• 복식문화연구
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• 제10권4호
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• pp.404-418
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• 2002

The pattern of a dance had changed and made a progress delicately according to the change of the myth, religion, and civilization. One genre which had experienced the change for the dance is a mask dance. This dance started from wishes to adore spirit or god with imitated masks of native animals and desire to identify with nature. After the middle ages, it finally became to approach to the artistic state. In that dance, there was used a role of the head of the family which was strongly adapted to the shape of the mask as performing casts After studying symbolic characteristics of the mask dancing, we could conclude these as fol1ows.: First, Masks symbolized the totemism that adores spirit or god. This kind of whole masks were consistently used. Second, Mask was worn for expressing a dancer's cast well. This function of performing cast was in the primitive ages. However at the age which was characterized as the age of the art, the expression of using a mask became various. Third, Mask was mostly related to the head of the family and appeared with the desire to be others not themselves. Since the middle ages, this tendency continued to the modern dance. Now we can see this type at the carnival. The mask was not only an effective means of dance but also an expression of totemism, performing cast, and the head of the family. Therefore it contributed to the growth of the dance a lot.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.33-33
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• 2003

Lamaism is a Mahayana with strong shaman characteristics in Tibet and Mongolia. It was established through settlement of Esoteric Buddhism, based on Indian Buddhism, transferred to Tibet, mixed with a traditional Tibetan religion Bon which emphasizes shamanism, conducts Tantric and shaman rituals. One of the rituals, Tsam, is a dance drama for protection of Buddhism and enlightenment of the followers in which the monks perform in mask.

• 한국의상디자인학회지
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• 제13권2호
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• pp.147-162
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• 2011

The performance-art costume is a tool for expression that can dynamically display the intention of a production. The purpose of this study is to examine the whole costume for performance arts targeting musical works, to which were added such elements as music, dance, and drama, among performance arts in several genres. This study aims to consider how the symbol contained in the costume was intended to be expressed by inferring a change in performance costume and character as the stage costume. Accordingly, the following research problems were established in this study. First, Which role does the costume play in performance art? Second, into which types can the performance-art costume be classified depending on the kind of performance art? Third, what is the expressive method for the performance-art costume? To examine the types of performance-art costume, the acting costume, the singing costume, the dancing costume and the rhythmic performance costume were considered. As a result, the performance costume can be seen to have been designed through the effect of a change in color by lighting, through the differentiation of character caused by excessive decoration, through the differentiation in material for free movement, and through symbolic expression.

• 복식
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• 제58권6호
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• pp.158-171
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• 2008

The purpose of the study was to examine how changes of women's sexual identity and gender role were expressed in designs of dance costumes by analyzing costumes used in creative dance works. Related articles, dance magazines, Internet information and dance costumes were used for the analysis of various performance cases to express persona and animus of a woman. The results of the study were as follows: 1. As a woman's role, persona, has recently changed into active propensity, dance directors have come to prefer bold and daring image of female dancer to strongly express animus, the masculine inclination of a woman. 2. Female dancers' costumes were frequently associated with daring body exposure such as body painting on half-naked body, to reflect the above and a number of female dancers dressed daringly in masculine style trom head to toe. Also, pants or hot pants instead of skirt were frequently used as dance costumes to symbolize animus. In addition, colors in dance costumes became vivid and bold in comparison to the simple and soft colors used in the past.

• 한국생활과학회지
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• 제8권1호
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• pp.135-150
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• 1999

The purpose of this study is on the dance costume of ancient Egypt. First, after the present study looked onto a specialty of Egyptian dance, and then the present study classified Egyptian dress into type and form, quality of material and color tone, hair and headdress and other ornaments. Fundamentally, this study was intended to understand the traditional culture and to grasp the peculiarity of Egyptian dancing dress. This study was progressed as a theoretical research by using documents, photographs, literatures of museum, etc. The results of the study could be summarized as follows. Egyptian dancing featured the earliest form of stage dance in the world and improved religion dancing and sideshow dancing getting out of the form of primitive dance, and also there were professional dancers who developed highly skillful dancing technique. They played a role in disseminating it to many countries of the Mediterranean sea. Dancers of Egypt wore a variety of cloths like the general people. Accordingly, there were no big differences in qualify of material, color tone and other ornaments as well. Yet in accordance with improvement of dance, there was a show-up of clothing of professional dancers and changing of detail parts. So dancing dress was formed while distinguished from general clothing. Therefore, dancing dress of Egypt represents racial characteristics, activity, originality and pursues not authority, but respect of physical beauty or natural beauty.

• 복식
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• 제58권7호
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• pp.119-132
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• 2008

This study intended to develop and produce a modern form of fashion design for the Korean creative dance performance, 'Crazy Skirt Collage', which expressed conflict between internal ego and a persona in a woman. The qualitative method was used to analyze literature review, internet search and visual data of historically important cases related to the theme. Based on the analysis, the fashion design of the dance performanre by Hwang Hee-Yeon that was actually staged on Towol Theater, one of the Seoul Arts Center, was produced. The results wire as follows; First, the study confirmed a change of persona that revealed a female's animus strongly as it moved into the modern time. Second, the female's persona was expressed through long skirts, slips, dress shoes, handbags, military shoes, dresses with long zippers, trousers, wedding dresses and Korean full skirts during the performance, while the female's animus through male coats, panties, big bags and clock. In conclusion, it is necessary to study new expressive methods, that is, dance clothes using advanced equipment such as lights, videos or other variety of materials. It is also important to understand aesthetics of modern women's ordinary lives and to adapt ordinary clothes to dance clothes in various methods in order to express their modern lives appropriately through Korean creative dance.

• 복식문화연구
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• 제12권4호
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• pp.599-613
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• 2004

The purpose for this paper is to find the common characteristics of Korean traditional clothing, which is largely affected by Chinese arts and culture. There are many different theories about Faking Opera＇s orgine but an established character is an ensemble song and dance. It virtually represent overall Chinese arts. There are four characters in the Peking Opera ; Sheng, Dan, Jing, and Chuck. Sheng is divided into Nosheng, Sosheng, Musheng and Hongsheng based on their dramatic skills. Also, Sheng requires various acting skills : song, dance, dialogue, act and fighting skill. Peking Opera＇s stage costume was set up in Qing dynasty though it＇s style was embellished with mainly Ming dynasty＇s clothing style. The rankings and personalties of the role are strictly applied to decide what to wear. Artistic exaggeration, symbol and transfiguration, use of colors are equally important in planning the stage costume.

• 복식
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• 제60권10호
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• pp.133-145
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• 2010

The study used four basic formats classified based on the four principles on costumes discussed in the paper 'Human Beings and Arts Phenomena' by Oskar Schlemmer who studied the relationships between stage space and the human body as an analysis tool with regard to analyses on the abstraction of human body in contemporary dance costume. Abstraction of human body expressed in costume for contemporary dance is as follows: Expansions caused by unclear boundary between spaces and costumes, and the principles of three-dimensional abstract spaces based on a geometric cube change heads, trunks, arms and legs to achieve expansions. Similar mechanical shape is a type of shape made in a succession of functional principles of human body in relationships with spaces. As mechanical mechanism is added to the geometric transformation of a specific part of human body, mechanicalness is contained in it. Motion organisms are geometric simplification of moving traces in a space based on conversion into mechanical organisms based on principles of motion, and as mechanical rotation, consecutive speed caused by refraction and directionality are suggested, mobility is achieved. Immaterial shape is based on change into a metaphysical form, and it is converted into animals, plants or a third life that symbolize body parts. It has metaphysical significance in each body part and extends sensibility. As a result of the study, development into abstract succession and a techno art mode has been confirmed. Combination of geometric cubic figures with the organic human body and configuration of the human body pursued by Oskar Schlemmer's geometric abstraction through the proactive accommodation of mechanical aesthetics has been succeeded and expressed in the contemporary dance costumes.

• 복식문화연구
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• 제9권5호
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• pp.747-758
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• 2001

The purpose of this study was to make hip-hop clear as a comprehensive cultural factor, and to analyze how it was reflected and shown in the modern fashion. The fashion influenced by hip-hop consisted of music(mcing), dance(b-boying), art(graffiti), technology(djing), and clothing(hip-hop style) was as follows; 1. Each music, dance, and art factor was expressed as multiethnic style, a oversized sportive style, and a graffiti look. 2. Oversized-Sportive style was the most peculiarity in Old School's hip-hop fashion. 3. Sportive style was changed into Multiethnic-Baggy style in New School's hip-hop fashion.

• International Journal of Costume and Fashion
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• 제14권1호
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• pp.47-62
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• 2014

People today belong to many different subcultures and have diverse interests. Their job no longer defines who they are, while their pastimes can be a bigger reflection of their inner self. This article examines swing dancers in Korea, and focuses on their self-identity and how they express this through clothes. Based on in-depth interviews, observations and photographs of swing dancers with different day jobs, the study results find that most of the subjects intentionally incorporate swing dance cues in their daily work wardrobe, and that this makes them feel more comfortable, honest and satisfied with their job and identity, both as a swing dancer and working professional.