• Journal of the Korean Society of Costume
• /
• v.62 no.4
• /
• pp.195-206
• /
• 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 Costume
• /
• v.50 no.3
• /
• pp.31-42
• /
• 2000

This study investigated the history of whakwan (crown, 화관(花冠)) and classified the types of whakwan accordint to its structure. Whakwan seemed to originate from the custome of sticking flowers in the hair which was the reflection of human desire of pursuing the beauty . The whakwan fist appeared in the Oriental painting during the Tang period and became fashionable is Song. It is not clear when whakwan was introduced into Korea, but is assumed to be greatly influenced by the Song whakwan. The Korean record on whakwan showed on whakwan showed fro the fist time in the reign of Kimg Sejong and whakwan was used for the costume of a dancing boy. Through the present type of whakwan appeared only one in the painting of the reign of King Seonjo, there are a number of whakwans in the lattern part of the Chosun dynasty, Now there exist three types of whakwan in Korea. The first type is similar to that of Chokduri in decoration . But it was made of paper, had the double structures of inner and outer part and was decorated by Yangkwan's vertical lines of gilt paper. The second type is the whakwan made of artifical flowers with various color cords and was widely used in Geesung and Pyungyang regions. Finally, though the third type is similar to Sabangkwan, its outside was decorated gaudilly iby Dangchae (colorful painting ) and it was assumed that dancing bodys put it on their head for various banquets. Out of these three types, the first is most representative , Black was the popularly used color for the first type and this type was used either for brides on wedding ceremonies or for shamans or palace dancers. The second type was widely used in Gaesung and Pyungyang regions. But the differences in the shape of whakwan of the two regions showed the regional characteristics of traditional costumes in Korea. The third type was most likely to be used in the dance for palace banquets, but it is necessary to further investigate whether shamans actually wore this type of whakwan.

• Journal of the Korean Society of Costume
• /
• v.52 no.7
• /
• pp.123-138
• /
• 2002

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the 16th. 17th century with their normal style of dress. In brief. this study wants people to know about 16th, 17th century court dancing costumes and to understand the culture in the 16th.17th century. From the comparison between the court's dancing costume and the people's clothes, we could get the conclusion as follows. First, pourpoint. chemis, gown, chausses, etc. that people wore were used for the court's dancing costume. While people Pursued the beauty with the ample silhouette. there were used wrinkles. slits. and tailored oblique line-clothes that gave vitality. Second, silk. linen. brocade. etc. that were used for people's chemises were used for the dancing costume. The good quality and beautiful colors of the dancing costume. however. excelled than of the brilliant court's clothes and the people's clothes. Third. the hair style of dancers were very colorful. For example, there were many kinds of hats and furs, corals, etc. that were attached to them on the most of the long curly hair. In summary, for the court's dancing costume, the same type of clothes was used like the people's clothes. There, however, were differences. The slits, tailored oblique line-clothes and shortened skirt gave the activity. There were many decorations symbolizing the nobles' wealth and Power. Especially the use of the decoration of hair and other stake properties was an effective means for expression. The use of personified masks also contributed to the development of the court dance.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.5
• /
• pp.873-887
• /
• 2010

Yuan Shi Kai, the first President of the Republic of China, established a ceremonial uniform system based on ancient styles in 1914 just before the national polity was changed to the Empire of China in 1915. This system is Jisiguanfuzhi (a system on costumes for memorial services), and figures included in the system are Jisiguanfutu (figures showing costumes for memorial services). This study is the first to examine Jisiguanfuzhi and Jisiguanfutu and to approach the background idea of the establishment of the system with a focus on the meaning of 'unity.' Jisiguanfuzhi regulates the ceremonial uniform system of all classes from the President along with the 1st-class to the 5th-class people. The uniform consists of a crown, robe, belt, the mid-section cloth, and boots. In addition, the uniforms of ritual musicians and dancers are included. The basic principles in establishing the system were the restoration of ancient systems, the adoption of convenience, the acceptance of current practices, and the implication of symbolism. Jisiguanfuzhi clarifies that the pattern of the ceremonial uniforms was modeled on Juebianfu, for religious services. The reason for choosing Juebianfu for religious services was to achieve 'unity' and Juebianfu was associated with 'unity' because it was common to all, from the emperor to the gentlemen class, in ancient times. Yuan Shi Kai tried to show flexibility to the gentlemen class who represented the intellectuals at that time by adopting Juebianfu for religious services, fearing that the gentlemen class might oppose the attempt to restore the imperial system. Therefore, although Jisiguanfuzhi adopted mostly Mianfu and royal sacrificial robes, it also emphasized 'unity' by professing that the uniforms were based on Juebianfu for religious services.

• Korean Journal of Applied Biomechanics
• /
• v.14 no.1
• /
• pp.133-144
• /
• 2004

The purpose of this study was to analyze the joint moment on lower extremity during a developpe devant. Data were collected by Kwon3D, KwonGRF program. Two professional modem female dancers were participated in this experiment. Subjects performed a developpe devant in meddle heights. On the axes of X, Y, Z, it was shown that the maximum joint moment was occurred in hip joint. The moments are plotted during developpe devant. The ankle muscles generate a plantar flexion moment and the knee muscles generate a flexion moment and The hip muscles generate a extension moment. So these muscles of joint muscles were known to play a key role in keeping the body balance while doing developpe devant. In addition adduction moment occurred at hip, knee, an ankle in the order of amount, we could assume from this data that him out motion started from the hip joint. There was small active turn out possible below the hip joint. A small amount of extra turn out could be obtained when standing because of flexion between the foot and floor, which could be used to give a passive external rotation force to the whole leg and this could produce a rotation between the knee and foot. This passive external rotation could produce very damaging results. Therefore, lower extremity joint muscles such as hip, knee, and ankle muscle should be trained to keep the body balance and prevent injury during developpe devant performance. And for the safe and perfect turn ort performance, hip joint abduction, the most important external rotating muscle for him out is needed to train and full stretching should be done in advance.

• Journal of Digital Contents Society
• /
• v.18 no.8
• /
• pp.1627-1633
• /
• 2017

Human dance is difficult to learn since there is no effective way to imitate an expert's motion, a sequence of complicated body movements, without taking an actual class. In this paper, we propose a dance learning system using human depth information. In the proposed system, a set of example motions are captured from various expert dancers through a marker-free motion capture and archived into a motion database server for online dance lessons. Given the end-user devices such as tablet and kiosk PCs, a student can learn a desired motion selected from the database and send one's own motion to an instructor for online feedback. During this learning process, our system provides a posture-based motion search and multi-mode views to support the efficient exchange of motion data between the student and instructor under a networked environment. The experimental results demonstrate that our system is capable to improve the student's dance skills over a given period of time.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.16 no.11
• /
• pp.7285-7292
• /
• 2015

The purpose of this study was to investigate possibility of a forward gait with backward mechanism(dance gait) as rehabilitation and/or walking exercise by means of biomechanical variables. Thirteen professional women dancers(age, $21.1{\pm}1.3yrs$; height, $159.3{\pm}7.2cm$; body mass, $45.1{\pm}8.4kg$)participated in this study. We found that speed, stride length and double limb support time of a dance gait were more greater than backward gait, but stride width of dance gait less than a backward gait. Maximum RoMs, moments and powers of the lower limb joints on a dance gait were more frequent than a backward dance. These results were judged to be sufficient by the possibility of dance gait as rehabilitation and walking exercise.

• 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.

• Journal of Industrial Convergence
• /
• v.19 no.3
• /
• pp.107-116
• /
• 2021

The purpose of this study was to analyze and clarify the relationship among dance socialization organizers, dance intervention, and dance effort variables of dance majors. The subjects of this study were college students majoring in dance located in Seoul and Gyeonggi-do, and the purposive sampling was used. The results of the study are as follows. First, the agent of dance socialization influences the dance intervention. Second, the agent of dance socialization influences the effort to achieve dance. Third, dance intervention affects dance achievement efforts. Therefore, it is thought that, through the active efforts of the dancers, various programs that can link industry and academia as well as support at the national level should follow for the cultural heritage that can be passed on to future generations.

• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.93-131
• /
• 2020

This article discussed the components of traditional art competitions held from 1930 to 1941. Of their various components, observations were made of hosts and sponsors, participants, and evaluations with a focus on the backgrounds and objectives of hosts and sponsors, participant aspects, and evaluation forms. Hosts and sponsors included newspaper companies, social organizations, music companies, stores, individuals, and eups. They hosted and sponsored traditional art competitions with their own respective reasons and justifications and there were multiple commercial and promotional objectives at the base. Participant aspects can be divided into gisaengs and male artists. While the participation of gisaengs was a natural phenomenon, aspects of the traditional art performance world of the 1930s and the quantitative increase of gisaengs had great effects and male artists participated because of the hidden purpose of the competitions, which was the discovery of traditional artists. Evaluation forms were divided into audience evaluations and expert evaluations. Audience evaluations began from 'pan' culture of the past and audience members involved themselves by casting votes and expert evaluations, in which master singers, master dancers, instrumentalists, and lyricists participated, came to the fore through expert courses of traditional art competitions.