• 한국운동역학회지
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• 제26권4호
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• pp.377-382
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• 2016

Objective: The purpose of this study was to provide data on gait characteristics of K-pop professional dancers. Method: Participants were divided into four groups: male dancers (n=10, age: $28.2{\pm}3.4years$, height: $175{\pm}6cm$, weight: $68.9{\pm}5.6kg$), female dancers (n=10, age: $26.7{\pm}3.1years$, height: $162{\pm}4cm$, weight: $52.1{\pm}3.7kg$), non-dancer males (n=10, age: $25.2{\pm}2.6years$, height: $171{\pm}6cm$, weight: $66.4{\pm}5.3kg$), or non-dancer females (n=10, age: $26.2{\pm}3.0years$, height: $161{\pm}5cm$, weight: $56.4{\pm}6.7kg$). Twelve infrared cameras (Qualisys, Oqus 500, Sweden, 150 Hz.) were used to capture three-dimensional motion data. Gait motion data of professional dancers and ordinary persons were obtained. Results: K-pop dancers' dynamic stability during the female toe off event and the male heel contact event was better compared with that of ordinary persons in the front-rear direction. In addition, the results showed a significant difference in the margin of stability (MoS). However, the medial-lateral direction of both female and male dancers during heel contact and the toe off event was more stable compared with ordinary person, who exhibited an increased MoS than did the dancers. Conclusion: This study aimed to investigate the gait characteristics of K-pop professional dancers in comparison with ordinary persons using gait parameters and MoS. The stability of K-pop professional dancers' dynamic gait in the front-rear direction was better than that in the medial-lateral direction. Therefore, further studies in which the dance movements of K-pop dancers are sub-divided and analyzed will be necessary to reduce related injury.

• 한국운동역학회지
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• 제14권3호
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• pp.259-270
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• 2004

The purpose of this study was to analysis of pelvis and lower extremity using orientation angles during a developpe a la seconde. Data were collected by Kwon3D program. Two females professional modem dancer were participated in this experiment. Subjects performed a developpe a la seconde in meddle heights(about 90 dog.) The results were as follows. The orientation angles of pelvis were, in most cases, caused by the movement of trunk and thigh. It was restricted the movement of pelvis within narrow limits because the movement of pelvis was very important to lower extremity alignment. The orientation angle of shank against thigh showed a change of angle about $3-6^{\circ}$ in internal external rotation. The orientation angle of foot against shank showed a change of angle about $6-7^{\circ}$ in internal external rotation.

• 드라이브 ㆍ 컨트롤
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• 제13권4호
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• pp.52-58
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• 2016

The mechanical design for biped walking of a humanoid robot doing the Argentina Tango is presented in this paper. Biped walking has long been studied in the area of robotic locomotion. The aim of this paper is to implement an Argentina Tango dancer-like walking motion with a humanoid robot by using a trajectory generation scheme. To that end, this paper uses blending polynominals whose parameters are determined based on PSO (Particle Swarm Optimization) according to conditions that make the most of the Argentina Tango's characteristics. For the stability of biped walking, the ZMP (Zero Moment Point) control method is used. The feasibility of the proposed scheme is evaluated by simulating biped walking with the 3D Simscape robot model. The simulation results show the validity and effectiveness of the proposed method.

• 동력기계공학회지
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• 제21권5호
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• pp.41-47
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• 2017

To implement Argentina tango dancer-like walking of the humanoid robot, a new trajectory generation scheme based on particle swarm optimization of the blending polynomial is presented. Firstly, the characteristics of Argentina tango walking are derived from observation of tango dance. Secondly, these are reflected in walking pose conditions and cost functions of particle swarm optimization to determine the coefficients of blending polynomial. For the stability of biped walking, zero moment point and reference trajectory of swing foot are also included in cost function. Thirdly, after tango walking cycle is divided into 3 stages with 2 postures, optimal trajectories of ankles, knees and hip of lower body, which include 6 sagittal and 4 coronal angles, are derived in consequence of optimization. Finally, the feasibility of the proposed scheme is validated by simulating biped walking of humanoid robot with derived trajectories under the 3D Simscape environment.

• 제어로봇시스템학회논문지
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• 제9권12호
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• pp.994-1000
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• 2003

A new relative motion control methodology for a following system to an independent leading system is proposed for controlling relative position, velocity, and tension etc. It is based on maintaining minimum relative error between two independent systems. The control command of the following system to a leading system is generated by adding the current command and the output of the relative error compensation. The proposed control method is implemented on the experimental equipment which is a wire winding-unwinding system to control the tension of the line. The results show the unwinding system(follower) following the independent motion of the winding system(leader) to control the constant tension of the line in order to keep the roller dancer in reference position. The relative motion control method proposed in this paper can be applied to high precision equipment for unwinding and winding fine wire, fine fiber, and tape etc.

• 한국안전학회지
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• 제15권4호
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• pp.134-138
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• 2000

Signal words such as DANGER, WARNING, CAUTION, etc. have been used in order to transmit a potential hazard easily and quickly. But they were applied to a number of the sites without consistency. Thus, this study took Quantification Method and Cluster Analysis in order to judge the signal words corresponding to the urgency of situations, and to analyze whether signal words are used properly or not. According to the result of Quantification Method II signal words were most affected by Understanding, Severity and Likelihood in both student group and industrial worker group. And in Quantification Method III CAUTION corresponded to Immediacy and Understanding whereas NOTICE did to Receptivity, WARNING, DEADLY and DANCER did to Likelihood, Dangerousness and Severity. Finally, Cluster Analysis showed that CAUTION and NOTICE were recognized as similar words.

• 복식
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• 제52권3호
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• pp.49-60
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• 2002

This study is to study the peculiar world of work that endeavored the stage setting and costume production in Ballet-russe centered around one of 20th representative artist Pablo Picasso and Diaghilev. Picasso worked four pieces ballets such as parade, Le Tricorne, Puchnella, and Le train bleu with Diaghilev. The originality of costume was well represented without losing the whole work's sense of unity. and designed foreasy movement as well as visual effect. As cubic is most common in parade especially, cubic stave costume were introduced at dancing costume of Paris manager and New York manager flrst time in Ballet's history. Picasso used the Cubism for dancer's beautiful appearance and primary color and decoration for oriental feeling. Picasso pursued the beauty and action at the same tome, and tried to represent the stage setting, impersonation and costume towards units, so the Importance of his work has still been referring.

• 대한족부족관절학회지
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• 제10권2호
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• pp.267-270
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• 2006

Os trigonum syndrome is a clinical disorder characterized by posterior ankle pain which occurs in excessive plantar flexion. The pain is elicited by the impingement of os trigonum between the calcaneus and the posterior edge of tibial plafond. Mostly, symptoms can be improved with nonsurgical management, however surgery is required for refractory cases. We report of a case of os trigonum syndrome in a female ballet dancer, which was successfully treated with subtalar arthroscopic excision of os trigonum.

• 한국방송∙미디어공학회:학술대회논문집
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• 한국방송공학회 1999년도 KOBA 방송기술 워크샵 KOBA Broadcasting Technology Workshop
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• pp.43-48
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• 1999

To clarify the motion characteristics of free-style Okinawan dance“Kachaasi”, first the subjective impression was quantitatively evaluated with semantic differential technique to cluster its types. Then, the contingency of joint rotation in shoulder, elbow and wrist joints was examined with multivariate autoregressive model. The time-series data of positions and angels of three joints were calculated according to the deforming conditions and shielding directions of the ring lights. As the results, in an excellent dancer, the motions of shoulder and elbow were highly synchronized and smoothly controlled. The low-frequency output of the shoulder and elbow were mutually interacted. Meanwhile, the wrist behaved independently of other joints' rotation.

• 공연문화연구
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• 제34호
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• pp.9-42
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• 2017

한국의 검무는 조선시대까지 의례, 민속예능, 궁중연향, 풍류 등에서 다양하게 추어졌다. 그 중 기생들이 민간과 궁중에서 추었던 여기(女妓) 검무가 현재까지 전승되었는데, 조선 후기 문학작품들에 기록된 검무들은 현행 검무보다 역동적이고 검기(劍氣)를 가득 담은 춤이었다. 하지만 현재 전승되고 있는 기녀 검무들은 의식(儀式)성이 강하고 단아하다. 시대적 변화를 겪으며 검무의 정조(情調)가 변한 듯하다. 그러나 이러한 차이에도 불구하고 시대를 관통하는 검무의 핵심적인 구조가 있을 것이라는 가설 하에 검무의 내적 구조를 시론적으로 분석해 보았다. 이를 위해 현행 검무와 조선 후기 검무의 구조를 교차하여 연구하였다. 조선후기 문학작품 중 박제가의 <검무기>와 정약용의 <무검편증미인>을 분석했고, 무보로 "정재무도홀기"에서 <검기무>와 "교방가요"의 <검무>를 분석하였다. 도입과정에서는 춤꾼이 등장하여 절을 하고 춤꾼의 캐릭터를 보여주고, 무진 무퇴하며 손춤이나 한삼춤을 춘다. 전개과정에서는 춤꾼과 검이 만나는데, 검을 잡을 것인지를 갈등하다가 양 손에 칼을 잡고 춤춘다. 절정과정에서 숙련된 검술과 교전(交戰)의 모습을 보여주고, 마지막에 연풍대까지 춘다. 결말과정에서는 궁중에서 추었던 경우 인사를 하고 마치지만, 교방에서 추었던 경우 칼을 던지고 춤을 마무리한다. 검무의 구조를 도입 - 전개 - 절정 - 결말로 구분하였다. 이러한 네 단계의 전개 구조에 현행 검무(진주검무, 통영검무, 해주검무, 호남검무, 국립국악원의 검기무)의 춤사위 진행을 결부시키고, 반주 장단인 염불 - 타령(또는 늦은타령) - 자진타령 - 타령 - 자진타령의 순서에 따라 검무의 전개를 분석해보았다. 도입과정은 염불이나 타령의 초입부분이다. 기생이 등장하면서 캐릭터가 제시되고, 2열로 나뉘어 상대(相對)하며 춤춘다. 염불과 타령의 도입과정은 여유롭고 우아하게 진행된다. 전개과정은 타령의 중간이나 자진타령에 해당한다. 춤꾼들이 검 앞에 앉아 있거나 앉게 되는데, 칼을 잡기(집검(執劍))까지 갈등의 과정이 보여지다가, 결국 쌍검을 잡고 춤춘다. 타령에서 자진타령 장단으로 속도를 점차 높이며 검을 잡는 과정의 갈등과 긴장감을 고조시킨다. 또 자진타령의 탄력 있는 장단이 춤의 전개를 조금씩 진전시키는 역할을 하게 된다. 그런데 속도를 갑자기 늦추어 타령장단이 3~4장단 배치되었다. 자진타령의 빠른 장단에서 타령의 느린 장단으로 전환되는데, 그 이유는 검무의 진전되는 긴장감을 잠시 끌어내 숨을 고르게 했다가, 다시 속도를 높여서, 이 춤이 절정으로 가기 전에 검무의 묘미를 높이는 효과를 만드는 것이라고 하겠다. 그리고 다시 자진타령으로 속도가 빨라지면 검무의 동작들은 더욱 폭이 크고 역동적으로 펼쳐진다. 고조된 자진타령의 빠르고 힘 있는 장단에 맞춰 추면서 절정과정의 최고조에 이르는 것이다. 마지막 결말은 잦은 타령이 고조되고, 연풍대의 여세를 몰아 일렬로 서서 검을 휘두르며 춤추다가, 인사를 하고 춤을 마친다. 여기까지 자진타령이 이어진다. 이상 검무의 전개 과정에서 염불 - 타령 - 자진타령 - 타령 - 자진타령으로 이어지는 반주음악은 검무의 도입, 전개, 절정, 결말이라는 구조와 긴밀히 연관되어 있고, 각 과정을 선명히 드러내는 역할을 하고 있다. 조선후기 문헌에 기록된 기녀들의 검무와 현행 검무가 진행상에 약간의 차이를 보이지만, 시대를 관통하는 검무의 핵심적인 내적 구조를 파악할 수 있다.