• The Journal of the Korea Contents Association
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• v.6 no.9
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• pp.124-131
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• 2006

Motion graphic is also developing into its own genre in graphic design by establishing individual industrial fields. images and graphics but also recognize even motions and sounds as communication elements delivering a message. Nevertheless, web communication designers have yet to experimentally test the visual motion priniciples or the audio sound expressions in terms of technology. If the dance are used, they may be new communication approaches in the age of multi-media, which allows for communication of visual and audio information or images. With such conceptions in mind, this study was aimed at reviewing the structural relationship between visual motion principles of the kinetic and the sound images to combine the audio and video effects. To this end, the basic structure of dance and music were substituted into the dance to determine their relevancy, and thereupon, examine the effective sound expression methods and techniques depending on movements of the objects in the monitor. Thus, this study, by inquiring into the uniqueness of choreography in motion graphic, presents the possibility of limitless expression of designer creation and inner world, and the ultimate goal lies in assuring the artistic value of motion graphic and its position as a synthetic art.

• Journal of the Korea Safety Management & Science
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• v.19 no.1
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• pp.95-101
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• 2017

The purpose of this study was to investigate the biomechanical of K-Pop dance movement. The study was conducted on 15 male and 15 female subjects in 20-30 age groups. And they choose 150 K-Pop dance choreographies in the top 10 ranking of the main charts. We analyzed the RoM, joint moment and impulse force of the highlight movements. First, During the K-Pop dance motion, the usage of knee joints are more than the hip joints and the ankle joints, and female dancers has a larger range of motion than the male dancers. Second, male dancer uses more than female dancers when they compared the load of male dancers and female dancers. In particular, flexion and extension of the hip joints are mostly used in this study. Third, the impulse force of male dancers was greater than of female dancers, but it was statistically insignificant, this is equal to the impulse on walking. In conclusion, Female dancers use more range of motion than male dancers, but male dancer choreography requires greater torque, which can strain joints. Most choreographic exercises involve movements such as hip joint, knee joint, flexion of ankle joint, extension, rotation, and jumping.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.405-414
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• 2022

The purpose of this study is to discover the possibility to expand the aesthetic interpretation of dance works. For this purpose, this study analyzes Maguy Marin's (1981) because it shows Sigmund Freud's concept of uncanny and grotesque images well. The theoretical framework of this study was centered on previous academic studies, and Hoffman's Der Sandmann(1816) was presented as an example to help the conceptual understanding of uncanny and grotesque. The analysis of of Magi Marin was divided into stage space, dancer's movements, costumes, and voice. As a result of this study, it was discovered that is a work with an experimental spirit that deviated from the stereotypes of traditional stage aesthetics. And it was implemented as uncanny and grotesque images in the choreography structure. In addition, as the changes of the times have a great influence on the creation of dance works, it is thought that the discourse of various aesthetic interpretation methods in dance works can provide various directions for dance creation in the future. Therefore, this study will be helpful in raising the aesthetic value and status of dance art.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.648-658
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• 2020

In essence, Musical theatre is a multimedia show, so when you listen to musical numbers, you will experience it through multiple senses. Therefore, in order to analyze musical numbers, emphasis should be placed on its interaction with various media such as lyrics, dance, and theatre, which have a direct association with the music. Through the Conceptual Blending Theory, which can comprehensively consider the combination of text and music, the combination of movement and music, and the combination of visual elements and music, this study analyzes the music of Musical . By exploring the result of interaction between lyrics and music, the interaction between choreography and music, and the interaction between stage and music, the artistry and intrinsic value of the work can be proved. In addition, we can discover the process and system of integrated interpretation through music analysis applying Conceptual Blending Theory. Therefore, Conceptual Blending Theory has sufficient utility as a methodology for music analysis of musical theatre.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.75-85
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• 2021

The purpose of this study is to examine the importance and satisfaction of users in the use and selection of a dance academy and contribute to methods for the activation of a dance academy based on basic information. A questionnaire survey was conducted with 213 users attending 12 dance academies in G Metropolitan City using the IPA statistical method. The following conclusions were drawn. The highest importance of a dance academy in IPA analysis was a professional teacher, followed by clean dance equipment, transit accessibility, dance academy fee, and a kind teacher. The highest satisfaction was a professional teacher, followed by various dance programs, teacher's choreography ability, a kind teacher, and transit accessibility. Based on the findings, dance academy users felt that the professionalism and kindness of teachers who directly teach them, academy fee, and equipment cleanliness associated with the age of COVID-19 were important. High satisfaction factors were teacher-related factors and transit accessibility. Therefore, it is considered that a professional and kind teacher and clean and hygienic environment will contribute to the activation of a dance academy.

• Trans-
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• v.1
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• pp.67-89
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• 2016

This study aims to examine the present (Western) modern dance by analyzing the works of three choreographers who are currently at the forefront of the dance scene to identify and understand the current choreographic trend. The three selected choreographers for this study are Justin Peck (USA), Sidi Larbi Cherkaoui (Belgium) and Zach Morris (USA). These choreographers were chosen on the basis of their significant identity within the current dance scene. For analysis, one noteworthy works of each choreographer were selected for video analysis. The result of the analysis illustrates that in the current era of promoting technology convergence in the performing arts industry, the three choreographers approach convergence differently by integrating dance and other mediums in their choreography. Peck converges between ballet and the ordinary, Cherkaoui converges between dance and other cultures and Morris converges between dance and venue.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.626-635
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• 2013

The purpose of this study is to research the practical cases of the reflective curriculum design and the improvement of the dance courses as a general education at University. This study deals with the recreation dance program with 40 students participating for 15 weeks. This study is qualitative research to explore the practical meaning and value the process on the basis of the interviews and reports of the students and the class evaluation of the instructors. The results were as follows: First is the experience of 'thinking dance'. Not just a functional movement, but moreover, they could experience the attraction, sensitivity and culture of the dance altogether. Second is the experience of 'communicating dance'. They experienced the sociability from the relationship with new partners, the overcome of the passivity (shyness) and the manner of consideration. The third is the experience of 'creating dance together'. As a member of a group, they could learn the integrity, responsibility and satisfaction in the middle of cooperative task performance. The view from the teacher regarding the class reflective assessment is as followed: The importance of dance instruction is to improve the expressive personality and potentiality of the students. Forcing the students to follow the basic choreography could be exhaustive.

• Trans-
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• v.6
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• pp.43-78
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• 2019

Dance is an art that includes not only art historical facts, but also a series of processes for dancers' body, choreography, and the creation of entire process of dances and their lives. In other words, dance is the art of embodying the experience and consciousness of the dancer as the subject, and embodying it through the physical body, and therefore, the existing empirical study which relies solely on the literature in the history of dance study is difficult to deliver a complete history. Oral history is a new methodology historical writing that overcomes the limitations of research methods based on literature centered documents. Oral history in the field of dance is that the dancer becomes the subject of the history of dance's narrative. The memory and testimony of a dancer can become a history, complement the missing parts of the documentary record, and amount to analysis and interpretation to attempt the history of dance from various perspectives. The history of dance through oral history analysis thus generates another view from the literature. The oral history is acted as a prism that can explore the sociocultural discourse of the time and the history of dance. As a new academic challenge for the history of dance field, I expect to be able to review the artistic, social, and cultural functions and roles of dance beyond the limit of existing literature-oriented history study and to be able to progress to various the history of dance.

• (The) Research of the performance art and culture
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• no.33
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• pp.195-222
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• 2016

This study says that giving a life through the mixed power of motions which can not be fixed. It is a fundamental activity of the art of dance. In the fact, the art of dance is defined as the most instinctive and intuitive arts show that dance is a harmony of emotion on the body, thus, this view wants to discuss the relations between "sense and body". This view doesn't focus on the mere motions of dancing form, but characterizes dance as an art of another vitality through the mixture and combination of these motions. In other words, this study emphasizes that dance transcends time and space on stages, and that dance, as an expression of identity, is an art which shows a sense from inside of human. Therefore, when we want to understand the true meaning of the art of dance, we should attend what attributes of dance define it as an art and show its creative. This study, thus, seeing those attributes as the life-giving function of dance, aims to help understand the principle meaning of the art of dance that realizes creation as well as the attitudes of audience who appreciate the art of dance. And by doing so, this study contemplates how we should see the creative idea of choreography, forming sympathy and the art of dance.

• Journal of Science and Technology Studies
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• v.19 no.3
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• pp.167-200
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• 2019

In recent years, the material has mattered to the humanities and social sciences in the West and feminism is no exception. It is a notable change that feminist analyses, which had previously shown critiques against science and technology, attempted to build new engagements with matter. STS (science and technology studies) has also accumulated scholarships and developed conceptual tools on the thing or the existence itself through "the ontological turn." The objective of this paper is not to introduce new materialism or new material feminism in full, but to reveal the possibility and potential of doing science, technology and women studies by selectively relying on the achievement of new materialism feminism. This article shows a way to study women's practice of science and technology by analyzing the case of plastic surgery practices through the ontological concepts of STS, particularly those of Annemarie Mol, Karen Barad, and Charis Thompson, and proposes a new engagement among new materialism, feminism, and STS. This article is organized as follows. First of all, after briefly discussing main issues in new material feminism, I will show the limitations of previous feminist studies of plastic surgery under the light of new material feminism. The rest of the article introduces the conceptual tools of ontological STS, describes plastic surgery practices with those tools, and finally provides their feminist implications.