• 대한족부족관절학회지
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• 제14권2호
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• pp.190-193
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• 2010

Both os trigonum syndrome and osteochondral lesion of talus (OLT) are common causes of ankle pain and usually affect ballet dancers or athletes. Lateral osteochondral lesions, which usually result from traumatic event, are mostly located anterolateral talar dome but rare central or posterolateral. Moreover, there are technical difficulties such as position of patient or additional posterior portal to address posterolateral lesion by arthroscopy. Meanwhile, treatment of os trigonum syndrome using arthroscopic approach has been reported in many literatures recently. However, it has not been reported to diagnose both os trigonum syndrome and posterolateral OLT together and treat arthroscopically at one stage. The authors report a case of male patient who was diagnosed as os trigonum syndrome with posterolateral OLT and treated simultaneously by hindfoot arthroscopy. Symptom was improved immediately after the operation, and radiological findings at postoperative 16 months verified remarkable healing.

• 복식
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• 제50권4호
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• pp.73-87
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• 2000

The court dancing suit, so-called "JeongJae(呈才) suit," has been worn by court dancers on the occasion of the royal court′s feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national quests from foreign countries. There are 53 kinds of court dancing suits, ranging from the age of the ancient Three Kingdoms to the period of Chosun Dynasty. The court dancing suits are divided into two styles : DangAk-JeongJae(唐樂呈才) style and HyangAk-feongjae(鄕樂呈才) style, depending on dancing styles. Since the court dancing suits in the age of the ancient Three Kingdoms and Koryo Dynasty have already been studied previously, this study discussed the change of dancing suit styles created in the latter period of Chosun Dynasty, such as YukHwaDae(六花隊), MuSanHyang(舞山香) and ChoonAengJeon(春鶯), and the thought of Yin-Yang and five elements(陰陽五行思想) that the colors of the court dancing suits imply. The purpose of this study is to understand the thoughts contained in the ancient suits as well as their styles in order to inherit and uphold our traditional culture properly.

• 디지털콘텐츠학회 논문지
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• 제19권8호
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• pp.1565-1573
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• 2018

최근의 멀티미디어 컴퓨팅의 비약적 발전은 지금 까지 시도 될 수 없었던 분야로 그 적용 범위를 넓혀가고 있다. 지금까지 후순위로 밀려 온 분야였던 작고 예술인 특히 무용인의 재현도 빛을 보게 되었다. 본 연구는 이러한 작고 무용인의 재현에 멀티미디어 컴퓨팅이 어떻게 적용될 수 있는가를 보였다. 그 일환으로서 기존 무대재현에 많이 동원되는 수작업에 소프트웨어화를 도입하여 작업시간의 단축을 이루었을 뿐만 아니라, 후속작업 시 재사용이 가능하게 될 수 있도록 하였다.

• 복식
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• 제47권
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• pp.125-142
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• 1999

Dancing along with mankind has existed in various ways form old age to the present. This dancing combined with artistic meaning is called the art of dancing. This study is mainly about the functions decorations and expressions of dancing costume and the claracteristics of the costumes by the 20th century designers Leon bakst Oskar Schlemer Pablo Picasso. The dancing costume were not so much different from those of the public from old age to middle age. In 18th and 19th centuries the length of the cotstumes become short from the knee to the thigh. The functions have much to do with the development of dancing for example the appearance of toeshoes. The costumes are designed not to prevent the movements of dancers smooth line in old age and ladylike vend high-blown line in the 18th and 19th centuries. Cotton and hemp textiles are turning into the transparent forms such as lace and gauge. The personal ornaments earings and necklaces have change into the pattern with wings and tassels. The dancing costumes of Leon Bakst Oskar Schlemer and Pablo Picasso are designed after the due consideration of body shape. Bakst focused on the beauty of smooth lines with splendid colors and decorations. Schlemer analyzed the body abstractly and metaphysically and expressed it with detaile and simple lines. Picasso emphasized cubic forms with cubism and expressed the characteristics of costumes with clear colors and smooth curved line. Bakst Schlemer and Picasso made the early 20th century the age of functional dancing costumes putting a light on the concept of space and foundation for the modern dancing costumes.

• 한국의류산업학회지
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• 제8권2호
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• pp.168-176
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• 2006

The court dancing suit, so-called 'Jeongjae suit', has been worn by court dancers on the occasion of the royal court's feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national guests from foreign countries. The court dancing suits are divided into two styles; Dangak-Jeongjae style and Hyangak-Jeongjae style, depending on dancing styles. This study examined the change of the dancing suits of Hyangak-Jeongjae styles created in the latter period of Joseon Dynasty, such as Bosangmu, Cheomsumu, Heoncheonhwa, and discussed the thought of EumYang-Ohaeng(the cosmic dual forces and the five elements) that the colors of the court dancing suits imply. Generally, in the dancing suits of Bosangmu, Cheomsumu, and Heoncheonhwa, the color expression focused on the main stream of red, blue, yellow, white and black. The colors were mainly expressed in harmony between upper garments and under garments, outer garments and inner garments, a simple dress and its decorations. Especially, in the dancing suits of Heoncheonhwa, the purple color symbolized the auspiciousness of the Purple Palace where the God lives.

• 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.

• 한국운동역학회지
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• 제17권1호
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• pp.185-190
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• 2007

The purpose of this study was to investigate the effects that breathing, thoracic and abdominal, had on the smoothness while performing ballet pour de bra. Five skilled ballet dancers(age: $24{\pm}1$, height: $163.4{\pm}2.88$, weight: $44.4{\pm}1.34$) with experience of over 10 years participated in this study. Each participant performed the ballet movement three times with abdominal respiration and with thoracic respiration. The kinematic data was recorded at 60 Hz with three digital cameras (Sony VX-2100). The pour de bra movement consists of two phases, up and down. The up phase is defined as the movement from the en bas through the en avant to the en haut. The down phase is defined as the movement from the en haut through the $\grave{a}$ la seconde to the en bas. During these two phases the Jerk Cost (JC) factor was calculated for the shoulder, elbow and wrist to quantify the smoothness. The group who performed the movement while abdominal respiration had a lower JC factor and so it was concluded that while abdominal respiration the smoothness of the movement was increased as opposed to the thoracic respiration.

• 한국실내디자인학회논문집
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• 제16권3호
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• pp.30-37
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• 2007

This research is to find out the characteristics and significance of the plastic experiments with colored planes in Theo van Doesburg's works. Based on the analysis, the following results have been obtained. First, Thea van Doesburg's plastic experiments with colored planes started from the paintings in 1916-1918. series and series were made of the ion of still life or human motion. These paintings were intended to make effects of rhythm, acceleration and simultaneity. Second, he colored the outer and inner architectural surface with primary colors. The expression of visual. rhythm on the color design for De Vonk, Districts Housing Projects VIII & IX in Spangen, Multi-Housing in Oosterstraat, Friesian Housing, Landbouw Winter School, and University Hall in Amsterdam embodied the concept of painting-in-architecture. Third, the field of these experiments were extended into the architectural space. As a results, $H\hat{o}tel$ Particulier and Maison d'Artiste was shown on the Architectural Exhibition in Paris in 1923. The colored planes were used as a construction material. They generated the dynamic space in architecture. Fourth, through the pictorial works like Architectural Analysis, Contra-Composition, Simultaneous Composition or Simultaneous Contra-Composition, Tesseract and Aubette Cinema-Dancing Hall, he created the concepts of simultaneous integration including nature and the environments as well as space-time in the architecture.

• 한국콘텐츠학회논문지
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• 제21권5호
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• pp.855-867
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• 2021

본 연구는 무용학과에 재학 중인 여학생과 졸업한 여성무용수들을 연구대상으로 결혼과 출산의도 일과 가정갈등, 무용지속의도에서 그룹 간 차이와 상관관계를 파악하고자 하였다. 두 집단은 가지지향형 결혼관, 일과 가정 갈등, 출산의도에서 유의미한 차이를 보였고, 전체 집단에서는 여러 요인 간에 상관관계가 나타났으나 가족건강성만이 유일하게 무용지속의도에 영향을 끼쳤다. 이러한 연구결과에 근거하여 여성무용인들을 위한 육아지원 정책과 서비스 개발에 기초자료를 제공하였다.

• 한국콘텐츠학회논문지
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• 제22권5호
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• pp.611-619
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• 2022

본 논문은 슈스터만의 신체미학적 개념과 현대무용 초기 댄서의 심미적 특징을 결합하여 타오 댄스 시어터를 연구 대상으로 무용의 신체관념적 특징과 신체 미학적 특징을 연구에 출발점으로 하여 타오 댄스 시어터의 신체언어에 대해 이들이 표현하고 전체적인 연구를 진행하며 미니멀리즘과 추상적 미학적 관점에서 타오 댄스 시어터의 신체미학을 분석하였다. 그러므로 본 연구는 타오 댄스 시어터의 작품 <10>의 창작의도, 작품내용, 신체미학적 요소, 복장무대 등의 요소를 분석하고자한다. 이에 작품을 통해 이가 주장한 신체 미학적 개념을 이해하며 예술사조의 변화에 따른 현대무용예술의 발전 현황을 분석했다는 점에서 의미가 있다.