• Journal of Korea Entertainment Industry Association
• /
• v.13 no.1
• /
• pp.81-88
• /
• 2019

This article aims to identify the characters and theme shown in dance costume and utilize them from an educational perspective by constructing digital museum archiving, which can be systematically collected, classified and stored from dance costume. It deals with definition of digital museum archiving as theoretical background and examples of how to create digital museum archiving as research content. The role that archiving plays in digital museum and effectiveness have been demonstrated. Archive is a term used to indicate extensive material and its storage and referred to as an integrative model of display in the computer-generated space. When it comes to producing dance costume as a form of digital museum, the museum is to be made in the computer-generated area of dance costume. The museum shows each division of major, medium and minor classification. The major classification divides genre of dance performance into Korean dance, modern dance and ballet. The middle involves choreographers, costume designers. The minor categorization includes newspaper, interviews, performance pictures, and programs. Digital museum has the value of space utilization, creation, culture, utilization of multiple educational programs, offering of digital museum content, two-way communication, and program development of the new display form.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.27 no.3_4
• /
• pp.310-321
• /
• 2003

The purpose of this study is clarify the formative characteristic of dance costume design and analyse stage effect based upon the formative factors. Classified design element of dance costumes by line, silhouette, color, material, lighting, and also this based on content analysis method about each formative factor of costumes that showed 10 dance performances which practically be performed and made. And individually interviewed the professional dance composers and dancers who participated in the performances fer objectivity and specialty of this study. The results were as follows; 1. Dance costume contains and harmoniously expresses theme of a dance work, formative characteristic of fashion design, movement and character of the dancers, lighting effect. 2. Korean creative dance costume is effectively expressed with formative factors of traditional costumes and modem sensibility and symbolic expression of image-centered. 3. Costume line is affected by dancer's movement and it's possible to be different effect that the atmosphere or stage effect by the original form of line and the expression method. 4. Costume color is effective to inform that dancer's character and image of a dance work. 5. Costume material is most important to consider that the dancers and the atmosphere and the image of a dance work. 6. Lighting effect can inform various feel of dancer's dance.

• Journal of the Korean Society of Costume
• /
• v.53 no.7
• /
• pp.1-7
• /
• 2003

The purpose of this study contains evaluation of techno-cyber fashion, specifically in the area of dancing costume which symbolize the stage performing art of techno-cyber fashion's formative elements. The way of study is to make foundation with the theory and picture backgrounds to analyze the fashion trends and finally produce symbolic dance costume which applies modern dance stage costume design to techno-cyber elements. The 'Adieu 1999' is the modern dance work contains social mood in retrospect of 20 century and prepare 21 century. To make design of dance costume, apply the simple geometrical pattern design which utilize techno-cyber element like hi-tech fabrics, see-through and image of band and finally produce costume both 20 and 21 century.

• Proceedings of the Costume Culture Conference
• /
• 2003.09a
• /
• pp.118-120
• /
• 2003

종합예술인 한편의 연극을 무대에 올리는 데는 다양한 것이 요구된다. 즉 미술, 음악, 무용, 문학 등이 있으며 여기에 등장인물의 개성을 가장 잘 표현해 주는 무대의상이 필요한 것이다. 특히 무대의상은 작품 속의 등장인물의 역할을 설명하는 기호의 의미를 내포할 뿐만 아니라 관객들에게 작품의 내용을 더욱 리얼하게 이해하게 하는 설득력의 도구적 표현능력을 지니고 있다. (중략)

• Journal of the Korean Society of Costume
• /
• v.52 no.3
• /
• pp.49-60
• /
• 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.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.5
• /
• pp.779-785
• /
• 2023

In the creation of non-verbal dance performance, stage costumes are an important element of visual expression and serve an expanded role in addition to its fundamental decorativeness, representation of status reflective of the historical setting of the act and functionality for the dance movement. We intends that the purpose of this research is to analyze the expanded role of the costumes in the creative ballet <'That' Girl>, and through this exercise, provide foundational data on and suggest new future directions for stage costume design. <'That' Girl> is composed of two acts, offering condolences and eliciting empathy by conveying the fear experienced by the victims of the time. The second dance act representing freedom and "Haan" requires this expanded application of costume design. The costume design was inspired by the "Statue of Peace" representing comfort women, and completed through three draft designs and material experiments testing the ease of operation of the strings and fabrics installed in the costumes as well as the functionality of the associated ballet movements. In conclusion, expansion of time & space, expansion of form and expansion of symbolic expression were shown in the dance of liberation using strings wrapped around the arms and through the cloth embodying 'Haan' hidden in front of the costume.

• Proceedings of the Costume Culture Conference
• /
• 2005.04a
• /
• pp.175-177
• /
• 2005

• Journal of the Korean Society of Costume
• /
• v.53 no.1
• /
• pp.1-15
• /
• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

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

• The Research Journal of the Costume Culture
• /
• v.27 no.4
• /
• pp.353-367
• /
• 2019

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang's sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled "Green mountain is like what I've meant", "To Byeokgyesoo in Cheongsan-ri" and "Dongjibam ginaginbam". In brief, Jin-Yi Hwang expressed her "everlasting love and emptiness", "temptative conciliation" and "eager waiting" these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang's sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang's expressed emotions.