• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.195-206
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• 2012

Today, people are obsessed with fashion, makeup, hair care, weight control, and plastic surgery. In order to be satisfied with their appearance and attract attention, they invest so much time and money. The core values of many people are influenced heavily by materialism and appearance. Belly dancing is effective not only in just weight loss, but it also improves the health and corrects body postures like pelvis correction, and it also gives the dancers the pleasure of dancing to exotic music. A growing number of women in their 40s or older and senior citizens have become maniacs of belly dancing. The studies suggest that the participation in belly dancing helps increase life satisfaction and self-respect of the middle aged who often suffer from depression. Belly dancing has a strong effect in the life style of the middle-aged women. The costume and accessories necessary for belly dancing class help the participants) focus on the dance. These costumes and accessories reflect the desire of the wearer to be recognized in society. It is well shown in belly dancing that "fashion and beauty related services and products are used as an indicator to tell social status and position of the wearer as external elements like clothes, accessories, and physical appearance and have a highly important effect on interactions among people in society as a means of expressing oneself". In this respect, this study aims to examine middle-aged women's involvement in fashion and beauty depending on their participation in belly dancing.

• Journal of the Korean Society of Food Science and Nutrition
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• v.40 no.10
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• pp.1417-1422
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• 2011

The effects of a 12-week weight reduction program applied to obese women at a community health center were studied. Middle aged women participated in the beginning of the program, but 34 persons finished the study (85% completion). Subjects practiced belly dancing three times a week for 60 minutes (60~85% HR max) per session, and nutritional education was carried out four times during the 12 week program. The weight, %body fat, and BMI significantly decreased by 5.6%, 9.5%, and 5.6%, respectively. The concentrations of serum triglycerides, total cholesterol, and LDL-C were also significantly reduced by 13.5%, 9.5%, and 10.4%, respectively. Insulin level was reduced by 19.8%, thus lowering the HOMA-IR index. Leptin level significantly was reduced by 32.35%, adiponectin concentration. Total ROS concentration increased while total antioxidant capacity in serum remained unchanged. In conclusion, a 12-week 'Obesity Clinic Program' belly dancing and nutritional education held at a Community Center seemed to have health-promoting effects through reducing body fats, plasma lipids, and improving insulin resistance.

• Journal of Life Science
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• v.17 no.12
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• pp.1739-1743
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• 2007

The purpose of this study was to develop a movement program adopted from Bellydance, and to analyze the effects of the Bellydance program on the blood Components and Deoxypyridinoline, Osteocalcin in middle aged women. The Bellydance program was composed of warming-up (10min), main exercise (40min) and cooling-down (10min) parts. The 40 middle-aged women between 40 and 60 year old were divided into two group; the control group (8 women), the Bellydance group (8 women). The Bellydance program was applied three times a 12weeks. The result of this study were as follow. RBC, Hb, WBC, PLT, Osteocalcin was measured in a whole blood. The belly dance group showed WBC was more significantly decreased than control group, but RBC, Hb, PLT were insignificant in other groups. The belly dance group showed Deoxypyridinoline was more significantly increased than control group, but Osteocalcin were insignificant in other groups. Therefore this program can be available in middle aged women.

• (The) Research of the performance art and culture
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• no.18
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• pp.223-255
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• 2009

This paper deals with the tradition and identity of physical expression(${\bar{a}}{\dot{n}}gika$ abhinaya) system in Indian traditional theatre and dance. The ${\bar{a}}{\dot{n}}gika$ abhinaya of Indian dance and theatre has been stylized through long terms and thereby defines their identity and peculiarity by its highly stylized expression techniques while following dramatic way($n{\bar{a}}tya$-dharmi). The ${\bar{a}}{\dot{n}}gika$ abhinaya is said to had been derived from the ritualistic practice of ancient Vedic period(B.C. 15th-B.C. 5th c.), which is most clearly exemplified in hand gesture(hasta mudra). In $N{\bar{a}}tya$ ${\acute{S}}astra$, ${\bar{a}}{\dot{n}}gika$ abhinaya is explained in detail. It is classified broadly into facial expression(mukhaja abhinaya), gesture expression(śārīra abhinaya), movement expression($cest{\bar{a}}krita$ abhinaya). Further, $N{\bar{a}}tya$ ${\acute{S}}astra$ divides their various usages by parts which include head, glance, eyes, nose, eyelid, cheek, lower lip, chin, mouth, hand, chest, waist, belly, hip. thigh, claf, foot. Besides, it explains diverse ways of foot movement($c{\bar{a}}ri$), standing poses(sthana), gait(gati) and their combined movements(mandala). Many forms of Indian traditional theatre and dance basically follows the rule of ${\bar{a}}{\dot{n}}gika$ abhinaya proposed in $N{\bar{a}}tya$ ${\acute{S}}astra$, which identifies their unique characteristics.

• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.