• 한국체육학회지인문사회과학편
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• v.56 no.6
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• pp.595-605
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• 2017

The purpose of this study is to investigate what kind of research fields are preferred by the researcher of the Korean Physical Education Society using the Mecab-ko morpheme analysis and whether there are differences in the interests of researchers between the humanities and social sciences and natural sciences. A total of the data collected for this study are 5,014 papers published online from March 2002 to March 2017 in the Korean Journal of Physical Education was collected. In this study, we used Mecab-ko morpheme analyzer to extract the keyword from the collected documents. As a result, the study found that the number of papers published in KAHPERD appeared to be decreasing. It was also that the main concern of researchers in KAHPERD toward was leisure, live sports and health were relatively higher than the improvement of performance. The research subjects that were interested in the research were women, middle-aged and elderly. The study found that researchers in the humanities and social sciences have shown interest in both traditional research and social interests, while researchers in the natural sciences have shown an interest in a deeper study of traditional research. In conclusion, in order to realize the revitalization of sports convergence research, it is necessary to establish standards for the field of study which should focus on the depth and breadth of research.

• Journal of muscle and joint health
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• v.9 no.1
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• pp.18-27
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• 2002

Introduction : Exercise has been suggested as an important nursing strategy in which to help elderly maintain functional performance and to enhanced quality of life. Most of exercise study has been reported on fitness exercise such as walking, swimming, dance etc for health of elderly. There have been few reports about exercise on the promotion of small and fine movement of elderly. The purpose of this pilot study was to determine an effect of 6 weeks hand and finger exercise in home to improve hand muscle strength such as grip strength and finger pinch pressure. Materials and Methods Design: This pilot study was used one group pre and post-test design. Sample: Twelve elderly women above 60 years of age or older living in community were selected by convenient sampling. Procedure: Signed informed consent was obtained prior to participate in this study. The authors met elderly and taught hand and finger exercise, daily a week for 6 weeks, within 30 minutes per session. But exercise frequency and strength were not same. Instruments: Left and right grip strength were measured by Bulb Dynamometer(made in USA) and left and right pinch pressure were measured by Baseline Hydraulic Pinch Gauge(made in USA). Data analysis: Discriptive data analyses were performed on all variables. Wilcoxon matched-pairs Signed-Ranks test were used to find difference of grip strength and pinch pressure between pre and post exercise using SPSS 10.0 for Window. Results: Samples age ranged from 60 to 73, Mean age was 65.3. All were women. Ten elderly were diagnosed osteoarthritis and one had DM. After six weeks hand and finger exercise, Left and right grip strength were higher than those of before exercise(Z=-2.667, P<0.01 ; Z=-3.065, p<0.01). And left pinch pressure after hand and linger exercise were higher than that of before pinch pressure (Z=-2.315, p<0.05). But Right pinch pressure was not shown significant change(Z=-1.099, p>0.05). Conclusions: Although this study was limited by the sample size and design, the findings provide some important implications for community based exercise nursing intervention. Short term (six weeks) exercise of hand and linger is shown to be useful as nursing intervention to maintain routine daily activities such as eating, writing, grip something for elderly.

• Journal of Fashion Business
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• v.19 no.2
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• pp.53-68
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• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• The Journal of Sustainable Design and Educational Environment Research
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• v.19 no.4
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• pp.26-39
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• 2020

This study analyzed the usage characteristics and requirements of students who are users of the middle school education space, and the following results were obtained: First, we could see that various types of classes were needed, such as lecture-style classes, team projects, and four-person consultation and discussion classes, in a way that helped to improve the desirable teaching patterns and learning ability. Second, the place where space was used during the break and the relationship between peers, revealed that most of them were in the classroom and the hallway, and the peer group was composed of three to eight people or more, that were active with various compositions. Third, a gym, library, toilet, stairway, cafeteria, nurse's office, and teachers' room appeared in the center of the building, indicating the need for a balanced layout. Fourth, physical education (dance) rooms, audiovisual rooms (performance rooms), workshops (personal creation), snack bar, rest area, spacious indoor square, and study rooms were needed as facilities that can help learning activities other than current facilities. These outcomes show that the existing classroom layout and space composition formats require some spatial restructuring.

• 한국체육학회지인문사회과학편
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• v.54 no.2
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• pp.299-312
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• 2015

The purpose of this study was to find the effects of user experience on flow and satisfaction of electronic hogu system in the taekwondo game. The subjects were players who had experience using electronic hogu system in the taekwondo game for 2014 year 7month~10month. 652 samples out of 750 samples through convenient sampling method were adopted as a final data. We confirmed the goodness of fit test of the model, utilizing SPSS WIN Ver 18.0, and AMOS 7.0, and after which we tested each hypothesis. The results were as follows; First, sentient, emotional, cognitive, behavioral, relational experience of user experience did not have a significant influence on cognition flow. Second, sentient, emotional, relational experience of user experience did not have a significant influence on behavioral flow. Third, cognitive, behavioral experience of user experience had a significant influence on behavioral flow. Fourth, cognition, behavioral flow had a significant influence on satisfaction. Fifth, factor between native and foreigner taekwondo players had significantly different. This paper is a meaningful to figure out user satisfaction of electronic hogu system in taekwondo games and maximize athletic performance.

• Journal of the Korea Society of Computer and Information
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• v.29 no.9
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• pp.99-107
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• 2024

This study analyzed how computer-based digital technology affects convergence performing arts according to the trend of the times of domestic performing arts. Based on the analyzed contents, the purpose of the study was to propose an appropriate use plan for performing arts and technology and a plan for future development of convergence performing arts. Looking at the analysis results according to the purpose of the study, as a first step, the use of video technology developed in the performing arts stage using video technology evolved into holograms, media art, and 3D techniques. In the second step, technology and art were fused using artificial intelligence and robots. Artificial intelligence composed music, choreographed dance, and wrote a play script. In addition, robots performed and played with humans on stage. Third, virtual space was also used in performing arts. It was possible to direct spaces in various places using virtual spaces rather than performance halls and stage spaces. In this way, performing arts using digital technology will become more diverse and professional, and things that are possible in imagination that cross boundaries will be developed into reality. This study proposes a convergence that appropriately utilizes various technologies of digital and computer while maintaining the area of creation that humans can do and the expressiveness and artistry they express. In preparation for these changes in the times, future convergence performing artists should be able to acquire a combination of artistry and technology of stage technology experts who can use digital technology, professional actors who can express artistry along with AI, and professionals who can create art by manipulating AI.

• (The) Research of the performance art and culture
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• no.35
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• pp.229-247
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• 2017

This study was conducted through the typological analysis of theatrical activities and playscript of Packaging Troupe, which was a wandering theater troupe. It seems the activities of the packaging troupe were very active about in the 1950s. They approached to the public with various repertoires and gained popularity during the process. The playscript used in their plays can be divided into several types such as Yi dynasty drama, historical drama and modern drama and their titles are almost same as or similar to those used in Changgeuk troupe (classical opera), Female Gukgeuk troupe (Female classical opera), or Female Nongak troupe (Female farm musical band). Also, as themes, subject matters, and characters were partially same, the characteristics of previous theatrical activities could be reviewed through the playscript of packaging troupe. Also, the characteristics of the playscript of packaging troupe can be found in the list of gramophone record. The changes in popular culture can be examined in the flow of plays with various forms such as theater, film, and gramophone through the comparison between the characteristics of playscript types of packaging troupe around in the 1950s and the list of gramophone record. A typological analysis of playscript of packaging troupe confirmed the activities of packaging troupe lasted around in the 1950s. Also it can be inferred from Hyeopryulsa, Changgeuk troupe, Female Gukgeuk troupe, or Female Nongak troupe, which used traditional subject matters as repertoire of performance. Those were possible because repertoires were composed and contents changed according to the needs of the public. The changes can be also confirmed through the list inserted in the gramophone record. The association can be inferred through the same title as that of the playscript of packaging troupe and similarity of performance curtains and subject matters. As such, the interest and flow of popular culture can be examined through the types of playscript of theatrical activities of packaging troupe.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• (The) Research of the performance art and culture
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• no.36
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• pp.137-167
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• 2018

As Gwangju Gwonbeon(meaning of a gisaeng call-office) was representative Gwonbeon in Honam area, it educated gugak(Korean traditional music) from the period of Japanese occupation to 1951, the year of foundation of Gwangju gugak center. As Gwangju Gwonbeon's later self, Gwangju gugak center was also an institution that local influentials interested in the education of gugak of Gwangju region cooperated and built. Therefore, Gwangju Gwonbeon should be considered when premodern and modern history of gugak in Gwangju is mentioned. However, the studies of Gwangju Gwonbeon as well as related studies are still thin. Previous researches related to Gwangju Gwonbeon are mostly focused on the operation and dance of Gwonbeon. However, Gwangju was a region where Pansori was invigorated. According to "Joseonmiinbogam", a record of gisaeng(Korean geisha) in 1918, gisaengs of Gwangju Gwonbeon were specialized in Pansori as compared with those of other regions. In addition, today, there are many master singers of Pansori heard by people, among persons who were educated and a lecturer in Gwangju Gwonbeon; therefore, their oral statement is important materials for understanding transmission of Pansori in Gwangju. Nevertheless, the relationship between Gwangju Gwonbeon and Pansori was not studied yet. Especially, oral statement of master singers of Pansori related to Gwangju Gwonbeon was collected partly, as a result, it is not recognized as valuable research materials. Foundation of Gwangju Gwonbeon and Gwangju gugak center became an important basis for education of Pansori as early private institute educating Korean classical musicians in Gwangju. And it is also meaningful as the trigger that gugak in Gwangju was begun in earnest. Therefore, the purpose of this study is reconstruct activities of master singers who worked in Gwangju Gwonbeon and Gwangju gugak center and is to examine transmission and value of Pansori in Gwangju from the period of Japanese occupation to 1973, collecting oral statement of master singers related to Gwangju Gwonbeon. Finally, this study might be helpful for expanding the interest in Pansori and activating related studies.

• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.