• 한국운동역학회지
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• 제24권4호
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• pp.349-357
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• 2014

The purpose of this study was to examine the differences in the performance of dancing motions depending on the level of skill by investigating pulmonary functions, ground reaction force, and jerk cost. The subjects of this study were 12 professional dancers (career: 16 yrs) and 12 amateur dancers (career: 9 yrs) who had similar physical conditions. We selected four motion phases which included the diagonal line motion, the deep flexion motion, the breath motion, and the turn motion with one leg after a small step walking motion, with Goodguri Jangdan. In the experiment, 6 infrared cameras were installed in order to analyze the value of the jerk costs and the force plate form. Finally, we measured the pulmonary functions of the subjects. For data analysis, independent t-tests according to each event, were carried out in the data processing. According to the results of FVC % Predicted, the professional dancers showed greater lung capacities than the amateur dancers, indicating that the level of dancing skill influences lung capacity. Based on the result of the balance test, the professional dancers used more vertical power than did the amateur dancers when performing maximal flexion motion. The professional dancers used a propulsive force of pushing their body forward by keeping the center of body higher while the amateur dancers used a braking power by keeping their bodies backward. When performing medial-lateral movements, the amateur dancers were less stable than the professional dancers. There were no differences in values of jerk costs between the amateur dancers and the professional dancers.

• 공연문화연구
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• 제43호
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• pp.441-483
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• 2021

동발[바라]의 유입과정은 인도를 거쳐 중국을 통해 전승된 불교와 맥을 같이 한다. 따라서 인도와 중국불교 속의 동발의 기록을 추적하고, 특히 경전에 수록된 동발과 한국불교 의식문에 수록된 동발의 기능과 활용방법, 전개된 바라무의 성격 등에 대해 살펴보았다. 동발이 기록된 경전 중 번역시기가 가장 이른 경전은 『묘법연화경』(406년)이며, 경전에 수록된 바라는 대부분 동발(銅鈸)이라 표기되었고, 의식 진행 시 법구(法具)로 사용되었거나, 기악공양물, 장엄물(莊嚴物)로 사용되었다. 한국에서 동발이 사용된 것을 확인할 수 있는 가장 오래된 기록은 일본 『서대사자재류기장』(780년)이며, 현재 보존된 유물 중 동발류의 악기가 등장한 최고(最古)시기는 통일신라 초기로, 682년 조성된 감은사 사리함이다. 이 유물로 보아 늦어도 7세기경 사찰에서 동발이 사용되었다는 것을 확인할 수 있다. 청규와 의식문에 수록된 동발(銅鈸)의 기록은 명발(鳴鈸)과 동발(動鈸)로 구분된다. 명발의 '명(鳴)'은 소리를 내는 것으로, 바라를 부딪쳐서 울려주는 것을 말한다. 이러한 명발은 정립(定立)된 규칙이나 방법이 있었던 것을 확인할 수 있다. 동발(動鈸)은 움직임, 동작을 뜻하므로 바라무를 말하는 것으로 보인다. 이와 같이 바라를 울려 소리를 내었던 명발의 개념에 동작이 덧붙여져 동발(動鈸)이 되고, 현재 전승되고 있는 바라무로 발전된 것이라고 볼 수 있다. 한국불교의례에서 전승되고 있는 바라무는 7종이 있으며, 그 성격에 따라 정화의식(淨化儀式), 소청의식(召請儀式), 옹호의식(擁護儀式), 권공의식(勸供儀式), 관욕의식(灌浴儀式), 화의의식(化衣儀式), 기경의식(起經儀式), 찬탄의식(讚歎儀式) 등으로 분류할 수 있다.

• 복식
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• 제62권5호
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• 한국의상디자인학회지
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• 제14권3호
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• pp.217-233
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• 2012

Placeness forms the traits unique to certain areas inducing people to visit there and purchase goods related to the place. The purpose of this study is to survey fashion images linked with placeness, by examining on-line and off-line fashion goods which claim the placeness. Hong-dae area in Seoul is selected for the case study, and the fashion goods claiming Hong-dae style or Hong-dae fashion are selected in order to analyze the fashion images. Hong-dae area, which was known for its art scenes and small restaurants in the 1980s, has been flourished its postmodern style cafes formed as yuppies-style consumer space in the 1990s. Foreign influenced subcultures were adopted, mimicked and mixed. Afterwards, dance clubs and live clubs gathered around this area. Recently, various local events to enhance the place identity such as "freemarket" and festivals are hosted by the local community. Based on the historical and regional background, the placeness of Hong-dae area is characterized with its artistry, counter-culturalism, and commercialism. The fashion images related of Hong-dae area fashion can be characterized as avant-garde image, art & craft image, kitsch image, vintage image, sexy casual image, and pop art image. The avant-garde image and the art & craft image are related with altistry and counter-culturalism. Kitsch image is related with the artistry, counter-culturalism, and the commercialism. Vintage image is related with artistry, counter-culturalism and commercialism. Sexy casual image is known to have commercialism of Hong-dae area, while Pop art image has its artistry and commercialism.

• 한국의류학회지
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• 제30권5호
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• pp.722-732
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• 2006

The pattern making of the tight-fitting collars which often used in diving suits, dance wear, or cycle wear has not been fully established. To develop tight-fitting collar pattern directly from 3D images from the representative somatotypes, dressforms developed by Jaeun Jung were used. The 3D scan data of the four male dressforms were obtained using Exyma-1200. Triangle Simplification and the Runge-Kutta method were applied to reduce the 3D scan data points and to make the segmented triangular patches in a plane from 3D data. As results, apparent differences between the tight-fitting collar patterns obtained from the 3D scan data and the ordinary 2D collar patterns were found around the center back line. The curvatures of the center back line were higher in all types of the tight-fitting collar than in the ordinary collar pattern. Relative differences in the shape of collar lines among four representative Korean men were reported. To fit the curved shape of the back neckline, 1.8 cm should be reduced from the upper neckline in average. We suggested the direct pattern making method for the 2D tight-fitting collar patterns considering the 3D shape of various types of men's dressform.

• 트랜스-
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• 제4권
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• pp.111-134
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• 2018

이 연구의 목적은 Balletfit의 원리와 그 프로그램 구조를 이해하고 신체모양의 변화와 자세 교정에 대한 Balletfit의 효과를 확립하는데 있다. 본 연구는 가장 일반적으로 사용되는 질적 연구 방법을 바탕으로 3개월에서 6개월 동안 Balletfit 개인 레슨을 주 2 회를 수강 한 10 명을 선정하였다. 이 참가자들은 깊이 있는 통찰력을 얻기 위해 그룹 레슨 대신 개인 레슨 참가자로 선발하였다. 본 연구는 소수의 참가자들에게만 국한되어 결과를 표준화하기는 어렵다. 또한 이 연구는 자세 측정 장치가 아닌 참가자의 의견을 토대로 하기 때문에 결과의 정확도 또한 제한적임을 밝혀둔다. 본 연구 결과는 다음과 같다. 첫째, 참여 동기는 인터넷 조사 또는 지인의 추천으로 운동을 시작한 경우가 대부분이었다. 둘째, 자신의 신체를 인식하고 자세를 교정하려고 노력하고 있었다. 셋째, 이상적인 자세로 회복되었다. 대부분의 참가자들은 이상적인 자세가 무엇인지를 알게 되었고 참가자의 신체가 이상적으로 변화되어 참가자는 내/외부 신체를 인식하여 건강을 회복했다. 마지막으로, 그들은 아름다운 바디 라인을 선호하는 경향이 있었다. 경험 후에 모든 참가자들은 바디 라인에 관심을 갖게 되었고 올바른 자세로 아름다운 바디 라인을 만드는 것을 선호했다. Balletfit의 가장 중요한 효과는 바디 라인이다. 따라서 Balletfit의 경험은 내외부의 신체 인식을 발전시키고 신체 형태의 변화에 영향을 미칠 수 있다고 본고는 바라본다. Balletfit은 아름답고 건강한 신체를 원하는 현대인에게 만족스러운 운동이 될 것이다.

• 한국산학기술학회논문지
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• 제18권2호
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• pp.549-558
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• 2017

본 연구는 체지방률이 32% 이상인 폐경 후 비만여성 36명을 대상으로 유산소운동이 혈청지질, 렙틴, 그렐린 및 인슐린저항성지수에 미치는 영향을 구명하기 위하여 운동집단(18명)과 통제집단(18명)으로 나누어 유산소운동인 라인댄스를 16주간 실시한 후 체조성, 혈청지질, 렙틴, 그렐린 및 인슐린저항성지수를 운동전과 후로 측정하여 비교분석하였다. 본 연구의 결과 운동 후에 운동집단에서 체중, 체지방률(%BF), 체질량지수(BMI), 내장지방면적(VFA), 렙틴(Leptin), 인슐린(Insulin), 글루코스(Glucose), 인슐린저항성지수(HOMA-IR), 총콜레스테롤(TC), 중성지방(TG), 아포리포프로틴(Apolipoprotein) B, 저밀도지단백 콜레스테롤(LDL-C) 및 수축기혈압(SBP)이 유의하게 감소하였다. 또한 아포리포프로틴(Apolipoprotein) A-1, 그렐린(Ghrelin) 및 고밀도지단백 콜레스테롤(HDL-C)이 유의하게 증가하였다. 유산소운동집단의 내장지방면적에 영향을 미치는 에너지대사조절인자의 회귀분석결과에서 주요요인으로 그렐린, 인슐린, 글루코스 및 HOMA-IR 나타났다. 따라서 규칙적이고 지속적인 유산소운동이 폐경 후 비만여성의 체조성, 내장지방, 혈청지질, 렙틴, 그렐린 및 HOMA-IR을 개선시키는 데 효과가 있을 것으로 생각된다.

• 공연문화연구
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• 제41호
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• pp.257-284
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• 2020

고성오광대는 1950년대 말부터 학술조사가 시작되어 1964년 국가무형문화재로 지정되었다. 지정 당시까지는 종이탈을 사용하였으나 1965년에는 이미 나무탈로 바뀌었으며 이후 탈의 변화 양상이 매우 크다. 1960년에는 9개의 탈을 사용하였는데 문둥이, 초란이, 말뚝이, 청보양반, 젓양반, 할미, 제밀주 탈을 기본으로 하였으며 여기에 소무는 제밀주와, 청보양반과 비비양반은 영감과 탈을 겸용하기도 하였다. 황봉사와 상주는 탈을 쓰지 않고 맨얼굴로 등장했다. 1965년부터 고성오광대 연희용 탈은 전체가 나무탈로 바뀌었다. 상주, 마당쇠, 상두꾼을 제외한 전 배역이 탈을 쓰고 있는데 비비, 홍백양반, 봉사 탈은 1964년까지는 등장한 적이 없는 탈이다. 초라니는 종가도령으로 바뀌었고 청보양반은 원양반으로 대체되었다. 1969년을 기점으로 연희용 탈은 종류가 현재와 같아지는 안정기에 들어선다. 비비양반과 소무를 제외한 모든 등장인물들이 개별탈을 사용하여 총18점의 탈을 사용한다. 양반들은 적제양반까지 확실하게 분화되어 총 7명의 양반이 등장한다. 이렇게 탈의 종류와 재질 및 표현법에 변화가 큰 것은 1세대 탈 제작자가 사망하면서 탈 제작의 전승이 끊어진 이유도 있겠으나 지정 이후 연희자들이 맞닥뜨려야 했던 연희환경의 극심한 변화에도 그 원인이 있다. 연희자들의 자족적인 놀이였기 때문에 세부 사항에서는 엄격한 규칙이 적용되지 않는 유동적인 놀이였으나 민속예술경연대회에 참가하면서 점차 공연을 위한 준비로 바뀌었다. 춤이나 의상, 소품들도 점차 화려해졌고 시각적인 효과와 짜임새 있는 연출을 시도하면서 연희 전반의 변화와 함께 탈의 변화를 가져왔고 이를 보존회 내부에서도 수용하게 되었다.

• 한국의류학회지
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• 제19권3호
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• pp.536-547
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• 1995

The modernization of the fashion design in our country, like our chaotic modern history, has not been easy for us to grasp its main stream because it lacked historical consciousness and sincere attitude of creating. In trying to find out designs very Korean, designers usually ignore the deeply rooted ideologies and modes of our own, and primarily depend on the scattered fragments of tradition, such as the curled line of the ancient roofs, folk jackets and skirts, and Talcum, our ethnic dance, sometimes making some patchwork like clothes they divan't really intend to make. In the world of modern design, especially of the fashion industrial design, designs more scientific, more rationale and more positively appealing to the consumers, not the unconscious and emotional ones, are being demanded. To win in the fierce competing world of design as well call this age an age of "Design War", it is desirable for us to create our peculiar designs by uniting the internationalism (universality) and nationalism (traditionalism) together under a single rigid purpose. Analyzing the designs mainly of Korean style fashion designers since the 1980s, 1 could see that Korean designs in the aspect of appearance have a strong tendency toward applying or reviving the traditional elements, thus are under a bias toward nationalism rather than in ternationalism. The idea of "very Korean" does not mean a mere harmony or negotiation of the traditional elements with modern ones. It is rather a concept from vivid historical experiences of the conflict between the purely Korean mental, cultural heritages and the demands in mod- eradiation. Therefore, based on this concept of "very Korean" we must create fashions completely Korean and modern at the same time.n and modern at the same time.

• 패션비즈니스
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• 제17권1호
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• pp.98-113
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• 2013

This study is an attempt to analyze the daily life of the Western-yearning Seoul citizens and the inflow of the Western culture into certain social classes. The customs of the characters in the film are studied to illustrate the process of deconstruction of Korean traditional clothes due to the Western influence. The combined application of the Western and Korean styles is also observed. All this study leads to the sense of homogeneity of the times and the conformity to the culture the Korean women shared, which boils down to the social identity of the Korean women who sought an escape from the men-centered social structure by displaying their competence in the field of global modern fashion. As Seonyeong Oh, the main character of the film, , was wearing in the movie the Korean traditional dress, socks, rubber shoes, and then a western-style coat, it well shows that in 1950's, the traditional dress and ornaments were mixed with Western styles. In time, men's wear were completely changed from the traditional Korean clothes to suits, while women's could not break off from the traditional clothes and become westernized, which indicates that the men-centered conservative ideas to keep women within the feudal regime of the society remained. The military look of Seonyeong Oh while she was acting in the society was a symbol of anti-bias against women and anti-convention as well as the will of freedom as an independent woman. Besides, the modern girls would wear clothes of military fashion, Dior's trapeze line, and knit styles flattering the figures. All these well show their desires to embrace Western cultures, especially their dress fashions as well as manners as so-called enlightened ladies. All these elements show that the director was trying to represent the progress of the drama, characters, and psychological states by means of the dress and ornaments.