• 한국운동역학회지
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• 제21권2호
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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.

• 한국운동역학회지
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• 제26권2호
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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.

• 한국운동역학회지
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• 제22권3호
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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 $jet{\acute{e}}$.

• 한국운동역학회지
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• 제25권3호
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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.

• 한국콘텐츠학회논문지
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• 제15권7호
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• pp.148-156
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• 2015

이 연구는 무용전공자들의 무용 태도를 평가하기 위해 전공별, 남녀별, 학년별로 구분해 분석했다. 이를 위해 대학에 재학하는 전공자 남녀 각각 126명, 357명을 대상으로 Jadranka et al.(2014)가 고안한 무용 태도 질문지법을 이용해 정의영역, 인지 영역, 행동 영역별로 구분해 조사했다. 그 결과 다음과 같은 결론을 얻었다. 남 여간 무용에 대한 태도 분석결과 정의적 태도 영역에서는 남성이 여성보다 긍정적인 반응을 보였으며(p<.05), 전공 간 분석결과는 실용 무용 전공자들이 발레나 한국 무용 전공자들보다 무용에 대한 정의적 반응이 보다 긍정적이었다(p<.05). 학년별 무용 태도는 저 학년인 1 학년이 고 학년인 4 학년보다 정의적 태도에서 더 긍정적인 반응을 보였다(p<.05). 향후 이와 유사한 연구를 수행하고자 할 때는 보다 많은 조사 대상자와 남녀, 전공, 학년별 균등한 조사 대상자 선정의 필요성이 요구되며, 선정 대상자 또한 수도권에 국한하지 말고 전국에 걸쳐 선정할 필요성을 시사한다.

• 한국운동역학회지
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• 제23권4호
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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).

• 공연문화연구
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• 제20호
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• pp.339-367
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• 2010

이 연구는 동서양 춤 동작의 원리를 비교하는 것으로 다리와 팔을 동시에 움직이는 즉, 한쪽 다리로 신체를 지탱하는 공통점을 지닌 수족상응(手足相應) 동작에 대하여 형태학적으로 접근하였다. 따라서 발레에서는 아라베스크(arabesque), 데벨로뻬(developpe), 아띠?드(attitude) 동작을 수족상응 동작의 예로 제시하였고, 한국무용에서는 탈춤의 외사위, 겹사위, 멍석말이 등을 포함한 민속무용의 수족상응 춤사위를 고찰하여 이들 춤에서 나타나는 형태학적 특징을 인종의 형질적 측면, 춤의 사상적 측면, 동작의 조형적 측면으로 탐색하였다. 그 결과 수족상응 동작의 형태에 나타난 양태는 다음과 같다. 첫째, 인류의 생태와 관련하여 인종의 형질이 동서양간 각각 다르기 때문에 무용수의 체격이나 체형은 춤의 형태를 다르게 발달시켰다. 따라서 발레는 긴 팔과 다리를 이용하여 신전하는 형태의 춤으로 수족상응 동작에서 신체의 한계선을 더욱 확장시킴으로써 우아하고 아름답게 보일 수 있도록 하였다. 반면 우리나라는 농업이 생업이었으므로 항상 땅과 가까이 한 탓에 체격이 왜소해졌고 이 때문에 춤사위는 '휘젓는 춤사위'와 '굴신걸음'으로 발전하여 대부분의 수족상응 동작에서도 이와 같은 형태를 취하고 있는 것으로 나타났다. 둘째, 동서양간의 자연관에 따라 동일한 형태의 수족상응 동작임에도 불구하고 발레는 천향(天香)을, 한국무용은 지향(地響)의 형태를 띠고 있다. 이것은 수족상응 동작의 원리가 땅을 지향(地向)하는 것임에도 불구하고 서양인의 사상과 추구하는 미적 가치가 천향(天向)을 지향(志向)하고 있기 때문인 것으로 추측된다. 셋째, 발레에서 미(美)의 초점은 외형으로 나타난 아름다운 동작 그 자체에 있다. 따라서 수족상응 동작에서도 신체가 완벽한 균형을 이룰 수 있도록 팔과 다리의 위치 및 각도를 규정하고 있다. 반면 한국무용의 수족상응 동작은 대부분 일상생활에서 나오는 자연스러운 움직임과 일의 능률을 올릴 수 있는 움직임에서 발전된 동작임으로 신체가 다소 불균형을 이루더라도 멋스러운 기교로 간주하고 있음을 고찰하였다.

• 대한족부족관절학회지
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• 제14권2호
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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.

• 대한가정학회지
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• 제36권10호
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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.

• 인지과학
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• 제29권2호
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• pp.121-135
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• 2018

무용수의 움직임은 시각적 처리 과정을 통해 관찰자에게 지각되며, 관찰자는 지각된 시각정보를 바탕으로 무용수의 동작에 대한 평가와 감상을 수행한다. 관찰자의 운동수행능력이 정확한 평가와 감상에 필요한 것인지에 관해 많은 논의가 있으나, 일관된 결론을 내리지 못하고 있다. 이에 본 연구에서는 타인의 동작결과를 예측하는 능력이 관찰자의 운동 숙련성에 따라 어떻게 달라지는지 살펴보고자 하였다. 연구참여자는 총 27명으로 무용 숙련도에 따라 세 집단(숙련자, 중간숙련자, 초보자)으로 각 9명씩 참여하였다. 연구참여자는 컴퓨터 모니터를 통해 제시되는 무용 동영상을 본 후 동작의 성공 여부에 대해 판단하였다. 영상의 길이를 달리 편집하여 동작의 성공 여부를 판단하는데 필요한 정보의 양을 체계적으로 조작하였으며, 시간차단 기법을 사용하여 영상 길이 조건별 연구참여자의 반응 정확도를 측정하였다. 연구결과 판단을 위해 활용할 수 있는 시각적 정보가 충분하지 않은 조건에서 숙련자들은 중간숙련자와 초보자에 비해 더 높은 정답 반응을 나타냈으며 초보자는 숙련자와 중간숙련자에 비해 더 높은 오답 반응을 나타내었다. 이러한 결과는 비슷한 수준의 지각 숙련성을 보유하고 있더라도 동작 숙련성에 따라 무용동작에 대한 결과예측 능력이 차이를 보이며, 높은 운동 숙련성을 가지고 있는 경우 동작결과에 대한 예측 능력이 높다는 것을 보여준다. 또한 높은 지각 숙련성은 주어진 정보가 불충분한 상황에서 성급한 반응을 유보하여 오답률을 낮추는 데 도움을 주는 것으로 생각된다. 결론적으로 본 연구를 통해 동작 숙련성과 지각 숙련성은 관찰된 동작의 결과예측 정확성에 각각 다른 방식으로 기여하고 있음을 알 수 있었다.