• Korean Journal of Applied Biomechanics
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• v.21 no.2
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• pp.181-187
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• 2011

The purpose of this study was to identify major factors on pirouette in ballet, and especially angle, Center of Mass(CM) & muscle activity aspects. The data were collected by using Motion Analysis System with 12 cameras to analyze kinematic variables with 120 Hz and Electromyography(EMG; 4,000 Hz) & Force Platform(1,000 Hz) to analyze kinetic variables. The subjects of this study were 8 female ballet dancers. The results as follow. First of all, full extension of knee joint and full plantar flexion of ankle joint appeared at the similar point. Secondly, in the rotational phase, total movement of segments in Good motion is smaller than that of Bad motion(in Good motion, head movement 2.70 cm, right shoulder movement 0.72 cm, left shoulder 4.26 cm, left wrist 17.4 mm smaller than Bad motion). Third, CoP distance of Good motion is 11.76 mm, and CoP distance of Bad motion is 11.76 mm, so Good motion is 5.98 mm smaller). Lastly, Pirouette need more retus femur activity than gastrocnemius activity in extention phase and rotation phase of support leg.

• Korean Journal of Applied Biomechanics
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• v.26 no.2
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• pp.183-190
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• 2016

Objective: The objective of this study is to present a scientific basis for ballet dancer training methods by analyzing the relationships between subjective assessment of the ballet movement 'Grand pas de chat' and kinematic and electromyographic factors. Method: The subjects were 14 professional dancers with 15 years of experience on average. Four cameras and a wireless electromyogram were used to examine kinematic factors, and the filmed videos were analyzed by 3 experts for subjective assessment. Results: Although no differences in kinematic factors were found between the excellent dancer group and the non-excellent dancer group divided based on the experts' assessment, some difference was found in electromyographic factors, especially in relation to the gastrocnemius muscle, rectus femoris muscle, and erector spinae muscle. A relationship between subjective assessment and kinematic and electromyographic factors was found, and factors such as right-side rectus femoris activation, time required, left-side gastrocnemius activation, and front-back displacement affected subjective assessment. Conclusion: This study showed a relationship between subjective assessment and kinematic and electromyographic factors. To receive higher scores in subjective assessment, it is necessary to extend the hang time by using the lower limb muscles. The findings of this study also indicate the necessity of weight training in order to improve dancing techniques.

• Korean Journal of Applied Biomechanics
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• v.22 no.3
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• pp.295-304
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• 2012

This study, through biomechanical analysis, conducts a risk assessment of injury occurrence in ballet dancers while they perform running and jumping movements. The participants were nine female collegiate students majoring in ballet(age: $20.89{\pm}1.17years$; height: $160.89{\pm}7.01cm$; mass: $48.89{\pm}3.26$). Descriptive data were expressed as $mean{\pm}standard$ deviation(SD) for all variables. An independent t-test was conducted to determine how the following variables differed: duration time, position of the center of gravity, angle of the hip, torque of the hip, and muscle activity. All comparisons were made at the p<0.05 significance level. The results show that the jump time was two times longer than the run time in the duration time. The jump length was also longer than the run. The angle of the hip and the torque at the hip were higher in the right. The vastus medialis muscle was most frequently used. These findings demonstrate that participants' jumps may require more biomechanical variables for performance of better and more correct $jet{\acute{e}}$.

• Korean Journal of Applied Biomechanics
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• v.25 no.3
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• pp.265-274
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• 2015

Objective : The purpose of this study was to analyze the effect of the elastic band on ballet arabesque based on kinematics analysis. Methods : To observe the effect of the elastic band, the availability of the elastic band during movement was set as the independent variable, and the dependent variables were set by using factors from two different categories such as motor mechanics and kinematics variables. For motor mechanics variable, the muscle activity and the center of pressure(COP)'s trajectory and velocity were used. Furthermore, the physical angle was used for kinematic variables. Data samples from the experiment was used to understand the correlation between independent and dependent variables while using paired samples t-test as a data analysis tool. Results : After analyzing the result of experiment, the usage of the Elastic band on ballet arabesque movement seemed to increase the activity of the agonistic muscle, which is mainly used for movement, and to improve the stability of the supporting leg by decreasing the trajectory and velocity of the center of pressure(COP). Moreover, the elastic band increased the level of elevation of the stretching leg with reducing the angle of the hip joint that resulted into a more stable movement and furthermore providing more beauty while standing on it. Conclusion : The movement training program while the using elastic band are expected to lead to appropriate muscular development and reduce the muscle imbalance, which usually occurs to dancers, during training with unfamiliar specific movements or strengthening muscular strength for a specific movement. In addition, this work is expected to be used as a training reference to understand and learn the fundamentals of movements of ballet and other dance fields.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.148-156
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• 2015

The purpose of this study was to evaluate the dance attitude differences between gender, majors, and grades. Attitudes-towards-dance inventory(Jadranka et al., 2004) which covered affective, cognitive, and action aspects of attitudes, as well as to reflect, in a similar number of items, both the positive and negative attitude towards dance was used to investigate dance attitude for 483 dancers who are collegian. Male students were more positive attitude in the affective area among dance attitudes than female students(p<.05). Dancers who major practical dances revealed more positive attitude in the affective area than dancers majoring ballet and Korean treditional dance(p<.05). In addition, freshmen have a more positive dance attitude in the affective area compared with seniors. It was suggested that more subjects should be studied from considering major, local university as future study.

• Korean Journal of Applied Biomechanics
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• v.23 no.4
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• pp.403-407
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• 2013

Fouett$\acute{e}$ turns are repeated pirouettes which begin as a normal pirouette en dehors but include a movement that allows the rotational momentum lost to friction to be regained once each revolution. The purpose of this study was to investigate on orientation density of head/trunk to the front with and without music to which dancers perform the Fouette turn in time. 10 female dancers($21.0{\pm}1.4$ years old, height; $165.3{\pm}3.9$ cm, weight: $50.5{\pm}5.7$ kg) who are the students of S University participated in this study. It took shorter time to perform one revolution of fouette turn with music (930 ms) than without music (961 ms), which reason may be the shorter time of phase 2 in which the rotational momentum is not produced but lost to fiction. Orientation density of trunk to the front was smaller with music (.176) than without music (.196), while the one of head had not significant difference between with and without music. And the path length of marker on $2^{nd}$ left metatarsal bone during one revolution was smaller with music (35.7 cm) than without music (40.2 cm) but the difference was not statistically significant (p=.267).

• (The) Research of the performance art and culture
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• no.20
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• pp.339-367
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• 2010

Despite that it is relatively difficult to compare the movements in eastern and western dancing, this study approached hand-foot coordination movements, which involve lifting both an arm and a leg to stand on one foot, from a figurative point of view. In ballet, arabesque, developpe, and attitude were recognized as the example hand-foot coordination movements, and in Korean Dance, Oesawi, Gyeopsawi, and Meongseokmari of Mask Dance were classified into the hand-foot coordination movements. The figurative characteristics of these dances were approached from the aspects of racial traits, philosophies of dancing, and forms of movements. The following summarizes the findings about hand-foot coordination movements of this study. First, in relation to human physiology, eastern and western races have different traits. The forms of dancing have developed differently according to the builds and figures of dancers. Ballet is an elegant form of dancing using long legs and arms and its arabesque, developpe, and attitude movements emphasize stretching the body for an elegant and beautiful presentation. On the other hand, Korea was an agricultural society and lived closer to the land. As its people developed petite figures, its dancing movements, especially the hand-foot coordination movements, involved 'twisting' and 'walking down and up.' Second, despite that the hand-foot coordination movements are identical for east and west, ballet aims at the heaven and Korean Dance aims at the land according to the differences in the views of nature. Although the principle of hand-foot coordination movements is about aiming at the land, western philosophies and aesthetics pursue the heaven. Third, in ballet, the focus of beauty is the presentation of beautiful movements. Therefore, the hand-foot coordination movements precisely control the position and angle of arms and legs for the perfect balance of the body. On the other hand, the hand-foot coordination movements of Korean Dance are mostly rooted from natural daily movements and movements that enhance the efficiency of labor. Therefore, it is considered beautiful techniques even if the body looks rather unbalanced.

• Journal of Korean Foot and Ankle Society
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• v.14 no.2
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• pp.190-193
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• 2010

Both os trigonum syndrome and osteochondral lesion of talus (OLT) are common causes of ankle pain and usually affect ballet dancers or athletes. Lateral osteochondral lesions, which usually result from traumatic event, are mostly located anterolateral talar dome but rare central or posterolateral. Moreover, there are technical difficulties such as position of patient or additional posterior portal to address posterolateral lesion by arthroscopy. Meanwhile, treatment of os trigonum syndrome using arthroscopic approach has been reported in many literatures recently. However, it has not been reported to diagnose both os trigonum syndrome and posterolateral OLT together and treat arthroscopically at one stage. The authors report a case of male patient who was diagnosed as os trigonum syndrome with posterolateral OLT and treated simultaneously by hindfoot arthroscopy. Symptom was improved immediately after the operation, and radiological findings at postoperative 16 months verified remarkable healing.

• Journal of the Korean Home Economics Association
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• v.36 no.10
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• pp.119-130
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• 1998

This is on the dance costume of ancient Greece. The present study classified the characteristics of Greek dance and dance costume according to the silhouette, quality of material, color and ornaments. Materials of the study are the pictures and figures presented in literatures, sculptures, crockeries, murals, coins. The dances of Greece can be classified into religious dance, educational dance, recreational dance, dramatic dance and various forms of dance on each dances were developed. Especially, it is the greatest character that Greeks gave dances educational value and created composit art including song, lines and dance. As dance costume, Himation, Chiton, Chlamys which Greeks generally wore were widely worn. Also, the beauty of dance costume was maximized by the changes of basic costumes and development of various ways of wearing. Especially, professional dancers wore costumes shorter than knee-length ones forming a A-line silhouette different from a cylindrical one. Thin cloth revealing body silhouette such as fiax hemp, linen, silk were used as materials of dance costumes. As for colors, white was mainly used, But orange, blue and green were used, too. They wore band, scarf, bonnet on the head and seldom used any ornaments except for fibula. They wore the same sandals which Greeks wore, Crepis, front-heeled shoes which is thought to be the origin of modern ballet shoes for the technique of toe in dance. As mentioned above, as the dance costume of Greece were mainly worn as the similar forms of the dance costume of Greeks, various forms of costumes were worn with the development of dance and bold ways of wearing and silhouette were developed unlike the costume of common people.

• Korean Journal of Cognitive Science
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• v.29 no.2
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• pp.121-135
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• 2018

Dancers' motions are perceived by observers through visual processes with visual information forming the basis for the observers' appreciation and evaluation of the dancers' motions. There have been many discussions as to whether or not observers' personal athletic capabilities form an essential basis for accurate assessment of the motions of others but, so far, no valid conclusions have been reached. The purpose of this study is to investigate how the ability to predict motions of others varies depending on the athletic expertise of the observers. Participants of this research were ballet dancers of varying athletic expertise. Twenty seven participants were divided into three groups with nine in each: beginners, intermediate experts and experts. The participants watched the same dance video and then evaluated whether the motion would be successful or not. The movement related visual information required to evaluate the success of the motion was systematically adjusted by controlling the length of the video. Using the temporal occlusion method, this study measured the response accuracy of the participants by category of expertise. Under the circumstance with insufficient visual information to utilize, the experts showed higher rates of correct response than the intermediate experts and the beginners. The beginners showed higher rates of wrong response than the experts and the intermediate experts. These results showed that the ability to predict success or failure of a dance motion varied depending on motion expertise of the observers, although they had similar level of expertise in perception. Participants considered to have high athletic expertise showed high prediction ability on the result of the motion. In addition, high expertise in perception reduced the likelihood that participants would make hasty responses under the circumstance with insufficient information and helped to reduce wrong response rate. In conclusion, this study showed that motor expertise and perceptual expertise contribute to prediction accuracy of observed motions.