• 한국생활과학회지
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• 제8권1호
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• pp.135-150
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• 1999

The purpose of this study is on the dance costume of ancient Egypt. First, after the present study looked onto a specialty of Egyptian dance, and then the present study classified Egyptian dress into type and form, quality of material and color tone, hair and headdress and other ornaments. Fundamentally, this study was intended to understand the traditional culture and to grasp the peculiarity of Egyptian dancing dress. This study was progressed as a theoretical research by using documents, photographs, literatures of museum, etc. The results of the study could be summarized as follows. Egyptian dancing featured the earliest form of stage dance in the world and improved religion dancing and sideshow dancing getting out of the form of primitive dance, and also there were professional dancers who developed highly skillful dancing technique. They played a role in disseminating it to many countries of the Mediterranean sea. Dancers of Egypt wore a variety of cloths like the general people. Accordingly, there were no big differences in qualify of material, color tone and other ornaments as well. Yet in accordance with improvement of dance, there was a show-up of clothing of professional dancers and changing of detail parts. So dancing dress was formed while distinguished from general clothing. Therefore, dancing dress of Egypt represents racial characteristics, activity, originality and pursues not authority, but respect of physical beauty or natural beauty.

• The Journal of Korean Physical Therapy
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• 제13권3호
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• pp.735-749
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• 2001

The purpose of this study was to compare the flexibility and isokinetic differences between normal dancers and dancers with chronically sprained ankle. For the experiment Eversion/Inversion testing was performed by a Cybex 770 isokinetic dynamometer at the a speeds of 30$^{\circ}$ /sec and 120$^{\circ}$ /sec on each 7 subject group. The results were; 1) No differences were found between the two groups in ROM of ankle, but ROM of eversion has 2.8$^{\circ}$ higher in the injury group than the normal group. 2) Differences were found between the two groups in peak torque. average power, total work at the evertor and invertor in injury side.(30$^{\circ}$ /sec) 3) Differences were found between the two groups in peak torque at the evertor and invertor in normal side.(30$^{\circ}$ /sec) 4) Differences were found between the two groups in total work at the evertor in normal side. (30$^{\circ}$ /sec) 5) Differences were found between the two groups in peak torque, total work at the evertor and invertor in injury side. (120$^{\circ}$ /sec)

• 한국콘텐츠학회논문지
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• 제13권11호
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• pp.130-137
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• 2013

이 연구는 무용심상 훈련프로그램을 통해 무용수들이 인식하고 있는 신체지각과 창의적사고의 관계성을 밝히고자 시도하였다. 무용수의 내적심상과 외적표현은 자기감응의 확산적 표현과정이며, 신체지각과 창의적 사고의 관계성을 입증하였다. 그 핵심은 상상력을 통한 문제인식과 해결의 적극적인 사고과정이며, 새로운 지각과 그 소통능력을 의미한다. 그러므로 무용심상은 신체와 정신의 통합원리에 근거한 지각훈련이고, 폭넓은 내적상상의 다양성과 외적표현의 적극적인 사고를 통해 새로운 소통을 창조해야 한다.

• 한국운동역학회지
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• 제26권1호
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• pp.1-9
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• 2016

Objective: The aim of this study is to investigate the association between dance experience and smoothness of hand trajectory during dance by using three jerk-based quantitative methods (integrated squared jerk, mean squared jerk, and dimensionless jerk). Methods: Eleven Korean traditional dancers whose experience of dancing ranged from 5 years to 20 years participated in this study. Dancers performed the Taeguksun motion in Korea traditional dance. Six infrared cameras were used to capture the movement of the hands of the dancers. The smoothness of hand movement was calculated using three jerk-based methods. Results: With regard to the smoothness of the right hand, dance experience was significantly correlated with dimensionless jerk (r=0.656, p=0.028), while dance experience was not significantly correlated with integrated squared jerk (r=0.581, p=0.552) and mean squared jerk. With regard to the smoothness of the left hand, there was no correlation between dance experience and any of the three jerk values. Conclusion: Our results showed that individuals with more dance experience performed the task more smoothly. This study suggests that dimensionless jerk should be used as a predictor for smoothness in dance movement. Thus, our results support the idea that smoothness is an aspect of movement quantity distinct from speed and distance.

• 한국운동역학회지
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• 제17권1호
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• pp.175-184
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• 2007

The first purpose of this study was to compare kinematic variables during spinning motion with or without upper extremity and identify the most effective spinning method. The second purpose of this study was to compare functional difference between novice and elite dancers with the term of training. Ten experienced female dancers and ten novices were recruited as subjects for this study. Elite group was asked to perform turn motion with three types of upper extremity. Novice group has taken training of spotting technique for five weeks. Four Falcon HiRES cameras were used to analyze kinematic variables including head angular velocity and CG displacement during spinning. These data were sampled before training, after 3-week, and 5-week of training. Eight different events in two consecutive turns were defined for statistical comparison. One-way ANOVA was performed to compare among the kinematics of turning motion with three types of upper extremity. Independent t-test also used to compare kinematics between elite and novice at three different length of training. As results, spinning with both arm increased angular velocity and stability compared to the turning motion with one arm or with arm strapped and found out that the turn with both arm was the most effective way of spin. Also, for novice dancers, three weeks of training were needed to complete spinning motion.

• 한국의류학회지
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• 제27권3_4호
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• pp.310-321
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• 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.

• Physical Therapy Rehabilitation Science
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• 제11권4호
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• pp.585-590
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• 2022

Objective: The purpose of this study was to investigate the effects of neuromuscular training of ballet dancers with chronic ankle instability on ankle stability and posture controlability. Design: A randomized controlled trial. Methods: A total of Thirty-twoyoung female ballet dancers with chronic ankle instability have voluntarily participated in the study. The participants were randomized to the neuromuscular training group(n₁=11), elastic resistance squat group(n₂=11), and control group(n₃=10). The intervention was applied to a total of 18 exercises per six weeks and conducted in each group for one hour a day, three times a week. All subjects were evaluated for Cumberland ankle instability tool(CAIT), static balance at before-after intervention. Results: In the comparison of the effects within the groups, the effect of the intervention on CAIT and posture control was significantly increased in the neuromuscular training group and elastic resistance squat group (p <0.05). In the comparison of the effects between the groups, the neuromuscular training group, and elastic resistance squat group were found to significantly increase more than the control group (p <0.05). The effect of ankle stability is similar in neuromuscular training and elastic resistance squat training, neuromuscular training is more effective in improving posture control rather than elastic resistance squat training. Conclusions: When planning a rehabilitation training program for a ballet dancer with chronic ankle instability, neuromuscular training can be applied as an intervention method to improve ankle stability and posture control ability.

• 한국콘텐츠학회논문지
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• 제15권7호
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• pp.148-156
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• 2015

이 연구는 무용전공자들의 무용 태도를 평가하기 위해 전공별, 남녀별, 학년별로 구분해 분석했다. 이를 위해 대학에 재학하는 전공자 남녀 각각 126명, 357명을 대상으로 Jadranka et al.(2014)가 고안한 무용 태도 질문지법을 이용해 정의영역, 인지 영역, 행동 영역별로 구분해 조사했다. 그 결과 다음과 같은 결론을 얻었다. 남 여간 무용에 대한 태도 분석결과 정의적 태도 영역에서는 남성이 여성보다 긍정적인 반응을 보였으며(p<.05), 전공 간 분석결과는 실용 무용 전공자들이 발레나 한국 무용 전공자들보다 무용에 대한 정의적 반응이 보다 긍정적이었다(p<.05). 학년별 무용 태도는 저 학년인 1 학년이 고 학년인 4 학년보다 정의적 태도에서 더 긍정적인 반응을 보였다(p<.05). 향후 이와 유사한 연구를 수행하고자 할 때는 보다 많은 조사 대상자와 남녀, 전공, 학년별 균등한 조사 대상자 선정의 필요성이 요구되며, 선정 대상자 또한 수도권에 국한하지 말고 전국에 걸쳐 선정할 필요성을 시사한다.

• 한국산학기술학회논문지
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• 제12권12호
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• pp.5469-5476
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• 2011

본 연구는 대학발레전공생들의 자기관리에 영향을 주는 요인에는 어떠한 것들이 있는가를 푸코의 규율권력과 연계하여 분석하는 것을 목적으로 수행되었다. 이를 위해 서울시와 대전시에 소재하고 있는 4년제 대학교의 발레 전공 4학년 학생 10명을 대상으로 면담법을 실시하였으며, 얻은 자료를 수집, 분석하여 다음과 같은 결론을 도출하였다. 먼저, 발레전공무용수들이 효과적인 체중조절을 실천하기 위한 체중조절방식에는 단식, 한가지음식먹기, 물리적인 힘을 가하거나 섭취하기 등이 있었다. 그렇다면 이렇게 체중조절의 실천을 지속하게 하는 보이지 않는 시선이 무엇인지 살펴보면, 규율의 힘이 무용수들의 몸에서 자동적으로 행사하게끔 하는데 있어 중요한 역할을 하는 통제의 도구로 본 연구에서는 '거울과 체중계'을 들 수 있었다. 또한 무용수들의 체중관리의 또 다른 지속요인으로 서로간의 감시방식인 시놉티콘 현상이 존재하고 있었으며, 마지막으로 권력자의 배치에 관한 문제도 체중조절의 지속적인 실천에 작용하고 있음을 알 수 있었다.

• The Journal of Korean Physical Therapy
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• 제31권2호
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• pp.129-133
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• 2019

Purpose: This study aimed to investigate effect of ankle instability on peripheral muscle activation among female ballet dancers to provide information on the development of prevention programs for ankle injury rehabilitation. Methods: 32 female ballet dancers were randomly divided into two groups: experience ankle sprain group (n=16, age, $20.7{\pm}0.8years$, BMI $18.6{\pm}1.2kg/m2$) and non-experience ankle sprain group (n=16, $age=21.0{\pm}0.8years$, BMI $19.6{\pm}2.0kg/m2$). Activation of the peroneus longus, tibialis anterior muscle, and gastrocnemius during vertical landing, half pointe, and gait between the two groups were measured. Body composition analyzer was used to examine skeletal muscle mass and body fat mass. Results: A total of 32 patients were included. In the experience ankle sprain group (n=16: left sprain 14, right sprain 2), average ankle sprain injury occurred 7.5 months before the study. The average age of the dancers in the experience ankle sprain group and non-experience ankle sprain group was $20.7{\pm}0.8$ and $21.0{\pm}0.8years$, major period was $64.5{\pm}23.8$ and $71.6{\pm}25.8months$, BMI was $18.6{\pm}1.2$ and $19.5{\pm}2.0kg/m2$, respectively. No significant differences were found on body composition between the two groups (p>0.05). The experience ankle sprain group showed significantly lower tibialis anterior and peroneus longus muscle activation (p<0.5), while gastrocnemius muscle activation appeared to be significantly higher (p<0.05) during landing, half pointe, and normal gait. Conclusion: Ankle sprain can cause a decline in peripheral muscle activation and coordination, which increased the risk for repetitive ankle sprain in the future. Moreover, ankle peripheral muscle selective strength training, coordination program development, and application need to be considered to prevent ankle sprain.