• 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.

• Korean Journal of Applied Biomechanics
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• v.12 no.2
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• pp.77-90
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• 2002

This study serves the purpose of understanding about correct jump and landing motion through Kinematical Analysis of Straddle Jump to Push up Motion at target by four elite sports aerobics athletes have more than four years career. And further more that make good assistance for coaches effective guidance through an offer basic data and correct diagnosis, evaluate of motions. It was picture-taked by two-video camera for Straddle Jump to Push up Motions. Camera speeds are 60 frame/sec. There are Kinematical Variation elements for analysis, the displacement of COG, each angle displacement left/right of shoulder-joint, each angle displacement left/right of knee-joint and each speed left/right of tip of the toes. Every each person accomplished severaly 3 times and we have acquired this conclusion. The conclusions were as follows; 1. Each situation for displacement of COG showed low height of COG by phase 1, 4, 5(79.05${\pm}9.07,\;46.41{\pm}3.65,\;18.66{\pm}0.54cm$) and It showed high height of COG by phase 2, 3($120.80{\pm}6.13,\;148.12{\pm}9.19cm$). 2. Each displacement left, right of shoulder-joint flexion by phase 1($91.07{\pm}8.30,\;90.77{\pm}5.72$deg/sec)and It showed maximal extension angles by phase 2($102.48{\pm}10.00,\;102.39{\pm}10.51$deg/sec). in part of phase 3, left of shoulder-joint angle($94.43{\pm}4.12$deg/sec) showed flexion phase 1, the other right shoulder-joint angle(88.38${\pm}$4.98deg/sec) showed more a little lower than phase 1, in last phase that showed most low by phase 4($70.58{\pm}13.72,\;54.24{\pm}11.58$deg/sec). 3. Each displacement left, right of hip joint showed maximal extent conditions by phase 2, 3($160.35{\pm}22.68,\;1534.77{\pm}5.40$deg/sec, $150.04{\pm}12.79,\;145.54{\pm}13.00$deg/sec) beside, ankle-joint showed minimal angle by phase 1, 4($93.59{\pm}18.92,\;85.37{\pm}13.23$deg/sec, $66.60{\pm}15.77,\;80.60{\pm}16.57$deg/sec). 4. Each displacement left, right of hip joint showed maximal extent conditions by phase 2($157.15{\pm}9.13,\;163.52{\pm}8.18$deg/sec), and right of hip joint showed minimal angle by phase 3($110.87{\pm}13.81,\;77.53{\pm}8.95$deg/sec) It showed alike condition of low angle by phase 1, 4($91.04{\pm}2.31,\;96.26{\pm}2.20$deg/sec). 5. Each displacement left, right of knee-joint showed maximal extent conditions by phase 1, 3, 4($173.46{\pm}2.95,\;171.51{\pm}5.44$deg/sec, $172.24{\pm}4.49,\;171.26{\pm}0.65$deg/sec, $162.78{\pm}2.13,\;164.10{\pm}5.97$deg/sec) but It showed flexion only left of knee-joint by phase 2($164.45{\pm}7.51,\;159.38{\pm}3.48$deg/sec). 6. Each speed left, right of the tip of the toes showed most fastest when someone jumped with lift up leges by phase 1, 2($321.32{\pm}67.91,\;316.90{\pm}41.97$cm/sec, $410.06{\pm}153.06,\;399.77{\pm}189.34$cm/sec), It showed more less speed than phase 1,2 by phase 3($169.74{\pm}67.17,\;150.00{\pm}63.80$cm/sec) and It showed most slow speed than phase 1,2,3 by phase 4($87.22{\pm}34.90,\;85.72{\pm}52.23$cm/sec).