• International Journal of Costume and Fashion
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• 제14권1호
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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.

• 복식문화연구
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• 제7권2호
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• pp.205-210
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• 1999

This study is concerned with the costumes of musicians and dancers of the Three Kingdoms recorded in Sam Kuk Sa Ki(三國史記). Costume names of musicians and dancers of Silla, Koguryo and Backje were traced and examined for this research. Results of this study can be summerized as follows : 1. head gears of entertainers of the Three Kingdoms were different from one another. 2. Wide sleeved robes were worn by the entertainers of the Three Kingdoms ; however, entertainers of Silla and dancers of Backje wore purple robes whereas entertainers of Koguryo wore yellow robes. 3. Belts of the entertainers of Silla wore belts, made of red leather and decorated with gilt ornaments while the entertainers of Koguryo wore belts made of purple ra. 4. Entertainers of both silla and Koguryo wore black leather boots where as dancers of Backje wore leather shoes.

• 복식
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• 제32권
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• pp.31-43
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• 1997

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

• Journal of Yeungnam Medical Science
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• 제41권3호
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• pp.196-206
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• 2024

Background: This study investigated the prevalence and associated factors of musculoskeletal pain among professional dancers who experienced a lapse in group practice due to coronavirus disease 2019. Methods: General characteristics, practice time, region of musculoskeletal pain due to injury using the visual numeric scale (VNS), and causative motion were surveyed among professional dancers. Pain of VNS 0 to 3 was categorized as "no or minor," 4 to 6 was categorized as "moderate," and 7 to 10 was categorized as "severe." The causal motions of musculoskeletal pain were analyzed according to body region. Factors other than motion associated with pain were also analyzed. Results: In total, 368 participants were included. In the univariate analysis, age and practice time were positively associated with "moderate" pain. Practice time, dance experience, and postural accuracy were positively associated with "severe" pain, as was performing Korean traditional dance. In the multivariable analysis, practice time, group practice, and age were positively associated with pain of VNS 4 to 10, and practice time, group practice, and Korean traditional dance were positively associated with pain of VNS 7 to 10. Conclusion: Among the factors related to dancer training, practice time, group practice, and dance type affect the occurrence of pain.

• 한국운동역학회지
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• 제19권4호
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• pp.647-653
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• 2009

본 연구의 목적은 박스 드롭 착지 시 남자와 여자 발레 무용수들의 하지의 생체역학적 요인의 차이를 규명하는 것이다. 본 연구에 참가한 연구 대상자는 20~23세 사이의 여자발레무용수 9명과 21~24세 사이의 남자발레무용수 9명이었다. 박스 드롭 착지 동작은 양 발을 편안하게 벌린 상태에서 연구대상자의 무릎 높이의 박스 위에서 지면반력기 위에 뛰어 내리도록 하였다. 하지의 생체역학적 변인의 계산을 위해서 6대의 고해상도 비디오카메라와 2대의 지면반력기 그리고 8채널 무선 근전도 시스템을 사용하였다. 변인의 차이를 규명하기 위해서 성(2수준, 남자 발레 무용수 여자 발레 무용수)을 독립변인으로 하는 독립 t-test를 실시하였다. 연구결과, 여자발레무용수들은 남자발레 무용수들보다 박스 드롭 착지 시 최대무릎굴곡각도 변인에서 성의 차이가 나타났으나, 나머지 하지의 생체역학적 요인들에서는 성의 차이가 나타나지 않았다. 어린 나이에 점프와 착지 훈련과 교육을 받는 것은 잠재적인 전방십자인대 부상위험 요인을 감소시킨다.

• 한국운동역학회지
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• 제25권2호
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• pp.141-147
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• 2015

Objective : This study aimed to understand how increased heart rates at the time of drop landing during a step test would affect biomechanical variables of the lower extremity limbs. Background : Ballet performers do more than 200 landings in a daily training. This training raises the heart rate and the fatigability of the lower extremity limbs. Ballet performance high heart rate can trigger lower extremity limb injury. Method : We instructed eight female ballet dancers with no instability in their ankle joints(mean ${\pm}$ SD: age, $20.7{\pm}0.7yr$; body mass index, $19.5{\pm}1.2kg/m^2$, career duration, $8.7{\pm}2.0yr$) to perform the drop landing under the following conditions: rest, 60% heart rate reserve (HRR) and 80% HRR. Results : First, the study confirmed that the increased heart rates of the female ballet dancers did not affect the working ranges of the knee joints during drop landing but only increased angular speeds, which was considered a negative shock-absorption strategy. Second, 80% HRR, which was increased through the step tests, led to severe fatigue among the female ballet dancers, which made them unable to perform a lower extremity limb-neutral position. Hence, their drop landing was unstable, with increased introversion and extroversion moments. Third, we observed that the increasing 80% HRR failed to help the dancers effectively control ground reaction forces but improved the muscular activities of the rectus femoris and vastus medialis oblique muscles. Fourth, the increasing heart rates were positively related to the muscular activities of the vastus medialis oblique and rectus femoris muscles, and the extroversion and introversion moments. Conclusion/Application : Our results prove that increased HRR during a step test negatively affects the biomechanical variables of the lower extremity limbs at the time of drop landing.

• 디지털융복합연구
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• 제16권4호
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• pp.387-395
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• 2018

이 논문은 한국의 병역의무에 대하여 남성무용수들이 갖고 있는 경향성을 살펴보고 이들이 병역특례에 대해 어떠한 인식과 경험을 하는지를 심층적으로 구명하고자 하였다. 이 연구의 연구방법은 질적연구방법을 토대로 진행하였다. 자료수집은 병역특례 남성 무용수 3인과 병역 비특례 남성 무용수 3인의 총 6명을 대상으로 비참여관찰, 심층면담, 문헌자료 수집 등을 활용하여 자료를 수집하였다. 수집된 자료는 귀납적 범주화를 통해 질적분석을 실시하였다. 이러한 과정을 통해 도출된 결과는 다음과 같다. 첫째, 한국 남성무용수들은 한국남성으로서 부여된 병역의무에 대하여 당연한 것으로 받아들이는 공통적 인식이 나타났다. 그러나 실제 병역의무이행에 대해서는 다소 부정적인 시각이 있음을 확인하였다. 둘째 병역 특례자들은 다른 동료 무용수보다 높은 우월감을 느꼈으며 주위의 높은 관심으로 인해 지나친 사회적 감시를 경험하고 있었다. 또한 병역 비특례자들은 군복무를 통해 단절(경력, 경제)을 경험하며 무용에서 이탈하거나 병역특례제도에 대한 의구심을 갖는 경향성이 나타났다.

• 복식
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• 제53권1호
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• pp.1-15
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• 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.

• 한국콘텐츠학회논문지
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• 제16권1호
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• pp.578-584
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• 2016

본 연구에서는 오하드 나하린이 고안한 움직인 언어인 가가(Gaga)의 활용사례를 분석하여 무용콘텐츠의 다양한 활용 가능성을 제시하려는데 그 목적이 있다. 본 연구에서는 연구자의 워크샵 참여를 토대로 현재 운영되고 있는 가가 무브먼트(Gaga Movement Ltd.)의 자료인 가가 피플 홈페이지와 무용잡지, 학위논문을 연구의 자료로 사용하였다. 연구한 결과, Gaga는 무용예술의 원형을 유지하면서, 공연예술콘텐츠, 교육콘텐츠, 여행콘텐츠로 활용된 사례를 발견할 수 있었다. 공연예술콘텐츠에서는 무용작품 내의 움직임을 진화시키고, 관객과의 거리를 좁히며 직접적인 소통을 가능하게 하였다. 전문무용교육콘텐츠로는 가가 댄서스(Gaga/Dancers)가 있었고, 생활무용교육콘텐츠로는 가가피플(Gaga/people)이 있었다. 마지막으로 사막에서의 가가(Gaga in Desert)에서는 가가(Gaga)가 사막이라는 지역적 특징과 결합하여 여행콘텐츠로도 활용되었다. 이러한 성과를 이룬 데에는 가가 무브먼트(Gaga Movement Ltd.)의 비즈니스 방식에 주목할 필요가 있다. 무엇보다 무용가들은 스스로의 무용예술의 성취는 물론 자신의 무용예술을 사회에 환원하려는 태도를 통해 무용예술이 다양한 콘텐츠로의 변모를 가능하게 하여 사회의 문화를 풍요롭게 할 수 있을 것으로 사료된다.

• 한국운동역학회지
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• 제22권1호
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• pp.43-53
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• 2012

The purpose of this study was to quantitatively examine the biomechanical variables of Fouette turns for expert and beginner ballet dancers and to determine the difference in the variables between the two groups. sixteen female ballet dancers participated in this study. They were divided into an expert group(age, $25.38{\pm}1.92$ years; height, $168.38{\pm}4.66$ cm; mass, $49.63{\pm}4.41$ kg) and a beginner group(age, $20.88{\pm}1.13$ years; height, $161.63{\pm}7.42$ cm; mass, $48.88{\pm}3.64$ kg) depending on their ballet experience. Descriptive data were expressed as mean ${\pm}$ standard deviation (SD) for all variables including the duration, displacement of the center of the body, velocity of the center of the body, angle of the body segments, angular velocity of the body segments, ground reaction force, lower extremity torque, muscle activity, body weight, age, and body mass. An independence t-test was conducted to determine how the following variables differed between the beginners and experts: duration, displacement of the center of the body, velocity of the center of the body, angle of the body segments, angular velocity of the body segments, ground reaction force, lower extremity torque, and muscle activity. All comparisons were made at the p<0.05 significance level. The results show that the experts scored high on the biomechanical variables, although all the variables were not significant. Significant differences were found in the angle of body segments, angular velocity of the body segments, lower extremity torque, and muscle activity(p<0.05). The findings of this study demonstrate that the experts have the required skill to make an improved Fouette turn. The findings may also help ballet dancers to learn and understand the Fouette turn.