• Human Ecology Research
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• 제53권1호
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• pp.81-92
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• 2015

Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.

• 복식
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• 제25권
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• pp.183-199
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• 1995

Among many different approaches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by including political , militarial , economical , cultural , and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes according to peoples social status. Generally people in high social status wore clothes with detailed decorations invariety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physical activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed it role to affect the clothing styles in Kokuryo. Based on old studies of costume, this study focused on people's life styles that included hunting and weaving . Hunting clothes were differentiated by decorating wit feathers . Jowoguan(조우관) is one of the examples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect , this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however men and women wear were claryly distinguished. Unlike other clothes that were restricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume . Monks wore black clothing (내의) that was influenced from China and the Western Regions(서역). To emphasize their religious power, Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of fire and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• 복식
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• 제25권
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• pp.185-199
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• 1995

Among many different approches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by in-cluding political, militarial, economical, cul-tural, and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes accord-ing to peoples social status. Generally people in high social status wore clothes with detailed decorations in variety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physi-cal activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed its role to affect the clothing styles in Kokuryo. Baseed on old studies of costume, this study focused on people's life styles that included hunting and weaving. Hunting clothes were differentiated by decorating with feathers. Jowoguan is one of the exemples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect, this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however means and womens wear were claryly dis-tinguished. Unlike other clothes that were re-stricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume. Monks wore black cloth-ing that was influenced from China and the Western Regions. To emphasize their religious power. Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of five and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2005년도 Joint International Conference
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• pp.134-135
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• 2005

• 한국의상디자인학회지
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• 제12권3호
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• pp.105-119
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• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• 문화기술의 융합
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• 제9권5호
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• pp.779-785
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• 2023

비 언어극인 무용에서 무대의상은 시각적 표현에서 중요성을 갖고 있다. 특히 창작무용에서 무대의상은 기존의 기본적인 역할인 장식성이나 신분을 나타내는 시대성 그리고 동작을 위한 기능성 이외에 좀 더 작품에 밀접하게 관련된 확장적 역할을 하고 있다. 우리는 본 연구를 통하여 창작 발레 <'그' 소녀>의 작품에 나타난 무대의상의 확장성을 분석하는 것이 목적이며, 이를 통해 무대의상 디자인에 기초 자료를 제공하고 새로운 방향성을 제안하는 여 연구의 의의를 부여하고자 한다. 창작 발레극 <'그' 소녀>는 피해자들이 겪었을 공포와 공감을 통해 전달하고자 하는 위로를 주제로 2개의 막으로 구성되었으며, 2막의 해방과 '한(恨)'의 춤에서 의상의 확장된 역할이 요구되었다. 의상 디자인은 위안부를 형상화한 '소녀상'에서 영감을 받았으나, 발레 동작의 기능성과 의상에 장치된 끈과 천의 운용의 용이성 등의 전제조건을 바탕으로 3개의 초안 디자인과 재질의 실험을 거쳐 완성되었다. 결론적으로 해방의 춤에서 사용된 끈과 '한(恨)'을 표현한 천을 효과적으로 사용하여 무대의상의 시·공간의 확장성, 조형의 확장성, 상징적 표현의 확장성이 나타남을 알 수 있었다.

• 복식문화연구
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• 제30권4호
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• pp.529-547
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• 2022

The purpose of this study was to understand the concept, form, and structure of the bata de cola through an investigation of the history of the costume and a study of the suitability of its functional elements during performance of 'Caña Flamenco'. Traditionally, Flamenco dance dresses were made by Spanish women from the lower classes, and the 'upward flow' of the dresses represented the women's individuality and unique style. The bata de cola, which appeared later, was an evolution of the Flamenco dress that was influenced by costume styles and silhouettes of the 19th and early 20th centuries, and it was made famous by Flamenco dancers. For practical costume production, a Flamenco artist who had performed in Spain and Korea was proposed as a study participant. The study was conducted using a stepwise wearing evaluation method whereby the Flamenco artist wore prototype dresses and evaluated whether they were practical for the required dance movements or not. A final bata de cola pattern was derived after the experiment was repeated five times based on the feedback of the Flamenco artist, focusing on the factors that were considered most important. Using stepwise clothing evaluation of the prototype, a costume that enabled the Flamenco artist to implement optimal movements was successfully produced.

• 한국콘텐츠학회논문지
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• 제22권5호
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• pp.611-619
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• 2022

본 논문은 슈스터만의 신체미학적 개념과 현대무용 초기 댄서의 심미적 특징을 결합하여 타오 댄스 시어터를 연구 대상으로 무용의 신체관념적 특징과 신체 미학적 특징을 연구에 출발점으로 하여 타오 댄스 시어터의 신체언어에 대해 이들이 표현하고 전체적인 연구를 진행하며 미니멀리즘과 추상적 미학적 관점에서 타오 댄스 시어터의 신체미학을 분석하였다. 그러므로 본 연구는 타오 댄스 시어터의 작품 <10>의 창작의도, 작품내용, 신체미학적 요소, 복장무대 등의 요소를 분석하고자한다. 이에 작품을 통해 이가 주장한 신체 미학적 개념을 이해하며 예술사조의 변화에 따른 현대무용예술의 발전 현황을 분석했다는 점에서 의미가 있다.

• 복식문화연구
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• 제28권6호
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• pp.771-786
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• 2020

This study aims to develop a life-friendly, wrap-one-piece style dance sports practice wear considering the physical characteristics of middle-aged, abdominally obese women. These types of practice wear allow people to enjoy exercise easily and to wear these garments as daily wear while meeting the requirements for dance sports wear. The three participants selected for this study were all women with five or more years of dance sports experience and were all average sized on Korea's abdominal obesity scale. In the first phase of the study, practice wear was created in a total of nine styles with three different styles of neckline depths for three different styles of dress skirt lengths. In the second phase of the study, the practice wear was created in 15 styles with five different styles of sleeve lengths for three different styles of waistline heights. After analyzing the design preferences of the participants, the fit preferences of the designs were evaluated and the final appearance was analyzed in order to suggest a pattern. The results of the subjects' first and second preference evaluations showed a preference for a 10 centimeter neckline depth, for high waistlines, and for elbow to wrist-length sleeves. The implementation of this research is expected to be extensive, as its results can be used as basic data for making lifestyle dance sports practice wear that covers the physical insecurities of middle-aged, abdominally obese women and enables them to enjoy their leisure time.

• 복식
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• 제52권7호
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• pp.123-138
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• 2002

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the 16th. 17th century with their normal style of dress. In brief. this study wants people to know about 16th, 17th century court dancing costumes and to understand the culture in the 16th.17th century. From the comparison between the court's dancing costume and the people's clothes, we could get the conclusion as follows. First, pourpoint. chemis, gown, chausses, etc. that people wore were used for the court's dancing costume. While people Pursued the beauty with the ample silhouette. there were used wrinkles. slits. and tailored oblique line-clothes that gave vitality. Second, silk. linen. brocade. etc. that were used for people's chemises were used for the dancing costume. The good quality and beautiful colors of the dancing costume. however. excelled than of the brilliant court's clothes and the people's clothes. Third. the hair style of dancers were very colorful. For example, there were many kinds of hats and furs, corals, etc. that were attached to them on the most of the long curly hair. In summary, for the court's dancing costume, the same type of clothes was used like the people's clothes. There, however, were differences. The slits, tailored oblique line-clothes and shortened skirt gave the activity. There were many decorations symbolizing the nobles' wealth and Power. Especially the use of the decoration of hair and other stake properties was an effective means for expression. The use of personified masks also contributed to the development of the court dance.