• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.244-253
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• 2012

The purpose of this study was to understand the relationship between stress factor and burnout of dancers. For this, a survey was performed, of which the subjects were selected out of a great number of dancers in several dance. Finally, a total of 535 completed questionnaires were used for statistical inspections, such as independent t test and one-way ANOVA analysis. The results of this study can be summarized as follows: there was a significant difference to burnout of dancers as a function of sex, major, record and position at p<.05 level. there was a significant difference to stress of dancers as a function of sex, record and position at p<.05 level. there was a significant difference to the stress level dancers within the lower factors including demotivation, emotional exhaustion and lack of improvement at p<.01 level. as result above system must be set up for dancers can maintain psychological stability and increase dancer performance.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.148-156
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• 2015

The purpose of this study was to evaluate the dance attitude differences between gender, majors, and grades. Attitudes-towards-dance inventory(Jadranka et al., 2004) which covered affective, cognitive, and action aspects of attitudes, as well as to reflect, in a similar number of items, both the positive and negative attitude towards dance was used to investigate dance attitude for 483 dancers who are collegian. Male students were more positive attitude in the affective area among dance attitudes than female students(p<.05). Dancers who major practical dances revealed more positive attitude in the affective area than dancers majoring ballet and Korean treditional dance(p<.05). In addition, freshmen have a more positive dance attitude in the affective area compared with seniors. It was suggested that more subjects should be studied from considering major, local university as future study.

• Trans-
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• v.2
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• pp.1-38
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• 2017

Dance, as an art which expresses thoughts and emotions by movement human, is included in work that its copyright has to be protected, choreographers who are creators and dancers who are performing can exercise their rights included in copyright laws. However, artists who work in the dancing scene have lack of awareness about copyrights and the application level is low. The purpose of this thesis is to look into the current status and issues about dance copyright and to discuss activation plans and effectiveness plans for dance copyrights. The main point is to check into the level of awareness for dance copyrights with choreographers, dancers and students majoring in dance who are in charge of the art of dancing, to present issues about the necessity of the dance copyrights protection plans by analyzing interviews-in-depth and to prepare the dance copyrights protection plans which are concretely realistic. For the research methods, first, I looked into ideas and contents about copyrights through a document research and then, wanted to prepare theoretical background by reviewing actual cases of performing art copyrights related to dance. Next, I carried out surveys about awareness of copyrights with students majoring in dance, choreographers and dancers then carried out analysis of actual proof. Also, I chose three famous dancers who are actively performing in the current dancing scene and did interviews-in-depth about dance copyrights then carried out a recording analysis. I tried to complement the analysis by discussing deeper which I couldn't deal with in the previous surveys and to contemplate awareness activation of dance copyrights and plans. As a result of the research, the level of the awareness about dance copyrights through age, major, education and career was very low. The level of awareness was almost same compared to the previous research 10 years ago. 'Music', which can be an element of copyright issue in dance, was the highest in rate, and dance was recognized as an art which is combined with various elements as a combination work. The way of protection for works of choreography and performance only used data preservation and contracts and didn't register copyrights or record in dace notation. Majority of responders answered that they couldn't have any education about copyrights while they were recognizing the necessity of education and management for copyrights. The analysis of interviews-in-depth was also matched to the result of the previous surveys and a deeper discussion about the status of dance copyrights and issues was carried out. The plans of effectiveness for dance copyrights through the result of previous research are as followings. First, an advanced education is necessary above all to increase the awareness and application of copyrights in dancing scene. Long-term education like study curriculums and short-term education like special courses and seminars should be combined, and education about copyrights for dance groups, choreographers, dancers and students majoring in dance should keep on going. Second, revision of performing art works is necessary for the activation of dance copyrights, and establishing a dance copyright association to manage copyrights systematically and training dance copyright experts are necessary as well. Third, as the way of copyright protection for choreographers and dancers, an establishment for relation gain and loss about copyrights is necessary when creating dance works and performing, and registration of dance works should be activated. Also, the dancing scene should sign contracts for choreography and performance and this contract culture should be activated, and it should systematically preserve and manage choreography and performance records through basic ways. Hereby, it is considered to prepare a foundation to foster the awareness of dance copyrights and activate dance copyrights.

• Journal of Industrial Convergence
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• v.19 no.3
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• pp.107-116
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• 2021

The purpose of this study was to analyze and clarify the relationship among dance socialization organizers, dance intervention, and dance effort variables of dance majors. The subjects of this study were college students majoring in dance located in Seoul and Gyeonggi-do, and the purposive sampling was used. The results of the study are as follows. First, the agent of dance socialization influences the dance intervention. Second, the agent of dance socialization influences the effort to achieve dance. Third, dance intervention affects dance achievement efforts. Therefore, it is thought that, through the active efforts of the dancers, various programs that can link industry and academia as well as support at the national level should follow for the cultural heritage that can be passed on to future generations.

• Korean Journal of Applied Biomechanics
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• v.22 no.3
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• pp.295-304
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• 2012

This study, through biomechanical analysis, conducts a risk assessment of injury occurrence in ballet dancers while they perform running and jumping movements. The participants were nine female collegiate students majoring in ballet(age: $20.89{\pm}1.17years$; height: $160.89{\pm}7.01cm$; mass: $48.89{\pm}3.26$). Descriptive data were expressed as $mean{\pm}standard$ deviation(SD) for all variables. An independent t-test was conducted to determine how the following variables differed: duration time, position of the center of gravity, angle of the hip, torque of the hip, and muscle activity. All comparisons were made at the p<0.05 significance level. The results show that the jump time was two times longer than the run time in the duration time. The jump length was also longer than the run. The angle of the hip and the torque at the hip were higher in the right. The vastus medialis muscle was most frequently used. These findings demonstrate that participants' jumps may require more biomechanical variables for performance of better and more correct $jet{\acute{e}}$.