• Journal of the Korean Society of Costume
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• v.25
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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.

• Journal of the Korean Society of Costume
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• v.25
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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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.8
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• pp.115-123
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• 2017

This study examined traditional dance programs in cultural and arts education in local children's centers. We aimed to contribute to the voluntary and active participation of children in cultural and arts education through differentiated cultural and arts educational programs. Interviews were conducted from March 2016- June, 2016 at A Regional Children's Center in Chungnam. Once a week, a 50-minute were held 16 Session as "learning traditional joyful dance". After completing the program, 25 children who participated in the program were asked about the good points and disappointments regarding the program. The interviews used open, structured questions that have been primarily used in phenomenological research. The list of questions was prepared in advance according to the research purpose. The results of the study are as follows: The evaluation of the first program was generally positive. By experiencing activities through cultural and arts education through traditional dance programs for children, children learned to be polite. It also changed positively in conversation. Children who showed negative attitudes toward traditional dance programs gradually participated in activities. Second, I examined the evaluation of lecturers who teach traditional dance. The children's response to the program was positive, with sincere and responsible lecture preparation and progress. The instructor prepared the class in advance, welcomed the children and ran the class in good faith. Instructors who taught traditional dances were proficient in dance, majored in dance and teaching children. The learning effect was high by the instruction of the good dance movement. Rich in lecture experience, he is proficient in dealing with children in class. Material was delivered according to the child's dance level.

• Trans-
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• v.9
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• pp.37-66
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• 2020

Entering the 21st century, the flow of society and culture is emerging as a cultural phenomenon in which one experiences, enjoys, and experiences on one's own. This trend has emerged as community dance, which has been active since 2010. Community dances can be targeted by anyone and can be divided into children's, adult and senior citizens' dances depending on the characteristics and age of the group, allowing them to work in various age groups. It also refers to all kinds of dances for the happiness and self-achievement of everyone who can promote gender, race and religion health or meet the needs of expression and improve their physical strength at meetings by age group, from preschoolers to senior citizens. Community dance is a dance activity in which everyone takes advantage of their leisure time and voluntarily participates in joyous activities, making it expandable to lifelong education and social learning. It is a voluntary community gathering conducted by experts for the general public. The definition of community dance can be said to be the aggregate of physical activities that enrich an individual's daily life and enhance their social sense to create a bright society, while individuals achieve the goals of health promotion and aesthetic education. In the contemporary community dance, the dance experience in body and creativity as self-expression reflects the happiness perspective by exploring the positive psychological experience and influence of the participants in the process of participation, and participants have continued networking through online offline to enjoy the dance culture. Although research has been conducted in various fields for 10 years since the boom in community dance began, the actual methodology of the program has been insufficient to present the Feldenkrais Method, hoping that it will be used as a methodology necessary for local community dance, and will be used as part of the educational effects and choreography creation methods of artists that can improve the physical functional aspects of dance and give a sense of psychological stability.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.12
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• pp.242-247
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• 2017

The foster care system is a social welfare service that supplements the functions of the family while enabling children, who cannot receive proper care from their biological parents, to receive the necessary protection under the plan within the prescribed period of time within a substitute or foster family. A large part of the emotional instability experienced by foster care children is interpersonal maladjustment. Low self-esteem leads to difficulty in forming social relationships due to negative interpersonal relationships. Thus, the purpose of this study is to investigate the effects of traditional dance programs on the foster children who live in Daejeon Metropolitan City. A comparison between the pre- and post-interpersonal scores showed that the scores were improved after the traditional dance program, and the children's intimacy formation and communication were also improved. The participants were less active at the beginning of the program, but became more interested and more active toward the middle of the program. The majority of the participants increased their degree of communication with the formation of intimacy toward the middle of the program, and their self-confidence improved in terms of their peer relationships. The purpose of this study was to investigate the effects of traditional dancing on the development of interpersonal relationships. In a subsequent study, a traditional dancing program consisting of various contents will be applied over a long period of time, which should provide them with the opportunity to improve their interpersonal skills. In addition, it is necessary to provide educational opportunities for helping foster children reduce their emotional instability with systemic and diverse traditional dance programs.

• Journal of Digital Convergence
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• v.14 no.3
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• pp.45-54
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• 2016

The purpose of this article was to not only review historically the growth and development of dancesport, to but also seek to inform the value and prospect of dancesport in Korea. To achieve the purpose of the paper, the result of this article was framed into four time periods for a historical review of Korean dancesport growth and development: the late 1880s - the mid 1940s, the late 1940s - the late 1980s, 1990s and 2000s onwards. First, the first period was from the late 1880s to the mid 1940s when the nation accepted a social dance and western dance and tradition especially in upper-class Korean society. Second, the second period was from the late 1940s to the late 1980s when social dances (or ballroom dance) were suppressed under the military-based regime. The most likely explanation for this was a tradition that Korea society consider distinction between the sexes as a virtue. Third, third period was the 1990s when the social dance (ballroom dance) was developed officially into dancesport. Actually, the 1990s saw the sport built up a positive image while a negative image was portrayed by the military-based government. Fourth, the fourth period was the 2000s onwards when the sport has been developed as a sport and culture in a sound and systematic manner. Indeed, the sport has come to meet the public tastes.

• 한국체육학회지인문사회과학편
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• v.56 no.6
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• pp.541-559
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• 2017

The purpose of this study was to understand breast cancer survivors' line dance program participation experience and their perceived effects. Nine participants were selected by the purposive sampling. In the current study, phenomenological research methods were used and qualitative data were collected through in-depth interviews and observation. The analyses indicated that participants's positive experiences were categorized into physical (physiological change, improved digestive system, sleep quality and cognitive function), psychological (pleasure, vigor, peace, self confidence, and satisfaction) and social (improved mood among family members, peer support and pleasure) benefit. Furthermore, participants enjoyed unique characteristics of line dance such as continuous music and nature of group exercise where they enjoy information sharing and peer support In summary, a line dance program was safe and beneficial for breast cancer survivors and should be recommended as one of exercise options for breast cancer survivors.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.74-83
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• 2014

This study was conducted for the overall analysis for the interests, generally and uses of SNS (Social Network Service) of the overseas dance arts company. The subjects of this study were total 3,614 of countries, public, private and personal dance arts company in 100 countries on six continents. The selected 627 company which operate at least one SNS, and included them in this study. Then analyzed the SNS utilization six continental areas as per dance gener, types, and dance gener analyzed as per types. Also analyzed the SNS utilization six continental areas, dance gener as per types and obtained the following result First, It appeared that Ballet company of North America continent took advantage of SNS the most. Second, It appeared that Facebook, Twitter of North America was the most frequently used. Third, It appeared that Facebook wsa the most frequently used by traditional dance company. Fourth. Facebook, Twitter, Youtube were the most activity used by Ballet company of North America continent. In conclusion, this study recommends the policy alternatives related to the awareness of digital media, the establishment of the SNS marketing information system.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.47-57
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• 2019

The end of the 20th century, along with the popularity of new media technology and the rise of new media art, dance as a visual art, and body language art, has the features of more and more rich and changeful. In today's Internet booming new media environment, many different fields, such as film and theater, computer technology, digital art, etc.) with its commonness and characteristics of all kinds of interaction between the creation, produced a new interdisciplinary research with theoretical model. When cross-border interactions between various areas become a hot topic at the same time, the traditional form of dance performances are also seeking new breakthrough. Canada's famous social psychologist McLuhan believes that modern is retrieving lost over a long period of time "overall" feel, return to a feeling of equilibrium. The audience how to have the characteristics of focus on details of visual art back to the "overall" feel worthy of study. At the same time, the new media in today's digital dance teaching in colleges and universities dancing education remains to be perfect and popular, if continue to use the precept of the traditional teaching way blindly, so it is difficult to get from the development of the current domestic dance overall demand. In this paper, the main body is divided into two parts, the first chapter is the study of image device dance performance art, the second chapter is the research of digital dance teaching application system, thus further perspective of media technology to explore dance art crossover practice under the new media environment and mode of transmission.

• (The) Research of the performance art and culture
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• no.33
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• pp.243-271
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• 2016

When an aggressive war reached at the climax in 1940, a commemorative event called celebration' was held on a large scale in Japan for 'beginning former 2,600 years. It was performed for the policy that was going to break off the fatigue that was tired for nation dissatisfaction and war for the politics. I considered Urayasu-no-mai Dance played as part of a celebration event in a Shinto shrine of the all over Japan how was created and spread by this article Urayasu-no-mai Dance was created newly and was played in Shinto shrines of the whole country. The Urayasu-no-mai Dance was created based on Gagaku and Miko Mai (shrine maiden's dance) that has been read aloud not to go out of the ancient times. It was created in the situation of the war and spread and was spread. It will be said that Urayasu Dance is a typical example of 'forged traditional'. Urayasu Dance is a tradition made at modern time and remains for an unfortunate inheritance used again by the advertising tool of the national ideology. The Urayasu-no-mai Dance is expanded more now, without enough consideration about the historic procession other words, It played under a strong-arm society atmosphere is placed as new folk performing arts all too soon. In the complicated world situation at the time, Urayasu-no-mai Dance that emphasized a Japanese tradition for the inside and outside were spread. Urayasu-no-mai Dance created in modern times substitutes a traditional shaman dance, and there is even the tendency that ritual performing arts peculiar to each local Shinto shrine is unified to Urayasu-no-mai Dance. Such a movement shows a new aspect of the culture power that social turning to the right in Japan is not unrelated to becoming it. It is a traditional reinvention, or do you forge the tradition? I examined a process of a process and the spread of traditional creation produced consistently.