• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.119-132
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• 2008

This study intended to develop and produce a modern form of fashion design for the Korean creative dance performance, 'Crazy Skirt Collage', which expressed conflict between internal ego and a persona in a woman. The qualitative method was used to analyze literature review, internet search and visual data of historically important cases related to the theme. Based on the analysis, the fashion design of the dance performanre by Hwang Hee-Yeon that was actually staged on Towol Theater, one of the Seoul Arts Center, was produced. The results wire as follows; First, the study confirmed a change of persona that revealed a female's animus strongly as it moved into the modern time. Second, the female's persona was expressed through long skirts, slips, dress shoes, handbags, military shoes, dresses with long zippers, trousers, wedding dresses and Korean full skirts during the performance, while the female's animus through male coats, panties, big bags and clock. In conclusion, it is necessary to study new expressive methods, that is, dance clothes using advanced equipment such as lights, videos or other variety of materials. It is also important to understand aesthetics of modern women's ordinary lives and to adapt ordinary clothes to dance clothes in various methods in order to express their modern lives appropriately through Korean creative dance.

• Sijohaknonchong
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• v.20
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• pp.173-195
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• 2004

In this thesis I tried to unearth some Korean Akjang, written and sung by Korean language, not by the form of Chinese verses. In 19th century they used the Korean Akjang at Court banquet cerymony in Chosun Dynasty. I had got four meaningful conclusions through this study, as follow. 1. There are various banquets but they used Korean Akjang only at YaYeon, a sort of night banquet. 2. The Akjangs arranged at YaYeon are called Ak-ka-Samn-jang which means three songs at the banquet. 3. These Akjangs were usually composed of 3 pieces of Gagok, the Korean traditional vocal music, as one. 4. The Kings and princes wrote all the words of these music.

• 기호학연구
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• no.54
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• pp.37-63
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• 2018

In this study, we tried to represent representative animals in traditional dance and study about cultural symbolic representations that symbolize them, thus meaning Korean worship of animal worship and philosophy of life and discuss the identity of Korean traditional art. This is to ask fundamental questions about Korean culture and art, and to express the cultural philosophical reason for the representation of animal imitation. Therefore, Korean animal imitation dance was able to get a glimpse of Koreans' recognition of artistic value which is reflected in dance beyond simple cultural code. In other words, it was found that not only magic and sexual metaphors but also the adaptive attitude through natural friendly life and the ethical practice in reality were inspired by artistic aesthetics.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.167-185
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• 2013

Among korean traditional culture, TalChum(mask dance) which bears our unique cultural emotion, is about wearing a Tal(korean mask) and dancing, which express our ethnic feeling. The ethnic feeling was expressed into silhouette of hotel uniform which sightseers at home and abroad most frequently visit. This would be the best and the fastest way to show and deliver ethinic feeling of Korea. Fashion design of an uniform would be the best way to express group's unification and attachment. The purpose of this study was to design uniforms, in order to satisfy the property of function, aesthetic points, symbolism to inhere and to differentiate the group from others by using plastic and creative design. This study was meant to induce people to get near to characteristic of Korean culture, using hotel uniform design. Mask's plastic beauty of characteristic Chosun dynasty and express vividly Tal's image with Korean traditional reality was applied on hotel uniform design. By doing so, visitors can come back to the hotel with longtime memory of Korea. The characteristics and the humorous symbolism of Tal were designed and applied to uniform design on collar, bodice, pocket, and sleeves.

• Korean Journal of Applied Biomechanics
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• v.21 no.2
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• pp.153-159
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• 2011

The purpose of this study was to develop an innovative training model and method to improve the posture and motion, while pulling up during weight lifting by evaluating the problems of Korean weight lifters performing this motion. To investigate the effectiveness of the new training method substitute members of the Korean national weight lifting team performed both the original pull up technique and new pulling training technique while kinetics and kinematics were recorded. For this study, the first phase of the new training method is more appropriate than the original training with the pull up drop slow deadlift to the knee joint. For the second phase, the new training motion is deemed to be more effective than the current box deadlift motion. Also, this new motion corrects the posture as there is more anterior hip joint motion(about 10 cm) and the knee flexes to about 120 degrees. For the third phase, starting about 10cm above the knee the box snatch high pull up is identified as a more suitable training method. For the forth phase, the box top snatch method is judged to be a more effective training method than the original top snatch training method.

• Journal of the Korean Society of Costume
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• v.22
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• pp.297-312
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• 1994

Today though the word ginyoe(gisaeng) was remained as a historic relic but they were firmly existed about 40 years ago and ginyoe's number was about three million in Chosun it's almost near 0.5% of the total population of Chosun. To think that point the ginyoe's so-ciety was considered a special one in the his-tory of Korean woman. The ginyoe as a special social class were specialize in technical art such as dancing and prostitute. Although they were low class they were luxurious slaves whoses clothing was almost equal to that of royal family. They were the leaders of fashion in woman clothing that's because their role was entertainer, This study can be summarized as follows. First ginyoe and public woman's clothing codes were nearly same in koryo but tatally separated in chosun. I could find that was came from those day's moral sprit. Second ginyoe's clothing was not only have luxuriance like royal family but also have unique clothing codes for them. Though they are low class ginyoe could use upper class's clothing codes. But upper class women could'nt use ginyoe's clothing codes are vary various and have their own clothing codes. Third I analyzed ginyoe's clothing codes and then derived 6 ginyoe's clothing messages. They were symbol of wealth symbol of power symbol of occupational function symbol of sexual attraction symbol of social position symbol of freedom.

• Korean Journal of Applied Biomechanics
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• v.26 no.1
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• pp.1-9
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• 2016

Objective: The aim of this study is to investigate the association between dance experience and smoothness of hand trajectory during dance by using three jerk-based quantitative methods (integrated squared jerk, mean squared jerk, and dimensionless jerk). Methods: Eleven Korean traditional dancers whose experience of dancing ranged from 5 years to 20 years participated in this study. Dancers performed the Taeguksun motion in Korea traditional dance. Six infrared cameras were used to capture the movement of the hands of the dancers. The smoothness of hand movement was calculated using three jerk-based methods. Results: With regard to the smoothness of the right hand, dance experience was significantly correlated with dimensionless jerk (r=0.656, p=0.028), while dance experience was not significantly correlated with integrated squared jerk (r=0.581, p=0.552) and mean squared jerk. With regard to the smoothness of the left hand, there was no correlation between dance experience and any of the three jerk values. Conclusion: Our results showed that individuals with more dance experience performed the task more smoothly. This study suggests that dimensionless jerk should be used as a predictor for smoothness in dance movement. Thus, our results support the idea that smoothness is an aspect of movement quantity distinct from speed and distance.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.51-61
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• 2005

The purpose of this study is to identify function of make-up as an Important variable in terms of its influence to psychology of performers and outcome of their performance. From June to November 2004 performers in 4 types of fields, i.e., opera, musical, drama and dancing being performed in Seoul and Cheongju were chosen as subjects and totally 450 questionnaires were prepared and distributed and among them 416 were used as data for final analysis. For data analysis frequency analysis, factor analysis, T-test, one-way ANOVA, path analysis, chi-square test were conducted by means of SPS 12.0 and MOS 4.0 statistical programs and as ex post facto checking Duncan's multiful range test was conducted. Make-up is an important element in acting and it has great influence on level of psychological satisfaction of an individual. It was disclosed that psychological factor of concentration and lethargy have direct bearing on acting performance. In order to maximize actor or actresses performance skill perfect make-up is essential and role of make-up specialist can become a critical factor for inducing success in performance. Role and duty of make-up artists in terms of scope of their responsibility should be extended so that they may give their full support to the performers to be most successful in their performance.

• Korean Journal of Applied Biomechanics
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• v.26 no.2
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• pp.183-190
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• 2016

Objective: The objective of this study is to present a scientific basis for ballet dancer training methods by analyzing the relationships between subjective assessment of the ballet movement 'Grand pas de chat' and kinematic and electromyographic factors. Method: The subjects were 14 professional dancers with 15 years of experience on average. Four cameras and a wireless electromyogram were used to examine kinematic factors, and the filmed videos were analyzed by 3 experts for subjective assessment. Results: Although no differences in kinematic factors were found between the excellent dancer group and the non-excellent dancer group divided based on the experts' assessment, some difference was found in electromyographic factors, especially in relation to the gastrocnemius muscle, rectus femoris muscle, and erector spinae muscle. A relationship between subjective assessment and kinematic and electromyographic factors was found, and factors such as right-side rectus femoris activation, time required, left-side gastrocnemius activation, and front-back displacement affected subjective assessment. Conclusion: This study showed a relationship between subjective assessment and kinematic and electromyographic factors. To receive higher scores in subjective assessment, it is necessary to extend the hang time by using the lower limb muscles. The findings of this study also indicate the necessity of weight training in order to improve dancing techniques.

• Korean Journal of Applied Biomechanics
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• v.21 no.2
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• pp.181-187
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• 2011

The purpose of this study was to identify major factors on pirouette in ballet, and especially angle, Center of Mass(CM) & muscle activity aspects. The data were collected by using Motion Analysis System with 12 cameras to analyze kinematic variables with 120 Hz and Electromyography(EMG; 4,000 Hz) & Force Platform(1,000 Hz) to analyze kinetic variables. The subjects of this study were 8 female ballet dancers. The results as follow. First of all, full extension of knee joint and full plantar flexion of ankle joint appeared at the similar point. Secondly, in the rotational phase, total movement of segments in Good motion is smaller than that of Bad motion(in Good motion, head movement 2.70 cm, right shoulder movement 0.72 cm, left shoulder 4.26 cm, left wrist 17.4 mm smaller than Bad motion). Third, CoP distance of Good motion is 11.76 mm, and CoP distance of Bad motion is 11.76 mm, so Good motion is 5.98 mm smaller). Lastly, Pirouette need more retus femur activity than gastrocnemius activity in extention phase and rotation phase of support leg.