many times due to the import of exotic styles such as Buddhism that partially replaced the Taoistic tradition. Therefore, it is confirmed that the process of cultural importation of exotic style was different according to the social, historical, and cultural backgrounds of China during the period from the Han to the Sui and Tang dynasties.

• Journal of the Korean Society of Costume
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• v.49
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• pp.173-184
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• 1999

In the Tan dynasty it cultural style was very international and its culture actively absorbed other foreign culture. Moreover it was the time when the concept of barbarians(胡, hu) was applied widely and its culture got the tremendous influence from other foreign culture The influence from the barbarians were tremendous in Tang dynasty so that among the ten elements of the Sipbuak(十部樂) in Tang period only ChungSangAk(淸商樂, Qingshangyue) and YenAk(燕樂, Yenyue) were from their own Chinese culture(漢, Han). I wanted to discuss the influences of the Barbarians cultures on the dancing costumes in Tang period for it appeared to me that especially the dancing costume with the introduction of new foreign dances and their distinct styles in costumes would make a great impact on the dressing styles in Tang dynasty On the dancing costumes in tang dynasty we dan find the strong influences by the Barbarian style(胡風, hufeng), and even the authentic Chinese dressing styles of han period appear to be change quite a bit.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.156-171
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• 2012

It is the time of the Korean Wave booming throughout the world, placing Korean culture in the center of the world and its added value is unaccountable. At this prosperity, the preserving of the archetype of Korean dancing and digital contents making is becoming a task not only for the government but also for the private sector because culture industry has enormous added values. To achieve such goals, contents development is an urgent matter but establishing the value of the archetype of Korean traditional dancing must have priority. The public has to take an active role in rediscovering the values of traditional culture, and as the representative of Korean identity traditional dancing must be the object of a systematic art policy. This study will review the current status of 'digital contents program of the archetype of culture' for traditional dancing and will reconsider the modern value of preserving the archetype of culture to make a suggestion to the direction of culture art policies in the near future. The study acknowledged the lack of technical personnel majoring in the archetype of traditional dancing and the need of reviewing the credibility of historical research procedures. Even with the studies by industry-university collaboration and positioning of specialists, effective policies that will form the foundation for private firms to train personnels is in urgent need. In other words, training personnels, allocation of resource, securing funds, policies promoting collaboration between private and individual businesses, and the commercial recognition at private firms are still far from establishing. This is due to the fact that archetype of culture is not a business that creates revenue immediately, therefore the recognition of traditional dancing as an investable item by business-oriented firms or movements are difficult to find. To overcome such situation, software oriented policies that establish open communication and sharing with the public should be done at first rather than the quantity oriented hardware policies of contents development. Through this process the public can change the attitude on traditional dancing and traditional dancing could be newly recognized as a creative repository of culture and as public businesses giving birth to economic value.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.353-367
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• 2019

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang's sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled "Green mountain is like what I've meant", "To Byeokgyesoo in Cheongsan-ri" and "Dongjibam ginaginbam". In brief, Jin-Yi Hwang expressed her "everlasting love and emptiness", "temptative conciliation" and "eager waiting" these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang's sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang's expressed emotions.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.7
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• pp.284-289
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• 2017

This study examined Korean traditional dancing performances in small theaters as a phenomenological approach. Korean traditional dances, as cultural welfare, are expected to be attractive to the public and our cultural heritage is expected to be inherited from them. The purpose of this study was to provide basic data for Korean tradition dancing to be supplied to the public as a Traditional Cultural Welfare Program. A qualitative approach was taken to best achieve the aims of this study. The data used in this study were collected from July 10th to September 1st, 2016, using in-depth interviews. Seven Korean dance professionals with more than 15 years' experience in traditional dancing performance were enrolledin this study. The traditional dancing performance in small theaters is necessary in terms of providing concert halls to local cultural artists and high quality performances to audiences as traditional cultural welfare. The traditional dancing performance in small theaters as cultural welfare will provide a platform to enjoy various traditional cultures across all ages and all class levels of the society in auniversal dimension.

• Journal of Korean Physical Therapy Science
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• v.28 no.3
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• pp.76-87
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• 2021

Background: The purpose of this study was to evaluate the effects of power walking and square dancing on middle-aged women with hypertension. Design: Randomized controlled Trial. Methods: 30 middle-aged women with hypertension were selected and divided into two groups. 15 cases in the control group received routine treatment, and 15 cases in the intervention group received community vigorous walking and square dancing intervention on the basis of routine treatment. The intervention time was 40-60minutes/day, 5days/week, total 16 weeks. total cholesterol (TC), triglycerides (TG), high density lipoprotein cholesterol (HDL), low density lipoprotein cholesterol (LDL), angiotensin II (Ang II), Leptin, blood pressure, and heart rate were measured. Results: Body weight, body mass index (BMI), TC, TG, LOW-density lipoprotein, angiotensin II, leptin, systolic blood pressure and heart rate were significantly reduced after power walking and square dancing (p<0.05). After the experiment, TC and TG in the experimental group were lower than those in the control group (p<0.05), while HDL was higher (p<0.05). Conclusion: The results of this study suggest that power walking exercises and square dances are significant effects on lipid mechanism and heart rate.

• Korean Journal of Agricultural Science
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• v.40 no.4
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• pp.305-309
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• 2013

A freesia (Freesia hybrida Hort.) 'Dancing Flame' was developed for the cut flower in the National Institute of Horticultural Herbal Science in 2007. This hybrid was selected from a crossing between a seedling 'Vulcano' and 'Sailor', which is scarlet double flowering and purple single flowering, respectively, and 'Figaro' which is bright red color and semi-double flowering, in 2000. Morphological characteristics of the selected hybrid were investigated for 3 years from 2005 to 2007, and then it was named 'Dancing Flame'. 'Dancing Flame' had red color (RHS R44B) and single flower with yellow center color (RHS Y9A). The growth of the plant was vigorous and the average height was 93.3 cm. The average flower width was 60 mm, number of floret per stalk was 14.3, and stalk was 13.2 cm length. The average yield, 7.8 cuttings per plant, was 2.5 stems per plant more than the control cultivar. The average days to first flowering of 'Dancing Flame', 133 days, was approximately 5 days earlier than the control cultivar. And its average yield, 7.1 cormlet per plant, was also 2.5times more than the control cultivar.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1999.03a
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• pp.3-6
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• 1999

The study was performed to evaluate the sense of equilibrium by means of rotary chair system in middle school girls with dance learning. Control of equilibrium, which is the most important function in dancing, is maintained by vestibular, visual, and proprioceptive inputs. Experimental groups were divided into trained group with dance (experimental group, 13~14 ys, n=15) and untrained group (control group, 13~14 ys, n=15). experimental group was trained by programmed dancing for 12 weeks, 45 min/day and 5 day/week. Gain of eye movement was measured for vestibulocular reflex (VOR), visual vestibular stimulation (VVOR), optokinetic stimulation(OKN), and visual fixation (VFX). The gain of eye movement at higher than 0.08 hz was significant decrease in experimental group, and VVOR showed the similar fashion to VOR. The gain in OKN and VFX was not significant difference between experimental and control groups. These results suggest that programmed training of dancing improves control of balance by adaptation of the vestibular function, and rotary chair system would be useful to evaluate the sense of equilibrium ability.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.57-72
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• 2006

Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. In the beginning, only foreigners danced these dances, but Chinese started to dance them gradually. Thus, the dancing costume showed the complete fusion of Chinese and exotic styles. Especially, in the Tang dynasty, Chinese accepted foreign culture very actively and with open hearts. They accepted foreign culture based on their traditional culture, and fused them completely. In these costumes, not one culture was prominent, but many cultures from Gandhara to East and West Turkistan and even to Persian and Hellenism were synthesized together. Chinese, in the Tang dynasty, retained on their traditional culture and modified new foreign culture into Chinese style.

• Toxicological Research
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• v.17 no.2
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• pp.139-142
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• 2001

Sexual behavior and reproductivity of male fIsh were studied as an in vivo screening method of endocrine disruptors. Male medaka (Oryzias latipes) were exposed to 17$\beta$-estradiol at nominal concentrations of 2 and 20 $\mu\textrm{g}$/l for 14 days. After exposure of the chemical, sexual behavior between male medaka and normal female which were injected with prostaglandin $F_{2\alpha}$ just before the test, was analysed by using video camera for one hour. Normal control male showed courtship dancing such as following, guarding, dancing and crossing while 17$\beta$-estradiol treated male did not show any type oj courtship dancing. Furthermore, fecundity and fertility were significantly decreased in the treated group. It was suggested that analysis of sexual behavior could be a useful endpoint for the screening of the endocrine disruptors.