• Journal of Information Processing Systems
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• v.16 no.5
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• pp.1223-1230
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• 2020

Recently, extensive studies have been conducted to apply deep learning to reinforcement learning to solve the state-space problem. If the state-space problem was solved, reinforcement learning would become applicable in various fields. For example, users can utilize dance-tutorial systems to learn how to dance by watching and imitating a virtual instructor. The instructor can perform the optimal dance to the music, to which reinforcement learning is applied. In this study, we propose a method of reinforcement learning in which the action space is dynamically adjusted. Because actions that are not performed or are unlikely to be optimal are not learned, and the state space is not allocated, the learning time can be shortened, and the state space can be reduced. In an experiment, the proposed method shows results similar to those of traditional Q-learning even when the state space of the proposed method is reduced to approximately 0.33% of that of Q-learning. Consequently, the proposed method reduces the cost and time required for learning. Traditional Q-learning requires 6 million state spaces for learning 100,000 times. In contrast, the proposed method requires only 20,000 state spaces. A higher winning rate can be achieved in a shorter period of time by retrieving 20,000 state spaces instead of 6 million.

• Journal of Yeungnam Medical Science
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• v.41 no.3
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• pp.196-206
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• 2024

Background: This study investigated the prevalence and associated factors of musculoskeletal pain among professional dancers who experienced a lapse in group practice due to coronavirus disease 2019. Methods: General characteristics, practice time, region of musculoskeletal pain due to injury using the visual numeric scale (VNS), and causative motion were surveyed among professional dancers. Pain of VNS 0 to 3 was categorized as "no or minor," 4 to 6 was categorized as "moderate," and 7 to 10 was categorized as "severe." The causal motions of musculoskeletal pain were analyzed according to body region. Factors other than motion associated with pain were also analyzed. Results: In total, 368 participants were included. In the univariate analysis, age and practice time were positively associated with "moderate" pain. Practice time, dance experience, and postural accuracy were positively associated with "severe" pain, as was performing Korean traditional dance. In the multivariable analysis, practice time, group practice, and age were positively associated with pain of VNS 4 to 10, and practice time, group practice, and Korean traditional dance were positively associated with pain of VNS 7 to 10. Conclusion: Among the factors related to dancer training, practice time, group practice, and dance type affect the occurrence of pain.

• International Journal of Advanced Culture Technology
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• v.12 no.2
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• pp.16-29
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• 2024

Mogao Grottoes in Dunhuang, China is one of the world cultural heritage, is the largest ancient grottoes art group in the world, and is a natural and cultural place with outstanding universal value for mankind all over the world. Dunhuang music and dance derived from the murals of Mogao Grottoes is an artistic representation of its thousand-year-old glorious history and an indispensable historical material for research. As one of the iconic images of Dunhuang music and dance, the "rebound lute behind the back" dance posture has unique charm value both in the original mural composition and the stage image. This paper analyzes the characters holding pipa in Dunhuang murals by case analysis, comparative research and other relevant research methods, then studies the stage image and posture of "rebound lute behind the back", and finally analyzes the stage works of "rebound lute behind the back". It is concluded that the dance image of "rebound lute behind the back" is a dynamic stage art work gradually formed by artists from the static Dunhuang murals through refining, developing, processing and transforming. This is to revive the image of Dunhuang music and dance murals, to provide reference and reference for the inheritance and development of Dunhuang culture, and then to enhance and enrich the artistic value of excellent traditional Chinese culture and world cultural heritage.

• (The) Research of the performance art and culture
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• no.33
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• pp.303-328
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• 2016

This paper identifies the life of Kim Jung Hyun who was so called kisaeng, a beauty and entertainer in modern times and serves as the study considering what kinds of dances she played going through modern times and the significance works in Korea Dance illustrated guide bear in terms of dance history. Kim Jung Yun who was designated as an important intangible cultural asset for her Korean traditional narrative song in the northwestern provinces (Number twenty-nine. designated in 1971) devoted herself to Korean classical music area after having been designated as cultural asset and became a stranger in dance area. However, in Kisaeng call-office, she had been estimated to learn dancing under the great dancer, Lee Jang Sin, and make efforts on dance activity until the early 1960's. Her works derived from such learning and creation activity came to be part of Korea Dance Illustrated Guide. This study aimed at studying Kim Jung Yun in addition to her works who had not received attention so far but worked on positive lines and made a significant accomplishment in modern dance history in order to reveal her importance status in modern dance history.

• The Journal of the Korea Contents Association
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• v.12 no.5
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• pp.175-187
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• 2012

The purpose of this study is to investigate the mechanism on how the aesthetic consciousness of "Mat" and "Meot" of Korean dance is realized with the analysis of aesthetic meaning and value found in the aesthetic experience of Korean dance, and also the aesthetic concept and consciousness of Korean Studies. First, "the aesthetic consciousness of endless life theory" is from the curved motion, which is one of the basic principle of Korean dance, and is to be sublimated to the aesthetic consciousness of "Mat" and "Meot". The life theory of the Korean dance is to be cleary realized by the curved movement aiming the Circle, which is the important principle of movement for feeling aesthetic consciousness of "Mat" and "Meot". But, the Korean dance movement has been affected to follow the Straight motion frequently in recent days rather than the Curved motion due to the influence of the Western style movement. This makes difficult to find aesthetical sense of "Mat" and "Meot". So, it is very crucial to keep and improve the Curved motion in the Korean dance for protecting and developing aesthetic consciousness of "Mat" and "Meot", the unique feature of the Korean dance. And the continuos effort and plan of Korean dancer is also needed to make the Mind and the Body coexist each other. Furthermore, the research on this aesthetic consciousness of "Mat" and "Meot" of the Korean dance should be kept going.

• Journal of Korean Academy of Nursing
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• v.29 no.2
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• pp.429-444
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• 1999

This study was performed to explore the effects of a dance therapy on physical and psychological characteristics in the elderly. The design of this study was a non-equivalent pre-post test experiment. The subjects consisted of elderly persons living in a facility located in Suweon and Bucheon. Fifty eight subjects, aged between 65 and 93 years who had normal cognition, sensory function, balance, and resting blood pressure. They underwent tests of balance, flexibility, muscle strength, depression, and anxiety as baseline data before dance therapy, and at 6th week and at the end of the 12nd week after following dance therapy. Twenty seven elderly persons were assigned to the experimental group and participated with the dance therapy between April and July, 1998. The dance therapy was developed by the author with the help of a dance therapist and a physiatrist. This therapy was based on the Marian Chace's dance therapy and Korean traditional dance with music. The dance therapy consists of 50 minutes session, 3 times a week for 12 weeks. One session was consisted of warming-up, expression, catharsis, sharing, and closing stage. The intensity of the dance therapy was at the 40 % of age-adjusted maximum heart rates. Data were analysed with mead standard deviation, Chi-square test, unpaired t-test, repeated measures ANOVA, and Bonferroni multiple regression using SAS program. 1. The results related to the physical characteristics were as follows : 1) The balance (standing on one leg, walking on the balancing bar), flexibility and muscle strength (knee extensor, knee flexor, ankle plantarflexor and dorsiflexor) of the experimental subjects significantly increased over time mere than that of the control subjects. 2) The experimental group had significantly higher score for balance, flexibility, muscle strength of knee extensor, and knee flexor than the control group at the 12nd week after dance therapy. 3) The experimental group had significantly higher score for muscle strength of ankle dorsiflexor and plantarflexor than the control group at the 6th week and the 12nd week after dance therapy. 2. The results related to psychological characteristics were as follows : 1) Scores of Geriatric Depression Scale, Hamilton Depression Rating Scale, and Zung's Self-rating Anxiety Scale of the experimental group were significantly decreased over time more than that of the control group. 2) The experimental group had significantly lower score for depression than the control group at the 12nd week after dance therapy. 3) The experimental group had significantly lower score for anxiety than the control group at the 6th week and the 12nd week after dance therapy. The findings showed that the dance therapy could be effective in improving the balances, flexibility, and muscle strength of lower limb, and effective in decreasing the depression and anxiety of the elderly. Additional merits of the dance therapy would be inexpensiveness, easy accessibility, and increasing interpersonal relationship. It can be suggested that the dance therapy is effective in the health promotion of the elderly.

• (The) Research of the performance art and culture
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• no.22
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• pp.413-439
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• 2011

This study aims to look for the proper directions of following and developing Gyeonggi sinawi dance in the fashion of Kim Sukja by closely examining its kinds and patterns. First, its characteristics and education reality were investigated. Second, the seven kinds of Gyeonggi sinawi dance Kim Sukja allegedly handed down (according to the 121st Report of the Intangible Cultural Assets) were concretely examined. Third, the composition of each dance pattern was studied. Fourth, various beats used in Gyeonggi sinawi dance were revealed. The late Kim Sukja had outstanding artistic talent and ability in Gyeonggi sinawi dance movements, musical composition, gayageum accompanied singing, and pansori episodes. Behind her were master singer Kim Seokchang (grandfather), father Kim Deoksun (belonging to Hwaseong Artist Board), shaman-mother Jeong Gwiseong, and great dancer Jo Jinyeong. Kim sukja's seven Gyeonggi sinawi dance types were bujeong nori, teo beollim, jinsoe, jeseok, kkaekkeum, ollimchae, and dosal puri (designated as Important Intangible Cultural Asset in 1990). Such beats as seopchae (dosal puri), mori, bal ppeodeurae, bujeong nori, ollimchae, jinsoe, and teo beollim (ban seoreum) were mainly used in Gyeonggi sinawi dance. In sum, Kim Sukja's dance was more than an individual's dance to represent the cultural types and life at that time in Gyeonggi-do and be a very important academic historic material. Therefore, it is the responsibility of the present generation to hand down and develop such invaluable traditional cultural materials.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.135-150
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• 1999

The purpose of this study is on the dance costume of ancient Egypt. First, after the present study looked onto a specialty of Egyptian dance, and then the present study classified Egyptian dress into type and form, quality of material and color tone, hair and headdress and other ornaments. Fundamentally, this study was intended to understand the traditional culture and to grasp the peculiarity of Egyptian dancing dress. This study was progressed as a theoretical research by using documents, photographs, literatures of museum, etc. The results of the study could be summarized as follows. Egyptian dancing featured the earliest form of stage dance in the world and improved religion dancing and sideshow dancing getting out of the form of primitive dance, and also there were professional dancers who developed highly skillful dancing technique. They played a role in disseminating it to many countries of the Mediterranean sea. Dancers of Egypt wore a variety of cloths like the general people. Accordingly, there were no big differences in qualify of material, color tone and other ornaments as well. Yet in accordance with improvement of dance, there was a show-up of clothing of professional dancers and changing of detail parts. So dancing dress was formed while distinguished from general clothing. Therefore, dancing dress of Egypt represents racial characteristics, activity, originality and pursues not authority, but respect of physical beauty or natural beauty.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.47-57
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• 2019

The end of the 20th century, along with the popularity of new media technology and the rise of new media art, dance as a visual art, and body language art, has the features of more and more rich and changeful. In today's Internet booming new media environment, many different fields, such as film and theater, computer technology, digital art, etc.) with its commonness and characteristics of all kinds of interaction between the creation, produced a new interdisciplinary research with theoretical model. When cross-border interactions between various areas become a hot topic at the same time, the traditional form of dance performances are also seeking new breakthrough. Canada's famous social psychologist McLuhan believes that modern is retrieving lost over a long period of time "overall" feel, return to a feeling of equilibrium. The audience how to have the characteristics of focus on details of visual art back to the "overall" feel worthy of study. At the same time, the new media in today's digital dance teaching in colleges and universities dancing education remains to be perfect and popular, if continue to use the precept of the traditional teaching way blindly, so it is difficult to get from the development of the current domestic dance overall demand. In this paper, the main body is divided into two parts, the first chapter is the study of image device dance performance art, the second chapter is the research of digital dance teaching application system, thus further perspective of media technology to explore dance art crossover practice under the new media environment and mode of transmission.

• (The) Research of the performance art and culture
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• no.35
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• pp.471-508
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• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.