• CELLMED
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• v.7 no.2
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• pp.7.1-7.3
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• 2017

Ok-jin Gong's hunchback dance is considered to be a strange dance in Korea. However, there have been no reports of the effects of music and dance therapy as a pain treatment. The aim of this article is to argue that watching and listening to the hunchback dance of Ok-jin Gong may have significant effects as a form of pain treatment. The creator of this style of dance suspected that dance in general can be an outlet for our inner emotions. Her dance in this case has received critical and complimentary reviews as well. However she has been cited as the main culprit behind the destruction of traditional dance forms in the Korean dance world. Nonetheless, her bewitching stage presence attracted much attention. She satirized the feelings of the under privileged' through music and dance. We tend to feel somehow relative poverty and small in the presence of a rich and successful man. On the other hand, the artist felt that it is the public who would be relatively comforted and satisfied in the presence of the weak and handicapped. A free spirit that makes us forget pain is the very essence of her dancing. Her dance and music sound as if she sublimated her sadness and ugliness, changing it to happiness and beauty. She puts herself in a low position and spreads a sense of freedom and relief to the world. Hence, the author felt that innumerable people have been comforted in these ways by her dance.

• Journal of Korea Game Society
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• v.15 no.2
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• pp.43-52
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• 2015

This Study suggests the user-friendly game playing method of rhythm dance game focusing on the natural interaction between music and user's movement. When the existing rhythm dance games have given the limitation to users, this study chose the game playing method using beat that is consist of basic element in dance music for minimizing the limitation. Beat feeling method automatically figures out each body position value extracted with Kinect that divided into three parts of shoulder, knee, and head. Accoring to this process, users can play the game to individual dance style, not fixed rules for game.

• Korean Journal of Human Ecology
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• v.24 no.1
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• pp.79-96
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• 2015

The purpose of this research was to analyze the clothing behavioral attributes of male music enthusiasts. A questionnaire was developed based on previous researches. Respondents were men who were concerned with music in terms of a job, a major or a hobby. A total of 200 responses were analyzed by SPSS 20.0 through factor analysis with Varimax rotation, ANOVA with post-hoc test(SNK-test) and ${\chi}^2$-test. Music preference was classified into 3 factors: New age/jazz, Hiphop/dance, and Metal rock/ballad factor. 5 Clothing purchasing orientation factors were extruded: hedonic, planned, convenience, brand pursued, and fashion pursued purchasing orientation. Using those factor scores, 3 groups were classified: Group1(G1), preferring Hiphop/dance music with lower hedonic and brand/fashion pursued purchasing orientation; G2, preferring Hiphop/dance music with no interest in clothing shopping and fashion; G3, preferring New age music with high convenience and brand pursued purchasing orientation. In addition, there were significant differences among groups in clothing behavior such as social ostentation, individuality, self-expression, fashionability, conformity; in purchase motivation such as hedonic and trend/designer oriented purchase motivation; in information source like advertisement/media source; and in store choice criteria such as store light/music and popularity. The findings showed even the enthusiasts for the same music showed the different sopping orientation and different clothing behavior, suggesting that a personal value or taste can be a plausible factor to figure out attributes of consumers. An interest/involvement in clothing could be helpful to subdivide the music enthusiasts as the target market.

• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.15-37
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• 2011

This study is on dancing dresses of the costumes of Gum-Mu(劍舞, sword dance) in southern, central, and northern region of Korea, focusing on the origin, characteristics and the way of dance. The reason why the Gum-Mu is full of local color is that royal Korean Gisaeng(妓生) and local Gisaeng returned to their hometown and propagated this dance to each regional Kyobang. They combined court sword with each local dance and music and formed the present style of regional Gum-Mu. Dance and music native to area, which has formed today's regional Gum-Mu. The composition of current dancing costume of the sword dance is Jeogori, Chima, Jeondae(戰帶), Jeonrib(戰笠), Kwaeja(快子) Also, The complement colors harmonizing with color of Yin-Yang & Five Elements. which are yellow, blue, white, red, and black, are usually used. And the masculinity in dance were expressed withmore use of blue, and red in the opposite but if a sword dance takes on masculine character, blue color is more used, if feminie character, reddish colors, such as pink and red, are used. Thus, JinJu, Honam, Haeju, Pyeongyang dancing Suit of Gum-Mu feature blue color, Tongyeong, Kyeonggi, Court(seoul)dancing Suit of Gum-Mu feature reddish color.

• Journal of the Korean Home Economics Association
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• v.11 no.2
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• pp.166-188
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• 1973

This thesis chiefly to investigate and study about the historic transition of the dress and ornament which is based on the costume of the folk dance. The folk dance is devide into the styled of the Court and common people I. Investigated and studied on the description of Hak-mu (the crane), Ryun-wha-dae (the lotus blossom) and chu-yong dance (a mask drama) which are the typical models among the folk dance on the view of the scale and history of playing. This research materials are made on abstract of Ak-Hak-Gyae-Bum (the pattern of the music which was compiled by Sung-hyun on the King of Sung-Jong of Yi-dynasdty) and selected from the conservation material and playing in the National Classical Music Bureau nowadays. I am sure the understanding the style of common people is to investigate and research the folk dance which is specified and conserved by cultural property control Bureau. Generally Bong-San mask dance is the typical mask drama on the view of the scale and transmitted, which occupies the wide range of the folk dance. So I selected it as the research material. I am interested in the historic origin and the structure of the dress and ormant conserved till the nowadays and so can catch the hidden conception about the colour and concern of religion in the Korean peculiar living consciousness. From this point, the study of the classical folk costume is activated in this part and I hope this poor article will become a small assistance for another study.

• Fashion & Textile Research Journal
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• v.16 no.3
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• pp.354-365
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• 2014

This study investigates the positioning of emotional language imagesin popular music genres for developing textile print design ideas. Auditory and synaesthetic imagery were employed to deduct emotional language imageries from popular music genres and analyze differences in emotional language imageries according to popular music genres. Six genres of popular music were selected as stimulus and a survey was conducted to analyze emotional language imagery differences and similarities depending on popular music genres. The results of this study were: The results of the factor analysis and the reliability test on emotional language imagery showed factorial structures that include Lyrical-Feminine, Intense-Masculine, Euphoric-Active, Gloomy-Melancholy, Abstruse-Sophisticated, and Addictive-Continuous. The results of the mean scores of emotional language imagery of each popular music genre showed that respondents tended to perceive that ballad and new age music are similar and hip-hop & rap, dance, and metal-rock are similar. Based on the multidimensional scaling analysis, new age positioned Lyrical-Feminine, metal-rock positioned Intense-Masculine, dance music positioned Euphoric-Active, and ballad positioned Gloomy-Melancholy. This study provides elementary resources to inspire innovative textile prints designed through different characteristics of emotional language imagery according to each popular music genre.

• Trans-
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• v.1
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• pp.91-116
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• 2016

The theme of this research is the music visualization on stage. As the collaborated work, combining the dance, images with the Isang Yun's music, is showing the staged music, which is expressing the music not only through the sound but also the visualization. In the process of visualizing the music through the body and images on the stage, Isang Yun's musics are recreated in the hand of today's artists. The study found that the recreated work from the new point of view, like Interview with Isang Yun can be the bridge between the composer and today's artists and we can see the future through it. Even though, this paper analyzed the work through the aspects of dance and images, the main theme of the work is focusing how can we deliver the music in the new representative form through formative visualization on the stage.

• The Research Journal of the Costume Culture
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• v.9 no.5
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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.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.44-55
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• 2013

The main objectives of this study were to empirically examine the relationship between the preference of fashion styles of male college students and their individual taste in other areas including music styles and recreation types. Life style and values were also examined for their relationship with the fashion style preferences. Survey questionnaires were distributed to male college students in Seoul, Incheon and Gyeonggi-do during May and June of 2011, and a total of 256 responses were used in the final analysis. The results showed that there were three segments according to the fashion styles - 'modern-dandy', 'resistance style', 'no-individuality' groups - and there were significant differences between groups in terms of their preferred music styles and choice of recreational activities. Modern-dandy group preferred R&B, dance music and ballad, while resistance style group preferred hiphop, dance and reggae music. No-individuality group did not show any preference for a particular type of music. Both modern-dandy and resistance style groups liked sports, while resistance style group showed the lowest preference for hobby and culture. There were also significant differences in lifestyles and values according to the fashion styles of the three groups.

• (The) Research of the performance art and culture
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• no.20
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• pp.213-249
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• 2010

Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, "Kyungjanpae", who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance.