• Journal of Korean Academy of Nursing
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• v.30 no.3
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• pp.647-658
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• 2000

The purpose of this study was to determine the effect of Korean traditional dance movement training on balance, gait and leg strength in elderly women who are forced to remain at home. Fifteen elderly women of an experimental group between the ages 65 and 75 years who have normal vision and passed the hearing and Romberg test, participated in the 12 weeks' dance movement training. Fourteen subjects of a control group were selected. Korean traditional dance movement training was developed on the basis of Korean traditional dance and music by the authors. It took approximately 50 minutes to perform the dance movement program. The subjects of the experimental group practiced dance training for 3 times a week during 12 weeks. During the 50 minutes workout, the subjects practiced 15 minutes of a warm-up dance, 25 minutes of a conditioning dance, and 10 minutes of a cool-down dance. The intensity for the conditioning phase was between 60% and 65% of age-adjusted maximum heart rates. The balance, gait and leg strength were measured prior to and after the experimental treatment. Total balance scores of the experimental group were significantly higher than those of the control group. Scores of sternal nudge, one leg standing balance and reaching up among 13 items have significantly increased after the dance movement training. Total scores of gait of the experimental group were significantly higher than those of the control group following the korean traditional dance movement training. Scores of experimental group in step height, path deviation and turning while walking among 9 items have increased significantly following 12 weeks of dance movement training. The leg strength of experimental group was significantly higher than those of the control group following the Korean traditional dance movement training. The balance, gait and leg strength have significantly correlated in the experimental group following the Korean traditional dance movement training. The results suggest that Korean traditional dance movement training can improve balance, gait and leg strength in home bound elderly women.

• Journal of Korean Academy of Nursing
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• v.26 no.4
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• pp.833-852
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• 1996

Regular long term dance movement could be one of ways to induce improvement of psychophysiological variables, resulting in improvement of quality of life. However, there have been few studies to evaluate the effect of dance movement training on both physiological and psychological variables in the elderly. This study was focused to determine the effect of Korean traditional dance movement training on psychophysiological variables-body weight, body fat, lean body mass, muscle strength, muscle endurance, flexibility, agility, resting heart rate and blood pressure, depression and life satisfaction-in Korean elderly women. Thirty four subjects, aged between 65 and 75years who have normal cognition, sensory function, cerebellum function, cardiovascular function, participated in this study. Seventeen experimental group subjects were selected from E-elderly university in Kyung Gi province, and Seventeen control group subjects were selected from N-welfare facility in Seoul City. Seventeen experimental group subjects participated for 12weeks dance movement program. Korean traditional dance movement program was developed on the basis of Korean traditional dance and music by the author. The program consisted of approximately 50minutes of dance, 3times a week for 12weeks. During 50minutes workout, there were 15minutes of warm-up dancing, 25minutes of conditioning dance and 10minutes of cool-down dancing. The intensity for the conditioning phase was at between 60% and 65% of age-adjusted maximum heart rates. The body weight, body fat, lean body mass, muscle strength(grip strength, leg strength), muscle endurance, flexibility, agility, resting heart rate and blood pressure, depression and life satis-faction were measured prior to and following the experimental treatment. The participants in dance movement were interviewed focusing on subjective feeling following 12 week's regular dance movement. Data were analyzed with mean, standard deviation, percentage of change, X²-test, t-test, and ANCOVA test using SPSS PC/sup +/ program. Subjective feeling was categorized into cognitopsy-chological and physiological responses. Results were obtained as follows : 1) The body weight (F=15.52, p=.000), body fat (F=18.33, p=.000) and lean body mass (F=7.28, p=.011) of the experimental group were significantly lower than those of the control group following the dance movement training. 2) The leg strength (F=30.96, p=.000), muscle endurance (F=9.06, p=.005), agility(F=44.92, 000), flexibility(F=6.84, p=.014) of the experimental group were significantly higher than those of the control group following the dance movement training. There was no significant difference of grip strength(F=.43, p=.515) between experimental and control groups. 3) The heart rate(F=26.96, p=.000), systolic (F=10.40, p=.000) and diastolic(F=3.99, p=.005) blood pressure at rest of the experimental group were significantly lower than those of the control group following the dance movement training. 4) No significant difference of score of depression (F=3.49, p=.071) was observed between experimental and control groups. 5) Score of life satisfaction of experimental group was remarkably higher than that of control group following 12weeks of dance movement training (p<0.05). 6) Thematic responses about the dance movement following the training were positive. "I feel good" was the most frequent among cognitopsychological responses and "I feel lightness of body" was the most frequent among physiological responses. The results suggest that Korean traditional dance movement training can improve psychophysiological variables of Korean elderly.

• Journal of Korean Academy of Nursing
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• v.25 no.3
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• pp.538-548
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• 1995

Exercises are achievement oriented, the process is frequently perceived as hard and difficult Participants drop out from exercise programs in the middle of the training period. Dance movement, which is the deliberate and systematic use of movement, is enjoyable during the movement and provides opportunities for persons to express them-selves. Regular long term dance movement may in-duce a training effect with a decreased drop out rate. Dance movement could be one way to attain wellness, however, there have been few studies to evaluate both physiological and psychological aspects of dance movement. This study focused on evaluating the effects of dance movement training on body weight, resting blood pressure and heart rate, limb circumference and strength, stress response and subjective feelings. This quasi-experimental study was designed as a nonequivalent control group pre test -post test study. Ten healthy fe-male subjects, aged between 19 and 31 years volunteered for an eight week dance movement program. Ten healthy female subjects, between 19 and 21 years of age paticipated as controls. None of the subjects had performed regular physical activity for six months prior to the study. Dance movement was created with reference to Heber's movement guide. The Dance movement program consisted of approximately 30 minutes of dance, three days per week, for eight weeks. During each 30 minute work out, there were approximately 5 minutes of warm-up dancing, 20 minutes of conditioning dance and 5 minutes of cool-down dancing. The intensity for the conditioning phase was at between 60% and 65% of age-adjusted maximum heart rates. Body weight, resting blood pressure and heart rate, circumference of mid upper arm, mid thigh and mid calf, muscle strength of upper and lower limb, physical and psychological response to stress were measured prior to, and following the experimental treatment. Body weight was measured by digital weight scale(Kyung In Corp., Korea). Resting systolic and diastolic blood pressure were measured by sphygmomanometer, Resting heart rate was measured for one minute in a relaxed sitting position using the radial artery. Circumference of mid upper arm, mid thigh and mid calf was determined by tape measure. Muscle strength of the upper extremities was measured by a grip dynamometer (Takei Corp. No.1857, Japan) and that of the extremities was measured by the length of time the leg could be held at 45° Physical and psychological responses to stress were measured using the Symptoms of Stress (SOS)Scale. Paticipants in the dance movement were interviewed by the facilitator following the eight weeks, and their thematic responses about the dance movement were recorded. Following the eight week dance movement train-ing, body weight decreased significantly, circumference of mid thigh and mid calf increased. The length of time leg - raising could be held tended to increase following the dance movement training. Resting systolic and resting heart rate showed a tendency to decrease. Total mean score of stress response tended to de-crease, and mean score of habitual patterns, do-pression, anxiety / fear, anger and cognitive disorganization decreased remarkably following the eight week dance movement. Thematic responses about the dance movement were positive following the training.

• The Korean Journal of Rehabilitation Nursing
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• v.6 no.1
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• pp.70-78
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• 2003

This study was a quasi-experimental study of nonequivalent control group pretest-posttest design to investigate the effect of rhythmic dance movement training on the physical and psychological functions of the elderly. The data were collected from November, 2001 to February, 2002. The subjects for this study were 34 elderly who was over 65 years old and was living in J city. The elderly selected for this study were: free from heart and pulmonary disease and not regular exercise. The rhythmic dance movement training in watching video tape was rhythmic dance movement and education and supportive care. The rhythmic dance movement was 40-60 intensity, 8 weeks' period, three times a week, 60 minutes a day. The data were analysed by $X^2$-test, paired t-test and unpaired t-test and ANCOVA through SAS/PC program. The results of the study were as follows: 1. There was insignificant difference in the gait length experimental and control group. 2. There was significant difference in the gait speed between the two groups. 3. There was significant difference in the dynamic valance between the two groups. 4. There was no significant difference in the depression between the two groups. 5. There was no significant difference in the Quality of life between the two groups. As shown above, the results of the 8 weeks' rhythmic movement program for the elderly produced positive effects on gait speed, dynamic valance. And this program was expected that it was more effective in different intervention period, verified program. Also it was needed follow study.

• Research in Community and Public Health Nursing
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• v.20 no.4
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• pp.403-411
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• 2009

Purpose: The purpose of this study is to explore the effects of a group movement exercise program on psychophysiological variables in the institutionalized elderly. Methods: This research adopted the non-equivalent control group pretest-posttest design. Twenty elders were selected as an experimental group, whereas twenty-two elders were as a control group. The group movement program consisted of 35 minutes of dance and three days a week for eight weeks. Resting systolic blood pressure, diastolic blood pressure and heart rate were measured in a relaxed sitting position. The range of flexion and extension of joint was measured with a gonimeter. Life satisfaction and self-efficacy were measured by self-report. Data were analyzed through $x^2$-test, t-test and ANCOVA using SPSS/WIN program. Results: The results were as follows: Resting systolic blood pressure, diastolic blood pressure and resting heart rate decreased significantly by the group movement training. The range of flexion and extension of the shoulder and hip joints increased significantly. The scores of life satisfaction and self-efficacy increased remarkably by the group movement. Conclusion: The results suggest that group movement training can be an effective intervention to improve psychophysiological variables and the range of motion for the institutionalized elderly.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1999.03a
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• pp.3-6
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• 1999

The study was performed to evaluate the sense of equilibrium by means of rotary chair system in middle school girls with dance learning. Control of equilibrium, which is the most important function in dancing, is maintained by vestibular, visual, and proprioceptive inputs. Experimental groups were divided into trained group with dance (experimental group, 13~14 ys, n=15) and untrained group (control group, 13~14 ys, n=15). experimental group was trained by programmed dancing for 12 weeks, 45 min/day and 5 day/week. Gain of eye movement was measured for vestibulocular reflex (VOR), visual vestibular stimulation (VVOR), optokinetic stimulation(OKN), and visual fixation (VFX). The gain of eye movement at higher than 0.08 hz was significant decrease in experimental group, and VVOR showed the similar fashion to VOR. The gain in OKN and VFX was not significant difference between experimental and control groups. These results suggest that programmed training of dancing improves control of balance by adaptation of the vestibular function, and rotary chair system would be useful to evaluate the sense of equilibrium ability.

• Korean Journal of Applied Biomechanics
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• v.25 no.3
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• pp.265-274
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• 2015

Objective : The purpose of this study was to analyze the effect of the elastic band on ballet arabesque based on kinematics analysis. Methods : To observe the effect of the elastic band, the availability of the elastic band during movement was set as the independent variable, and the dependent variables were set by using factors from two different categories such as motor mechanics and kinematics variables. For motor mechanics variable, the muscle activity and the center of pressure(COP)'s trajectory and velocity were used. Furthermore, the physical angle was used for kinematic variables. Data samples from the experiment was used to understand the correlation between independent and dependent variables while using paired samples t-test as a data analysis tool. Results : After analyzing the result of experiment, the usage of the Elastic band on ballet arabesque movement seemed to increase the activity of the agonistic muscle, which is mainly used for movement, and to improve the stability of the supporting leg by decreasing the trajectory and velocity of the center of pressure(COP). Moreover, the elastic band increased the level of elevation of the stretching leg with reducing the angle of the hip joint that resulted into a more stable movement and furthermore providing more beauty while standing on it. Conclusion : The movement training program while the using elastic band are expected to lead to appropriate muscular development and reduce the muscle imbalance, which usually occurs to dancers, during training with unfamiliar specific movements or strengthening muscular strength for a specific movement. In addition, this work is expected to be used as a training reference to understand and learn the fundamentals of movements of ballet and other dance fields.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.4-21
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• 2016

The purpose of this study is to investigate changes of Jinju Sword Dance, characteristics of the changes, and the current condition of its preservation and succession after the designation as the important intangible cultural property no. 12 in January 16th, 1967. In other words, this study understands the situation which has established the present state of after changes over generations. As of now. the year of 2015, the 3 generation holders have been approved since 1967. In 1967, 8 members of $1^{st}$ generation holders were selected from gisaengs of Gwonbeon. However, the succession training was incomplete due to conflicts among the holders, the deaths of some holders, and economic activities of the individuals. As the need of a pivot for succession training and activities was rising, Seong, Gye-Ok was additionally approved as the $2^{nd}$ generation holder on June $21^{st}$, 1978. Seong, Gye-Ok who had never been a gisaeng had dramatically changed with a lot of new attempts. After the death of Seong, Gye-Ok in 2009, Kim, Tae-Yeon and Yu, Yeong-Hee were approved as the $3^{rd}$ generation holders in February, 2010. Based on the resources including the "Cultural Research Reports of Important Intangible Cultural Properties" in 1966 and videos up to 2014, the changes of the dance and surroundings are as follow. 1. The formation of musical accompaniment has been changed during the 3 generations. In the video of the $1^{st}$ generation(in 1970), the performance lasted about 15 minutes, whereas the performance lasted 25 minutes in the video of the $2^{nd}$ generation. Yumbuldoduri rhythm was considered as Ginyumbul(Sangryeongsan) and played more slowly. The original dance requiring only 15 rhythms was extended to 39 rhythms to provide longer performance time. In the $3^{rd}$ generation, the dance recovered 15 rhythms using the term Ginyumbul. The facts that Yumbul was played for 3 minutes in the $1^{st}$ generation but for 5 minutes in the 3rd generation shows that there was tendency pursuing the slowness from the $2^{nd}$ generation. 2. For the composition of the Dance, the performance included additional 20 rhythms of Ginyumbul and Ah(亞)-shaped formation from the $2^{nd}$ generation. From the $3^{rd}$ generation, the performance excluded the formation which had no traditional base. For the movement of the Dance, the bridge poses of Ggakjittegi and Bangsukdoli have been visibly inflexible. Also, the extention of time value in 1 beat led the Dance less vibrant. 3. At the designation as an important intangible cultural property (in 1967), the swords with rotatable necks were used, whereas the dancers had been using the swords with non-rotatable necks since late 1970s when the $2^{nd}$ generation holder began to used them. The swords in the "Research Reports" (in 1966) was pointy and semilunar, whereas the straight swords are being used currently. The use of the straight swords can be confirmed from the videos after 1970. 4. There is no change in wearing Jeonlib, Jeonbok, and Hansam, whereas the arrangement of Saekdong of Hansam was different from the arrangement shown in the "Research Reports". Also, dancers were considered to begin wearing the navy skirts when the swords with non-rotatable necks began to be used. Those results showed that has been actively changed for 50 years after the designation. The $2^{nd}$ generation holder, Seong, Gye-Ok, was the pivot of the changes. However, , which was already designated as an important intangible cultural property, is considered to be only a victim of the change experiment from the project to restore Gyobang culture in Jinju, and it is a priority to conduct studies with historical legitimacy. First of all, the slowing beat should be emphasized as the main fact to reduce both the liveliness and dynamic beauty of the Dance.

• Korean Journal of Applied Biomechanics
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• v.18 no.1
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• pp.129-135
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• 2008

This research was examined the effect of Backward Walk on ground reaction force and we achieved it by using ground reaction force machine during the Backward Walk activity with Latin and Rumba dance. We find that it was significant difference of vertical(Fz) ground reaction force of right foot in touchdown and toe-off and vertical(Fz), horizontal(Fx), front-rear(Fy) ground reaction force of left foot. There was not significant differences in vertical ground reaction force between superior athlete and unskilled athlete, but there was a significant difference in left foot. Through this, we know that the sports capability of left foot which has been developed through the training is better in superior athlete group. Therefore understanding of difference in ground reaction force and repeated training can help the unskilled athlete and beginner to accomplish the accurate movement.

• (The) Research of the performance art and culture
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• no.41
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• pp.285-320
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• 2020

This study aims to examine the processes of changes of the two main roles, Sangjwa(the young Buddist monk) chum and Omjung(the monk with a boil on his face) chum, performed in Yangju Byeolsandae Nori, on the basis of Chumsawi (dance-movement). Above all, having studied many artistic remains performed by Jo jong sun, Jung han gyu, Park jun seup, Kim sung tae from 1929 to 1942, two main roles, in which Geodeureum chum is now an essential part in almost all performances, were then played only in Kkaekki chum to Taryong Jangdan without performances of Geodeureum chum. In case of Sangjwa chum, players had performed ad libitum and without restraint only on the basis of five sorts of Kkaekki chum's movements. In Omjung chum, witty remarks along with the drama had become more important factors than dances. Let alone two main roles, other parts then also showed no big changes in dance performance. Performers just tried to maintain its slender existence within stifling atmosphere because of oppressions and restraints during the Japanese imperialism. After the restoration of independence in 1945, Kim sung tae and his disciples made a great effort on the restoration of Talnori. During the Korean war, many players also endeavored to keep a good track of Talnori, teaching and training their young followers. Especially performers such as Park jun seup, Park sang hwan, Kim sung tae, and Lee jang sun put much more efforts on restoring Talnori. From that time, Geodeureum chum began to appear in two main roles' performances. In Sangjwa's performances, Byeogsa ritual dance, which was performed to Taryong Jangdan, changed into performances to Yeombul Jangdan, and Kkaekki chum -originally slow and ritual dance, became very fast and active one. Geodeureum chum, called Yongteulim, was added in Omjung chum, so that dance had more important role in performance. Even at this time, dance movements were not clearly and completely organized and arranged, because Geodeureum chum's performance was not clearly defined as orderly dance movements but was regarded as just a movement. After Geodeureum chum being designated as a cultural treasure, Lee byeong kwon took over the task from Park sang hwan, Sangjwa chum's performer, so Geodeureum chum became much more well organzied, arranged and orderly. Geodeureum chum played by Sangjwa had almost the same order of scenes and movements as Geodeureum chum played by Yeonnip. Based on this performance, the order of dances and movements was consistently arranged and settled. Following Park jun seup's performances, Jangsam was more widely applied and used in Omjung chum than ever before, so Omjung chum became much more organized and arranged. Well-arranged Omjung chum had also almost the same dances and movements as Nojang chum's. Yeonnip and Nojang's performances were not directly and intentionally studied and applied to two main roles in Yangju Byeolsandae Nori. Players seemed to borrow those parts naturally through many times of performances. Through their persistent efforts, Jangdan and dance movements have more clearly and completely been organized, establied, and improved through many years' performances. And dance movement can be performed exactly to Jangdan, so we have more complete and orderly types of dance movements. Thanks to many performers' efforts, Sangjwa chum has been established as one that only top performer can play, and Omjung chum has become an integral part in Yangju Byeolsandae Nori.