• 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.

• The Journal of Pediatrics of Korean Medicine
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• v.16 no.1
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• pp.105-124
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• 2002

With the progress of civilization, the disorders due to the stress, which derived from the social-structural complexity and diversity, are on an increasing trend in our times. Accordingly, the accurate diagnosis and appropriate treatment for them are required. Especially in the current years, children's disorders delivered by the emotional problems keep increasing. In this research, the researcher tried to figure out the cause of the children's stress and its treatment, studied the theories of the stress in the modem medicine and the sever emotions in oriental medicine, and came to the conclusion as follows: 1. The stress can be defined as the combination of the reaction to noxious stimuli and its defense mechanism of the body, In oriental medicine, it is considered as pathological notions which includes seven emotions as the internal factor, six evils as the external factor and other foods, expectoration, ecchymoma as the non-internal/external factors. 2. Children usually get stressed by various reasons in a growth process such as schooling, relationship with friends, the opposite sex of family, or change of surroundings, and these can cause the various disorders. 3. In the study of the children's stress symptoms, it is found that the silent reaction is uncommon. It usually appeared in both reactions: firs, physical reactions such as stomachache, vomiting, headache, neural frequent urination, bronchial asthma or excessive respiration and/or, second, behavioral reactions such as a decline of performance, alimentary disorder, e.g. anorexia nervosa or bulimia, sleep disorder, e.g. nightmare or panic in sleep, anthrophobia, refusal to a school attendance or hyperactiveness. Besides, the peculiar mental disorder such as paroxysm of anger, tic, autism, nocturnal enuresis, lack of attentiveness, impediment in linguistic development, learning difficulty, intellectual decline, etc. can be appeared, and the heavy stress during the babyhood can cause the regression of behavior or the immaturity of formation of character. 4. The appropriate treatments for the children's stress are Osteopathy, Manpulation, Aroma Therapy, Alexander Technique, Autonomic Never Control Treatment, Biofeedback, Chiropractic, Dance Therapy, Feldenkrasis Technique, Gravity Therapy, Homepathy, Aquatherapy, Hypnotherapy, Naturopathy and Meditation.

• Korean Journal of Applied Biomechanics
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• v.26 no.3
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• pp.323-331
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• 2016

Objective: The aims of this study were 1) to develop easy-to-use rhythmic balance training equipment for the elderly and 2) to investigate the effect of training with the equipment on balance and physical function. Method: Twenty-one elderly individuals (age: $75.4{\pm}3.34yrs$, height: $152.07{\pm}4.81cm$, weight: $58.35{\pm}8.34kg$) participated in this study. Each participant underwent balance and physical function testing before and after 12 weeks of training with the equipment. Y-balance (i.e. dynamic balance) and one leg static balance tests were used for balance testing, and timed up- and-down-stairs and five times sit-to-stand tests were used for physical function testing. A paired t test was used to determine whether there was a significant pre- and post-training difference. Results: The rhythmic balance training equipment provided a fun and motivating training program with age-friendly music, dance movements for lower extremity strength training, and touch screen controls with simple features. Post-training left foot dynamic balance was significantly greater (p<.05), and static balance with eyes open was significantly improved (p<.05) compared to pre-training. Completion of the timed up-and-down-stairs and the five times sit-to-stand tests was significantly shorter (p<.05) compared to pre-training. Conclusion: Training using the equipment developed in this study improved balance and physical function in elderly participants.

• Journal of Fashion Business
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• v.18 no.2
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• pp.1-13
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• 2014

This study examines research trends in the dissertations and journal articles on stage costume so as to provide basic information on directions for future studies. The data was collected from the theses of domestic journals of the Korean Studies Information (KSI) which were published until December, 2012 and retrieved by a keyword related to the "design of stage costume", "costume for performing art", and etc. Theses and articles for the analyses were a total of 200 published. Reviewing the theses by dividing the times into 8 Chronicles of 5 years in each term. The findings of the study are as follows: According to the chronological analysis, there has been a steady increase in the rates of the musical, ballet, dance, and circus costume and cutting edged technology such as LED has been utilized in the performing art, currently. The real production and making up of the costumes have been increasing as well by replacing of illustration and rendering of the costumes. In the recent costume of the performing arts show the tends of the visual effects and up-sizing, comprehensiveness and fusion. From the analysis of the background of the work, those were confirmed that the most common historical period was modern period, and places were France, England, and Egypt. In regard to research themes and methods, many of research papers utilized content analysis method, character analysis method as research methods. The most popular presentation of the costume designs was "rendering", "costumes schedule" and "illustration". However, development and explanation of the patterns was insufficient and constructions methods and real works(costumes) were usually omitted in the articles.

• (The) Research of the performance art and culture
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• no.33
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• pp.129-163
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• 2016

This study examines processes of cultural introductions and transformations among Korea, China and Japan via focuses on the formative characteristics of nasori(納曾利) masks belonging to komagaku (高麗樂), part of bugaku (舞樂), a Japanese court dance and music. Previous studies of traditional masks in East Asia focus on their dramatic characters and entertaining aspects. On the contrary, it approaches to their origins through the formative characteristics of komagaku nasori masks. Prince of Lanling, the representative togaku passed to Japan, and komagaku nasori perform a pair of toubu (答舞). One formative characteristic between Prince of Lanling and nasori masks is a dangling jaw (吊り顎). Masks having 'he' (へ)-shaped eyes like Japan's okina (翁) masks are characterized by a division (切顎) between the face and jaw, which is as same as the Korean masks. Other common grounds between Prince of Lanling and nasori masks are grotesque ghost faces and concentric double-circled eyes with their outlines painted gold. Concentric double-circled eyes prove that they spread to broader areas before the age of togaku and developed into a variety of divine-animal mask patterns. That Korean masks and nasori masks both have concentric double-circled eyes and dangling jaws is a significant starting point in studying the origin of traditional performing art in East Asia. Japan's bugaku has been passed down in shrines as part of folk religion. However, there exist in Korea no records or examples related to komagaku nasori masks introduced to Japan. This study provides some clues to comparison between Korean masks and komagaku nasori masks by focusing on the formative characteristics of the latter. The researcher suggests a new perspective to nasori mask dance by re-examining earlier Korean studies of the introduction of Daemyeonmu of Prince of Lanling to Japan through Shilla and the assumption of Nasori as Shilla music.

• Trans-
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• v.6
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• pp.1-15
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• 2019

Performing arts is an intangible arts that disappears immediately at the moment it is presented and remains only in the memory of the performer's body and audience. The same repetition, restoration and reproduction of the disappeared performance is impossible, but artists of all times and places have tried various recording methodology to leave their performances in the tangible form. The performing arts archive is where performing arts are recorded, preserved, and utilized. In the fourth industrial Revolution era, library institutions in developed countries are turning into institutions that support creative activity by not only artists but also the general public. Korea's performing arts archives should also shift from the role of an old archive to a platform to create new cultural contents. This paper summarizes the changes in the Korean performing arts archive and presents the creative application of the performing arts archive in response to the fourth industrial revolution.

• 한국체육학회지인문사회과학편
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• v.54 no.5
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• pp.251-260
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• 2015

The purpose of this study was to change of Psychological skills strategy and Self-management behavior according to the level of Resourcefulness of collegiate fencing-athletes. Methods: This study was a single case for 12-week intervention. and it took about 60-90 minutes, once a week. Participants were 154 Student athletes and 20 fencing-athletes. The effect of this study was utilized a questionnaire. To analyze the responses of research, the paired t-test were used for finding the significances of mean differences(p<.05). After 12 week education session the results are as follows: Firstly, high group of Resourcefulness showed greater increase in Attention and Image. low group of Resourcefulness showed greater increase in Will power, Goal Setting, Confidence, Attention, Image. Secondly, high group of Resourcefulness showed greater increase in Physical management. low group of Resourcefulness showed greater increase in Training management. fencing-athletes were significantly increased of capacity for Performance and self-management according to the level of Resourcefulness, after 12-weeks. This study suggested useful information about sport psychological skills training and intervention of fencing-athletes.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.518-527
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• 2020

360 VR technology is used not only in movies, but also in performing arts such as music, theater, dance, and so on due to the characteristics of immersion and presence. The technology allows the audience can be perceived a feel of participation in a story. This study is conducted an analysis of the techniques of 360 video shooting in order to find the answers of the following questionaries: how to make viewers enhance to a better understanding of a space, how to make the viewer feel comfortable ceding control of the experience, how to generate greater empathy with a 360 video. Thirty cases were analysed 360-degree videos of live performances performed on stage among 360-degree images of music performance content shared on Youtube from 2015 to 2020. The result shows that live performances are performed with the audience, so the stage shape and the layout of the audience seats are preferred to the characteristics of the performance. It was also shown that directing using a 360 VR camera was also greatly affected by the stage and audience placement. The stage is manly classified into three types, and the camera layout and characteristics mainly used are organized according to the number of 360 VR cameras, whether fixed or mobile cameras are used.

• (The) Research of the performance art and culture
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• no.32
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• pp.465-488
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• 2016

This paper attempts to read in different ways and to interpret newly on Cheoyongrang mhang-hae-sa in "Sam-guk-yu-sa". Ulsan have held Cheoyong Cultural Festival for 47 times according to "Sam-guk-yu-sa". However, there have been a frequent identity crisis about Cheoyong Cultural Festival because of controversial issue about Cheoyong, This paper interpretate Cheoyongrang mhang-hae-sa newly to overcome these crisis, Cheoyong's dancing and retreating was not the resignation and tolerance, but the treat and warning, as the dance of Namsansin god of Posukjeong, Buk-acksin god of Keumkangryung and Jisin god of Dongryejeon was the warning of Silla's ruination. 'The Mhang' of Mhang-he-sa temple should be interpreted not as 'watch' but 'fifteen days'. Mhang-he means the roads buried in darkness and vanished had become a sea. The name of Shin-bhang-sa temple means Gae-un-po province of Ulsan had become 'the newly purified region' because of the inspection of King Heon-ghang. The main keyword of Cheoyongrang mhang-hae-sa is 'Byuk-sa-jin-gyung'. 'Byuk-sa-jin-gyung' means to repel the impious and pray the pleasure. The purpose of the personal Gut and national Gut, Narae, was also 'Byuk-sa-jin-gyung'. The reinvented bridal room with a fresh life was like the world of Byuk-sa-jin-gyung. The dance of God Sa-bhang was, as well the desperate desire to New Silla. Cheoyong was a shaman with a superior authority who set up the power to foresee to the god of smallpox. The image of Cheoyong at is not the resignation and tolerance, but the foresight and authority. Therefore, the slogan of Cheoyong Cultural Festival, the resignation and tolerance, should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung. Cheoyong Cultural Festival, have been held for 49times, often had identity problems. The identity of Cheoyong have been misinterpreted as the resignation and tolerance. The slogan of Cheoyong Cultural Festival should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.