• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.475-486
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• 2020

This paper is a thesis on media art technology for high-tech performances and exhibitions. After creating an interactive stroke in VR, it is projected in real time through a media facade technique. Among our traditional dramas emphasizing linear movements, movements were extracted from the Bongsan mask dance, and the movements of the lines were used in a media art performance called 'Multi-face Convergence'. When motion data enters the virtual space, geometry consisting of faces is created in the VR space. The created strokes can be set with various brush types, and when performing, a stroke with a red fire effect that matches a dynamic movement was used. It was made to be able to harmonize with the dancers performing the Bongsan mask dance. The medium called VR has characteristics that are not suitable for melting into a performance, but in this performance, it has overcome its limitations by using a technique called media façade. We propose the world's first performance technique that combines interactive strokes with traditional dance performances.

• Proceedings of the IEEK Conference
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• 2008.06a
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• pp.989-990
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• 2008

Most of all popular music is made by genre and specification of music according to age group. Generally Young people of $10{\sim}20$ ages like dance and techno, But old people over 40 age like trot. In this paper, we analyzed characteristic of music which people preferred by an age group. Without relevance with age, we could confirm the factor of music which popular in all age group by analyzing. The common factor of music all of age group liked are slow word, fast beat, repeated and simple melody, and characteristic of frequency in affluent middle tone.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.

• Korean Journal of Applied Biomechanics
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• v.22 no.2
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• pp.173-181
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• 2012

The purpose of this study was to research on the movement of Fouette A La Second which was a type of turning movements on cheerleading. This research was conducted for helping cheerleaders to improve their overall skills. The three cheerleading national team members were participated in this research and the movements of Fouette A La Second were recorded with 6 digital motion master 60 video cameras, operating at a sampling frequency of 60 fields/sec. Six out of ten turning motion data were collected and analyzed with Kwon3D XP. The results were as follow: 1) The subject A's Releve motion was not executed precisely because of the COG's unstability. So she was required to improve the balancing ability. 2) The subject B could not execute the precise A La Second motion because of subject B's large hip angle. By tracing the projection of B's right toe on x-y plane, the subject made an elliptical orbit. Because B did not have a proper turning skills she needed to improve the muscle power and flexibility. She also needed to move quickly from Releve to Plie movement. 3) The subject C could not execute the Plie movement precisely, so she could not turn her body correctly around a certain spot. The subject C needed to decrease the knee angle at the Plie motion.

• Korean Journal of Applied Biomechanics
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• v.16 no.3
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• pp.125-135
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• 2006

This study was to analyze the effect of dancesport heel-shoes heights on Rumba Cucarachas Movement in terms of analysis, and to provide the essential information to decide the proper heel-shoes heights for individual. six female subjects participated in this study. Dependent variables were set and divided into the amount of movement regarding the velocity and angle of the right elbow, pelvis, ankle, and knee. The following conclusion was drawn blow. 1) Angle: We all appeared in 5, 7, 9cm heel height so that we were similar in a knee and elbow angle and no significantly. The plantar flexion appeared greatly as an ankle angle's shoe high and significantly. 2) Velocity: An elbow velocity all appeared in a three shoes so that it was similar. We speed fast speed some in a 7cm heel height. A knee velocity expressed fast speed some in a 5cm heel height. The pelvis velocity in a that it was similar. Generaly, The aspect to be a dancesport competition o'clock and aesthetic is the height. and the muscular strength train after we need the thing to choose suitable to the individual shoe height. It is logical that the decision of heel-shoes heights should be made by anthropometric and sport dynamic analysis in order to maximize the dynamic and aesthetic aspect of dance sport.

• Journal of the Korean Society of Costume
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• v.47
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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.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.61-75
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• 2001

This study was intended to observe strategic fashion-presentation in Music stars according to the change of the star system in the Korean popular musics. The Korean Music stars since 1990s have been made, fabricated and have excessively depended on the demand of the teenagers. Therefore their distinctive fashion-presentation is considered as more important element than those of the past. Consequently. the characteristics of the fashion-presentation in the Korean Music star these days are as follows : First. Music stars shows fashion-presentation that has a consistent fashion theme. That is one of the key success factor to raise the recognition of star singer. Second. Music star produces fashion images which reflects identity and of subculture. Those appearance have won wild popularity of the Peeps 1990's new generation. Third. although there is no change music genre and emotion. through merely renovation of their fashion image, Music star got diversity and originality of the characteristics of contemporary cultural goods. Fourth. In case of famous dance groups, in the past they maintained a singular atmosphere as a group, but in 1990'Music star group each members of the group have individually fashion-presentation. So, they can get more fans. Fifth, Music singers borrow or duplicate fashion-presentation from each others. Such as similar fashion-presentation guarantees support of the same fans.

• The Research Journal of the Costume Culture
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• v.13 no.1
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• pp.87-101
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• 2005

Jazz derived from the blacks' work songs and made the frame of Jazz reaching blues and finally arrived at the recent time propagating itself as not only the blacks' music but all human being's music. This study has a purpose to suggest the Jazz image to the fashion design by examining the historical trace of Jazz which is one of popular music received by hearing sense. As for the result of the Jazz's effects by age, rhythmical beauty stressing dresses were in fashion by dance enjoying women in 1920's and dresses giving a mature atmosphere set the fashion in 1930's. in the beginning of 1990's, newly emerging Jazz was reflected to the popular culture along with the historical mode's fashion in the general society. The design's decided with two themes of Jazz Classic and Neo Fusion to modernly and naturally express the pursuit of strong color contrast which associated fast rhythm and lax image such as the counter melody of smooth Jazz. In that result, Jazz image with auditory feelings could suggest the various design motive and new idea to fashion design.

• Journal of Korean Library and Information Science Society
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• v.41 no.4
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• pp.51-72
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• 2010

Csikszentmihalyi has given the term 'flow' to describe intense engagement or complete absorption in a task and behaviors. Activities as diverse as rock climbing, art, dance, motorcycling, and work has been reported as producing flow, but the most common optimal experience noted in the research is reading. This paper examines the disposition of reading flow of elementary and second students in Korea, and analyzed on the affecting factors in reading flow. Questionary for this study made of 36 items, including reading text, reading purpose, reading method etc. This study participated by 40 elementary & secondary schools, surveying 1,836 students. In order to verify the disposition and factors of reading flow used Chi-square, crosstabulation, factors by SPSS18.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.1-21
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• 2017

The Korean folk drama is one of the traditional art performances of Korean folklore, and it is usually characterized by mask dances. An investigation on the costume of Korean folk drama is of great historical significance because they present the variety of typical costume according to the characters. The Sandae-Nori drama of Seoul Gyeong-gi province which was designated as im- portant culture property, has the closest form to general Korean folk costume. The usual characters have their typical costume and reflect the costume of the latter Choson Dynasty period. The costumes are used as a tool of the drama to indicate the character, and the impression of the dance. The costume of the Korean folk drama is made to indicate the character because it is for the play. What is more, the costume of the Sandae-Nori drama of Seoul Gyeong-gi province shows the general aspect of folk costume of the world, which remains as the symbol of the traditional culture and shows more decoration and visibility.