• 한국운동역학회지
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• 제13권3호
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• pp.327-340
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• 2003

The purpose of this study was to investigate the height of jump, angle of the ankle and knee, the angular velocity of the ankle and knee between two types of ballet shoes during a jump in the 1st position. The subjects were 5 female ballet majors of university in Busan the majors who have been dancing ballet for six years on the average. The conclusions are as follows: 1. The height of jump had no significant difference between two types of ballet shoes, and then the average of the height of jump with point shoes group ($20.24{\pm}4.62\;cm$) was a little higher than ballet shoes group ($17.50{\pm}4.05\;cm$). 2. The angle of the ankle had no significant difference for all events between two types of ballet shoes. The minimum angle of ankle joint was represented to $54.36_{\circ}$ at the E1 of the left ankle angle of the ballet shoes and the maximum value was showed $155.43_{\circ}$ at the E3 of the right ankle angle of the point shoes. 3. The angle of the knee had no significant difference for all events between two types of ballet shoes. The minimum angle of knee joint was represented to $99.54_{\circ}$ at the E1 of the left knee angle of the ballet shoes and the maximum value was showed $174.25_{\circ}$ at the E3 of the right knee angle of the point shoes. 4. The ankle velocity of the ankle had no significant difference for all events between two types of ballet shoes. The minimum angular velocity of the ankle was represented to 4.35 deg/s at the maximum height(E3) of the point shoes and the maximum value was showed 597.81 deg/s at the take-off(E2) of the right ankle angle of the point shoes. 5. The angular velocity of the knee had significant difference between two types of ballet shoes at the event 1(p<.05). The minimum angular velocity of the hee was represented to -1.68 deg/s at the maximum height(E3) of the point shoes and the maximum value was showed 360.25 deg/s at the take-off(E2) of the left knee angle of the ballet shoes. The other events had no significant difference between two types of ballet shoes.

• 한국운동역학회지
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• 제21권1호
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• pp.25-29
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• 2011

The purpose of this study was to analyze quantitative and qualitative differences according to shoe type for the grand jete landing in ballet. The subjects for this study were 9 female ballet majors with an average of 12 years of experience. Subjects jumped, performing a front split, and landed on 1 foot, a movement called the grand jete. Analysis was performed on the students' landing. Independent variables were 3 shoe types: split sole, traditional out sole, and 5-toed forefoot shoes, with bare feet as a control group. Dependent variables were vertical passive ground reaction force and qualitative elements. Passive ground reaction force variables(maximum passive peak value, number of passive peaks, passive force-time integral, and center of pressure) were measured by the Kistler 9281B Force Platform. Qualitative elements were comfort, cushioning, pain, and fit. Statistical analysis included both 1-way ANOVA and Tukey's test for follow-up. Finalized data demonstrated that the 5-toed forefoot shoe allows the forefoot to expand and the toes to individually press down upon landing, increasing foot contact with the surface. Five-toed forefoot shoes minimize passive peaks and pain, while increasing comfort, cushioning, and fit. Most ballet movements are composed of jumping, balancing, landing, and spinning. Wearing 5-toed forefoot shoes allows for a natural range of movement in each toe, to improve both technique and balance. Pain and injuries from ballet can be minimized by wearing the correct shoe type. According to this analysis, it is possible to customized ballet shoes to increase the efficiency of techniques and movements.

• 복식
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• 제55권7호
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• pp.62-75
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• 2005

This study is focused on main performers' stage costumes in the 'Swan Lake', a masterpiece of classical ballet, which Is newly represented by Matthew Bourne, a choreographer. The objectives of the study is to help understand a trend of costume in modern public performance and art. First, this paper is attempted to describe the concept and the elements of ballet costume, secondly, to consider the performance generally, and finally to analyze main performers stage costumes. This study was performed by two processes; The first was to visit theaters to view the performances in person: the classical ballet by the Bolshoi Theater Ballet, the performance by Korea national ballet academy and the Matthew Bonne's modernly redefined ballet. The second was to review the regarding literatures and DVD. There are two apparent characteristics of main performers' stage costumes in modern-style ballet compared with classic-style ballet. First, there is an approach to gender identity; the character of swan with the classic tutu that has been the culmination of femininity in the classic-style ballet, used to be represented in an established idea on ballet costume, is now substituted by a creative idea, male ballerina and trouser-style ballet costume. Second, there is an approach to breaking the convention on the purpose of emphasizing popularity arousing real sympathy and art value. Also, modern-style ballet introduces bare body and ffot rather than tutu and toe-shoes, and adapts items from casual outfit fitted in earh performer's character with a present-day life.

• 복식
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• 제54권6호
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• pp.41-52
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• 2004

The objective of this study is to contemplate both the formation and the aesthetic characteristics of the ballerina look represented in modern fashion by analyzing a ballet costume. The results of this study could be summarized as the following: the ballerina look is formed by ballet costume itself with being stick to or exposing human body line, or by casual dress mixed with a ballet costume; the materials consist of both the major materials for a ballet costume such as silk, chiffon, tulle, lace, or organza, and the usual materials for casual dress: a variety of color such as transparent, pastel etc. is also used with typically used colors like white and black: decoration is basically composed of ruffle, drape, gather and the distinctive accessory like toe shoes, ribbon tape, ankle warmer is used to show a feature of a ballet costume These formative characteristics of the ballerina look presented in modern fashion implies illusory, pure, and hybridity. traits. First, illusion of the ballerina look not only implicitly expresses a womans wish to experience a ballerina's fantastic world, but also recreates woman herself into a ballerina on a stage. Second, purity of the ballerina look makes design look feminine and smooth, which is expressed with girlish taste through materials and colors. Third, hybridity of the ballerina look suggests a standard of a new trend, which is active style, by adding comfortableness and flexibleness to romantic femininity.

• 복식문화연구
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• 제9권3호
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• pp.447-457
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• 2001

Moliere completed classical French comedy by combining farce and commedia dell\`arte. Moliere believed that it was a plays obligation to give a lesson and entertainment. Moliere recreated commedia dell\`arte\`s typical acting patterns and characters in his work. He created with Lully comedie ballet that combined ballet and comedie for taste of Louis 14. Les precieuses ridicules critically displayed women at that time. Both contemporary high status women\`s custom and behavior were the targets of the author\`s synical criticism. There are three notable clothing imageries are shown in this work. First, Moliere used a variety of items in order to show emptiness of noble at that time. Items are ribbon and loop decorated rhingrave, feather decorated hat, perfumed wig and glove, lace covered canon and flower decorated shoes. Second, the author showed people\`s stutus through their clothes. Last, the author used clothing used clothing as a metaphor for hypocrisy. Thus when he said “take off the clothes” he meant take off hypocrisy and return truth.

• 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.