• Korean Journal of Applied Biomechanics
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• v.25 no.2
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• pp.199-206
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• 2015

Objective : The purpose of this study was to conduct a biomechanical analysis of a one-legged jump in a traditional Korean dance (Wae Bal Ddwigi) according to breathing method. Method : Participants for this study were 10 dancers with experience for at least 10 years in traditional Korean dance. Independent variables for this test were two different types of breathing methods. Dependent variables were ground reaction force and lower extremity kinematic variables. The jumping movement was divided into three separate stages, take off, flight, and landing. The subjects were asked a questionnaire regarding the degree of impact force and stability of landing posture after the experiment. The Kistler Force Plate (9281B, Switzerland) was used to measure ground reaction force. A digital camera was used to look into angles of each joint of the lower part of body. SPSS was used for statistical analysis via the dependent t-test(p<.05). Results : There were significant differences in jumping according to breathing method. The inhalation & exhalation method yielded significantly longer flight times combined with greater ground reaction force. The breath-holding method required more core flexion during landing, increasing movement at the hips and shoulders. Conclusion : Consequently, there was more flexion at the knee to compensate for this movement. As a result, landing time was significantly higher for breath-holding.

• Journal of Korean Physical Therapy Science
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• v.27 no.3
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• pp.12-24
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• 2020

Purpose: This study was to investigate effects of aerobic exercise based korean traditional dance on vascular health, muscle strength and balance in the elderly with dementia. Design: Quasi-experiment design. Methods: Forty-two elderly participated in this study. All subjects were assigned experimental group (n=21), control group (n=21). Data were collected March to September 2019. Subjects in the experimental group performed aerobic exercise based korean traditional dance(three times a week, 30-50 minutes session, 24 sessions). Data were analyzed using descriptive statistics, Chi-square test, Fisher's exact test, independent t-test with the SPSS version 25.0 Results: The experimental group showed significantly increased vascular health (p<0.05), upper extremity strength (p=.022), dynamic balance (p=.026) compared to the control group. Conclusion: These results suggest that aerobic exercise based koran traditional dance is recommend a regular exercise program to enhance on vascular health, muscle strength and balance in the elderly with dementia.

• CELLMED
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• v.7 no.2
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• pp.7.1-7.3
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• 2017

Ok-jin Gong's hunchback dance is considered to be a strange dance in Korea. However, there have been no reports of the effects of music and dance therapy as a pain treatment. The aim of this article is to argue that watching and listening to the hunchback dance of Ok-jin Gong may have significant effects as a form of pain treatment. The creator of this style of dance suspected that dance in general can be an outlet for our inner emotions. Her dance in this case has received critical and complimentary reviews as well. However she has been cited as the main culprit behind the destruction of traditional dance forms in the Korean dance world. Nonetheless, her bewitching stage presence attracted much attention. She satirized the feelings of the under privileged' through music and dance. We tend to feel somehow relative poverty and small in the presence of a rich and successful man. On the other hand, the artist felt that it is the public who would be relatively comforted and satisfied in the presence of the weak and handicapped. A free spirit that makes us forget pain is the very essence of her dancing. Her dance and music sound as if she sublimated her sadness and ugliness, changing it to happiness and beauty. She puts herself in a low position and spreads a sense of freedom and relief to the world. Hence, the author felt that innumerable people have been comforted in these ways by her dance.

• Journal of Korean Academy of Nursing
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• v.29 no.6
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• pp.1273-1283
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• 1999

This study was done to explore the effects of dance therapy on pulmonary and cognitive functions in the elderly. The design of this study was a non-equivalent pre-post test experiment. The subjects consisted of elderly persons living in a facility located in Kyoungi-Do. Fifty eight subjects had normal cognition, sensory function and resting blood pressure. They underwent tests of pulmonary and cognitive function as baseline data before dance therapy, and at 6th week and at the end of 12nd week after following dance therapy. Twenty seven elderly persons were assigned to the experimental group and participated with the dance therapy. This therapy was based on the Marian Chace's dance therapy and Korean traditional dance with music. The dance therapy consisted of 50 minutes session, 3 times a week for 12 weeks. One session consisted of warming-up, expression, catharsis, sharing and closing stage. the intensity of the dance therapy was at the 40% of age-adjusted maximum heart rates. Data were analyzed with mean, standard deviation, Chi-square test, unpaired t-test, repeated measures ANOVA, and Bonferroni multiple regression using SAS program. The results were as follows : 1. Pulmonary function(forced expiratory volume at one second and forced vital capacity) of the experimental subjects significantly increased over time more than that of the control subjects. 2. The experimental group had significantly higher score for pulmonary function than the control group at the 12nd week after dance therapy. 3. Cognitive function of the experimental subjects significantly increased over time more than that of the control subjects. 4. The experimental group had significantly higher score for cognitive function than the control group at the 6th week and 12nd week after dance therapy. The findings showed the dance therapy could be effective in improving the pulmonary and cognitive function of the elderly.

• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• The Journal of the Korea Contents Association
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• v.12 no.5
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• pp.175-187
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• 2012

The purpose of this study is to investigate the mechanism on how the aesthetic consciousness of "Mat" and "Meot" of Korean dance is realized with the analysis of aesthetic meaning and value found in the aesthetic experience of Korean dance, and also the aesthetic concept and consciousness of Korean Studies. First, "the aesthetic consciousness of endless life theory" is from the curved motion, which is one of the basic principle of Korean dance, and is to be sublimated to the aesthetic consciousness of "Mat" and "Meot". The life theory of the Korean dance is to be cleary realized by the curved movement aiming the Circle, which is the important principle of movement for feeling aesthetic consciousness of "Mat" and "Meot". But, the Korean dance movement has been affected to follow the Straight motion frequently in recent days rather than the Curved motion due to the influence of the Western style movement. This makes difficult to find aesthetical sense of "Mat" and "Meot". So, it is very crucial to keep and improve the Curved motion in the Korean dance for protecting and developing aesthetic consciousness of "Mat" and "Meot", the unique feature of the Korean dance. And the continuos effort and plan of Korean dancer is also needed to make the Mind and the Body coexist each other. Furthermore, the research on this aesthetic consciousness of "Mat" and "Meot" of the Korean dance should be kept going.

• (The) Research of the performance art and culture
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• no.33
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• pp.303-328
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• 2016

This paper identifies the life of Kim Jung Hyun who was so called kisaeng, a beauty and entertainer in modern times and serves as the study considering what kinds of dances she played going through modern times and the significance works in Korea Dance illustrated guide bear in terms of dance history. Kim Jung Yun who was designated as an important intangible cultural asset for her Korean traditional narrative song in the northwestern provinces (Number twenty-nine. designated in 1971) devoted herself to Korean classical music area after having been designated as cultural asset and became a stranger in dance area. However, in Kisaeng call-office, she had been estimated to learn dancing under the great dancer, Lee Jang Sin, and make efforts on dance activity until the early 1960's. Her works derived from such learning and creation activity came to be part of Korea Dance Illustrated Guide. This study aimed at studying Kim Jung Yun in addition to her works who had not received attention so far but worked on positive lines and made a significant accomplishment in modern dance history in order to reveal her importance status in modern dance history.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.215-228
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• 2019

The purpose of this study is to analyze the trends of research themes of the Korean dance in recent 20 years using text mining. The study has analyzed 3,047 words in 1,468 academic papers posted in the Research & Information Services Section(RISS). TEXTOM, a big data analysis solution, has been used to refine and analyse data, and the keyword analysis and topic modeling have been adopted during the text-mining process to come up with meaningful results. First, the theme of studies has shifted from the structure of the basic Korean dance moves to the use and transmission of the Korean dance. Second, those who participate in studies of the Korean dance have changed from middle-aged women to elderly women. Third, studies on dance records have been inactivated. Fourth, studies on Choi Seung-hee have consistently been a subject of interest. Fifth, the focus of studies has turned from the Korean creative dance to the Korean traditional dance. Sixth, there are no iconic research themes that would lead the academic trends with no clear boundaries of research themes.

• Journal of Korean Academy of Nursing
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• v.29 no.2
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• pp.429-444
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• 1999

This study was performed to explore the effects of a dance therapy on physical and psychological characteristics in the elderly. The design of this study was a non-equivalent pre-post test experiment. The subjects consisted of elderly persons living in a facility located in Suweon and Bucheon. Fifty eight subjects, aged between 65 and 93 years who had normal cognition, sensory function, balance, and resting blood pressure. They underwent tests of balance, flexibility, muscle strength, depression, and anxiety as baseline data before dance therapy, and at 6th week and at the end of the 12nd week after following dance therapy. Twenty seven elderly persons were assigned to the experimental group and participated with the dance therapy between April and July, 1998. The dance therapy was developed by the author with the help of a dance therapist and a physiatrist. This therapy was based on the Marian Chace's dance therapy and Korean traditional dance with music. The dance therapy consists of 50 minutes session, 3 times a week for 12 weeks. One session was consisted of warming-up, expression, catharsis, sharing, and closing stage. The intensity of the dance therapy was at the 40 % of age-adjusted maximum heart rates. Data were analysed with mead standard deviation, Chi-square test, unpaired t-test, repeated measures ANOVA, and Bonferroni multiple regression using SAS program. 1. The results related to the physical characteristics were as follows : 1) The balance (standing on one leg, walking on the balancing bar), flexibility and muscle strength (knee extensor, knee flexor, ankle plantarflexor and dorsiflexor) of the experimental subjects significantly increased over time mere than that of the control subjects. 2) The experimental group had significantly higher score for balance, flexibility, muscle strength of knee extensor, and knee flexor than the control group at the 12nd week after dance therapy. 3) The experimental group had significantly higher score for muscle strength of ankle dorsiflexor and plantarflexor than the control group at the 6th week and the 12nd week after dance therapy. 2. The results related to psychological characteristics were as follows : 1) Scores of Geriatric Depression Scale, Hamilton Depression Rating Scale, and Zung's Self-rating Anxiety Scale of the experimental group were significantly decreased over time more than that of the control group. 2) The experimental group had significantly lower score for depression than the control group at the 12nd week after dance therapy. 3) The experimental group had significantly lower score for anxiety than the control group at the 6th week and the 12nd week after dance therapy. The findings showed that the dance therapy could be effective in improving the balances, flexibility, and muscle strength of lower limb, and effective in decreasing the depression and anxiety of the elderly. Additional merits of the dance therapy would be inexpensiveness, easy accessibility, and increasing interpersonal relationship. It can be suggested that the dance therapy is effective in the health promotion of the elderly.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.135-150
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• 1999

The purpose of this study is on the dance costume of ancient Egypt. First, after the present study looked onto a specialty of Egyptian dance, and then the present study classified Egyptian dress into type and form, quality of material and color tone, hair and headdress and other ornaments. Fundamentally, this study was intended to understand the traditional culture and to grasp the peculiarity of Egyptian dancing dress. This study was progressed as a theoretical research by using documents, photographs, literatures of museum, etc. The results of the study could be summarized as follows. Egyptian dancing featured the earliest form of stage dance in the world and improved religion dancing and sideshow dancing getting out of the form of primitive dance, and also there were professional dancers who developed highly skillful dancing technique. They played a role in disseminating it to many countries of the Mediterranean sea. Dancers of Egypt wore a variety of cloths like the general people. Accordingly, there were no big differences in qualify of material, color tone and other ornaments as well. Yet in accordance with improvement of dance, there was a show-up of clothing of professional dancers and changing of detail parts. So dancing dress was formed while distinguished from general clothing. Therefore, dancing dress of Egypt represents racial characteristics, activity, originality and pursues not authority, but respect of physical beauty or natural beauty.