• 한국조명전기설비학회:학술대회논문집
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• 한국조명전기설비학회 2009년도 춘계학술대회 논문집
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• pp.218-223
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• 2009

Even though the movement of human body contruct the primary factor of Dancing Art, spectators appreciate more meaningful expression of the stage that stand above limited space and time. Lighting is a distinctive expressive mechanism of obvious line, form and rhythem of human body by marking a light and shade through artificial beams into the stage. As Dancing art is different from drama, lighting of dancing stage should be distinguished from that of drama stage.

• 복식
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• 제47권
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• pp.125-142
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• 1999

Dancing along with mankind has existed in various ways form old age to the present. This dancing combined with artistic meaning is called the art of dancing. This study is mainly about the functions decorations and expressions of dancing costume and the claracteristics of the costumes by the 20th century designers Leon bakst Oskar Schlemer Pablo Picasso. The dancing costume were not so much different from those of the public from old age to middle age. In 18th and 19th centuries the length of the cotstumes become short from the knee to the thigh. The functions have much to do with the development of dancing for example the appearance of toeshoes. The costumes are designed not to prevent the movements of dancers smooth line in old age and ladylike vend high-blown line in the 18th and 19th centuries. Cotton and hemp textiles are turning into the transparent forms such as lace and gauge. The personal ornaments earings and necklaces have change into the pattern with wings and tassels. The dancing costumes of Leon Bakst Oskar Schlemer and Pablo Picasso are designed after the due consideration of body shape. Bakst focused on the beauty of smooth lines with splendid colors and decorations. Schlemer analyzed the body abstractly and metaphysically and expressed it with detaile and simple lines. Picasso emphasized cubic forms with cubism and expressed the characteristics of costumes with clear colors and smooth curved line. Bakst Schlemer and Picasso made the early 20th century the age of functional dancing costumes putting a light on the concept of space and foundation for the modern dancing costumes.

• 한국콘텐츠학회논문지
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• 제12권9호
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• pp.156-171
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• 2012

세계적으로 한류 붐이 일면서 한국문화가 세계의 중심에 자리잡고 있는데 이로 인해 생겨난 부가가치는 측정하기 어려울 정도로 크다. 이에 따라 한국 전통춤의 원형을 보존하는 일과 디지털 콘텐츠화 작업은 정부만의 일에 그치지 않고 막대한 부가가치 가능성 때문에 문화산업측면에서 민간 부문이 관심을 크게 기울이고 있다. 그 목적을 달성하기 위해서는 콘텐츠 개발이 시급하기는 하나 한국 전통 춤의 원형의 가치를 확립하는 일이 선행되어야 한다. 대중은 문화적 가치를 재발견하는데 있어서 적극적 역할을 해야 하며 한국인의 정체성을 대표하는 전통 춤은 체계적인 예술정책의 대상이 되어야 한다. 이 논문은 전통춤 디지털 콘텐츠 개발의 실태를 점검해보고자 한다. 또한 문화원형을 보존하는 것이 지닌 현대적 가치를 재조명해봄으로써 가까운 미래의 문화예술정책의 방향에 관해 제언하고자 한다. 연구를 통해 전통춤의 원형에 관한 전문 인력이 부족한 점과, 역사적 고증 절차의 신뢰성을 점검해야할 필요가 있음을 확인했다. 산학협력단의 협동과제와 전문 인력 배치에도 불구하고 민간 기업이 인력을 양성할 수 있는 정책적 지원은 여전히 미흡한 실정이다. 즉 인력 양성과 자원 배분, 예산 확보, 민간 분야와 개인의 협력 증진, 민간 기업의 산업적 차원에서의 관심은 부족하다. 이는 문화 원형이 즉각 수입을 창출해주는 비즈니스가 아니기 때문이다. 따라서 비즈니스 지향적인 회사가 전통춤을 불가피한 요소로 인식하는 경우도 없으며 그러한 시도도 아직 없다. 이를 위해서는 콘텐츠 개발이라는 하드웨어적인 정량적 정책보다 대중의 소통과 참여와 나눔을 통해 문화수요를 촉진하는 소프트웨어적 정책이 우선 추진되어야 한다. 이를 통해 전통춤의 가치에 대한 자연스런 인식 변화를 유발할 수 있다. 이러한 정책을 통해 전통춤은 문화의 창조적 보고로서, 또한 경제적 가치를 만들어내는 공공산업으로 새롭게 인식될 것이다.

• 한국실내디자인학회논문집
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• 제18권1호
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• pp.43-53
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• 2009

This study is to investigate the utilization of Indoor Proscenium Stage Zone Lighting method in the dancing performance. In other words, it is about how we can utilize the principle of zone lighting in dancing performance, a kind of stage art. Stage lights give lights on the stage. Therefore they play big and important roles in dancing performances. Lightings make big influence on the overall atvosphere and situations of the dancing work but most of dancers do not perceive their importance and furthermore they don't know about the lightings very well. To let them know about stage lightings better, we studied lightings form the perspective of the dancers who face the lightings without great knowledge thresh the articles and literature related general lightings and lighting design, books related to stage lightings and dancing lightings, previous studies and academic articles. The most important part of this study is to understand and utilize the principle of zone lightiing. Zone lighting is generally called as cross lighting, which means single light from the crossed two lights. When looking into the principle of the zone lighting of the Indoor Proscenium Stage, it means 45 degree lighting from both sides of the top form the point of the dancer When more than two lights are used, the angle of the light should be $90^{\circ}$or 120. It is the principle of the lighting technology showing the face and body of the dancers ing three dimension. Applying for the principle of this zone lighting to the dancing performance of Indoor Proscenium Stage, the lighting methods and the usage of the lightings were studied. As shown above, the role of the lighting is very important in dancing configuration. We hope that the perception on the dancing lighting will be changed and studies on the dancing lightings. By understanding and applying more principles of lighting, we will make efforts to make better dancing performance and dancing conporsers and dancers shall make more efforts and studies on lighting for better works. Through such efforts, we can have more experts and professionals In dancing lighting field and they will help us to describe and express the intention of the dancing work better as dancing artists. We hope that there will be better quality performances through more and diversified studies in this field.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2001년도 International Costume Culture Conference
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• pp.86-86
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• 2001

• 한국의상디자인학회지
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• 제6권2호
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• pp.111-121
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• 2004

The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.

• 복식문화연구
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• 제27권4호
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• pp.353-367
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• 2019

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang's sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled "Green mountain is like what I've meant", "To Byeokgyesoo in Cheongsan-ri" and "Dongjibam ginaginbam". In brief, Jin-Yi Hwang expressed her "everlasting love and emptiness", "temptative conciliation" and "eager waiting" these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang's sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang's expressed emotions.

• 한국실내디자인학회논문집
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• 제29호
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• pp.181-187
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• 2001

The art museum plays a role as a cultural space that can solve the cultural desire of people and see a good art works. It is in exhibition space that they personally exchange the feeling between an art work and a viewer in art museum. The types and works - a fiber, a photo, an establishment that needs many places, devices, a video art, and an action art called "performance", cultural art - are shown in small art museum. Moreover, exhibition spaces are modified into the space of another art activities like dancing, music concerts in small art museum because it has no profit space for diverse art activities. And the exhibition the characters of the exhibition space in small art museum. So, it needs to change the characters of the exhibition space in small art museum. Under these background, this stud\ulcorner surveys and analyzes the exhibits, the organization methods, the modified conditions, and the scale of the existing exhibitional space in small art museum. Therefore, the goal of this study is to suggest the composition of the exhibition space unit considering the function and the multifunction in minimum art museum and small art museum.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2019년도 춘계종합학술대회
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• pp.315-316
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• 2019

By understanding the concept of transculturality, this paper tries to look at the mixedness shown in modern dance works in Korea. By shedding light on the transculturality character that Welsch, emphasizes, we will interpret the artistic transition and the art phenomena that appear in Korean dance.

• 한국의상디자인학회지
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• 제13권2호
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• pp.147-162
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• 2011

The performance-art costume is a tool for expression that can dynamically display the intention of a production. The purpose of this study is to examine the whole costume for performance arts targeting musical works, to which were added such elements as music, dance, and drama, among performance arts in several genres. This study aims to consider how the symbol contained in the costume was intended to be expressed by inferring a change in performance costume and character as the stage costume. Accordingly, the following research problems were established in this study. First, Which role does the costume play in performance art? Second, into which types can the performance-art costume be classified depending on the kind of performance art? Third, what is the expressive method for the performance-art costume? To examine the types of performance-art costume, the acting costume, the singing costume, the dancing costume and the rhythmic performance costume were considered. As a result, the performance costume can be seen to have been designed through the effect of a change in color by lighting, through the differentiation of character caused by excessive decoration, through the differentiation in material for free movement, and through symbolic expression.