• Trans-
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• v.6
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• pp.97-127
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• 2019

This study investigated the specific effects of dance themed movies on dance students in their passion for dance and affect. The related data is generated by choosing a method of Convenience Sampling and used a sample of 112 dance students in high school of arts which located in Seongnam-si, South Korea. The dance students divided into 3 group of school year and also 2 group of gender. The dance themed movies which are used in this research are First Position, Billy Elliot and Mao's Last Dancer. Also, the dance students were asked to answer the survey which are based on the Self-administration. In order to obtain several findings below, Frequency analysis, Exploratory factor analysis, Reliability analysis, t-test, ANOVA, Correlation analysis and Linear structural relation model were applied to the gathered data using statistics utility SAS 9.4. First, there was a significant difference between the school years in the passion for dance and affect of students after watching movies. Second, there was a significant difference in students' affect depended on their majors (dance major is divided into three specialized major which are ballet, korean dance and modern dance). Third, there was a significant difference in the passion for dance and students' affect which is irreverent to their dance career (such as years they have learned dance). Forth, there was a significant difference in the passion for dance and negative affect of 'dance' students after watching movies. To summarize, the findings demonstrate that there is a partial difference, specially significant effects on their negative affect in the dance passion and affect of dance students depended on their characteristics after watching dance themed movies.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.265-274
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• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.

• Journal of Convergence for Information Technology
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• v.7 no.2
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• pp.91-99
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• 2017

The purpose of this study was to clarify the differences between the K-pop and B-boy dancers'characteristics based on the biomechanical variables through the isolation movement by independent variable t-test using spss 18.0. As a result, first, the CoM composite displacement of the K-pop dancer was larger than that of the B-boy(p<.05) in phase1 and phase2. Second, in phase2 and phase3, the movement speed of CoM was faster in K-pop dancer than in B-boy(p<.05). Third, in phase1, the planar angle between the body and pelvis was greater in the right planar angle of the K-pop dancer, while in the phase2 and phase3, the left planar angle of the B-boy was larger(p<.05). Fourth, the composite hip joint moments of B-boy were larger than those of K-pop in phase1, However, K-pop dancers showed greater moments in phase2, phase3 and phase4, and ankle joint moments in phase3(p<.05). Thus, even with the same isolation, we found that K-pop and B-boy dancers performed differently.

• The Research Journal of the Costume Culture
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• v.5 no.3
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• pp.142-150
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• 1997

Korean ritual dancing was doing in a royal court when an auspicious event happen in a country, a ritual ceremony was hold or reception for an envoy came from the other country was hold. There were 53 kinds of ritual dancing in Korea. Gumgee-Mu was the one among of them. Yea-Reung(woman ritual dancer) were dancing Gumgee-Mu with a sword. For Gumgee-Mu they wore a Kaeja(快子), Haebsuyoi(挾袖衣). Above it they took a Jeandae(戰帶), Jeanlib(戰笠). The dancing suit\`s color had a harmony with well mixed. Lunar-Solar-Five-Natural(陰陽五行) of oriented traditional concept.

• International Journal of Costume and Fashion
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• v.14 no.1
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• pp.47-62
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• 2014

People today belong to many different subcultures and have diverse interests. Their job no longer defines who they are, while their pastimes can be a bigger reflection of their inner self. This article examines swing dancers in Korea, and focuses on their self-identity and how they express this through clothes. Based on in-depth interviews, observations and photographs of swing dancers with different day jobs, the study results find that most of the subjects intentionally incorporate swing dance cues in their daily work wardrobe, and that this makes them feel more comfortable, honest and satisfied with their job and identity, both as a swing dancer and working professional.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.886-898
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• 2013

This study explores the types, shapes and changes of the court dance garments of mudong[child court dancer] and yeoryeong[female court dancer] for court dances such as Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang, and Choehwamu, and the arrangement of colors in their garments. The conclusion of the study is as follows: First, the type of garments of mudong varied according to the type of dance, role of mudong and passage of time. In all four jeongjae's, hongpo[red robe] and baekjilheukseonjungdaneui[white under garment trimmed in black] were commonly found. Second, the dress of yeoryeong in the Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu was that of other yeoryeong, which was basically comprised of hwagwan[flower headdress], hwangchosam[yellow robe], hongchosang[red skirt] and sudae[embroidered belt]. Third, the color schemes of the court dance garments used in Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu revealed that the color arrangement of sangsaeng [mutual generation] of the Ohaeng[Five Elements] scheme were favored in the garments of mudong and yeoryeong. The dress of mudong is characterized by sangsaeng between top and bottom, and between total and part, while the color scheme of the outer and inner was sanggeuk[mutual overcoming]. As for yeoryeong, the color arrangement was of sangsaeng in top and bottom, outer and inner, and total and part, but in the five-colored hansam[sleeve extension], both sangsaeng and sanggeuk were found.

• Journal of Digital Convergence
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• v.16 no.4
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• pp.387-395
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• 2018

The purpose of this study is to ponder men's perception and experience of military service revealed in Korean society by looking into the military service exception cases of a Korean male dancer. this study used non-participation observation, in-depth interviews and bibliographic data, etc. targeting a total of 6 persons covering 3 male dances who received military service privileges by winning a prize at home & overseas dance concours, and another 3 male dancers who fulfilled military duties. Then, this study did a qualitative analysis of the collected data. The deducted results through this process are as follows: First, all the surveyed male dancers consented to the necessity of military service as Korean people, but it was found that they wished to get miliary service privileges in order to maintain the career they actually had achieved. Second, the male dancers, who fulfilled military service, were found to make endless effort to catch up with the tendencies of dance suited for the relevant period after returning to society due to career discontinuity and social severance caused in the process of fulfilling military service.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.31-48
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• 2013

It goes without saying that Yi Mae-Bang, as the sole owner of two of the intangible cultural assets including No. 27 Seungmu in 1987 and No. 97 Salpuri Chum, is a top-notch Korean traditional dancer. Moreover, in regards to traditional clothing, he is also known as the only traditional dancer who directly performs on stage as well as analyzes traditional clothing in order to apply them into his own dance performances by designing and producing them to meet his artistic spirit. In order to examine how Yi Mae-Bang's unique and creative stage clothing was developed, and what kind of process it went through to possess its unique style, which draws the attentions of people with its harmony of beauty and dance, this research first examined the change of the composition through the yearly picture data. Before 1984, the composition of the Salpuri Chum clothes changed by putting on 'Jeogori' on the 'Mudong-Bok' without the 'Kweia' (sleeveless), and in 1999 'Mudong-Bok' became widened with the decoration of embroidered hem making it more attractively colorful. after 2000 it became more splendidly adorned by embroidering hem on widened Mudong-Bok and tucking 'Kweja' in the layers which created silhouette like a dress that is seemingly wider and luxuriant than a skirt. One of notable features of Yi Mae-Bang's Salpuri is that its cloth and cuff ribbons are lightly colored in different colors enclosing the tip part. As for the ribbons, it was also changed as time went by from direct-cutting of the cloth just like the A-line of Mudong-Bok to drawing a diagonal line less than 5cm above the ribbon and 8cm below the ribbon so that it takes the form of getting widened as it gets to the lower part, and its length was also elongated in proportion to that of the bottom of Mudong-Bok.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.1-15
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• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.

• 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.