Since the rise of ‘dance studies’ as an academic discipline in Anglo-American dance scholarship in the late 1980s and 1990s, interdisciplinary methodologies borrowed from cultural studies have been dominating the field, generating valuable research that places central focus on the role and value of dance and/or dancing/moving bodies in ways that transcend and traverse the disciplinary boundaries between sociology, politics, and aesthetics. In more recent years, however, such theoretical interdisciplinarity itself has, to some extent, become a burden for dance scholarship, at times distracting researchers from focusing on the core concepts, viz. dance and the body, and at the cost of a balanced adoption of interdisciplinary and medium-specific methods. Accordingly, this paper focuses explicitly on these concepts, selecting three key studies on the themes of dance and the body–in particular, the works of Janet Lansdale, Susan Leigh Foster and Body-Mind Centering®(BMC)–to reveal how each exhibits different yet somehow interlinked interpretations of dance and dancing/moving bodies. To this end, the paper examines three key concepts: (1) Lansdale’s understanding of ‘dance’ as a performance piece; (2) Foster’s concept of ‘dancing’ and ‘dancing bodies’ as a performing act involving active agency; and (3) BMC’s idea of ‘mindfully moving bodies’, which highlights the interconnectedness of and interactions between body and mind. Through comparative evaluation, the paper demonstrates the distinct ways in which each discourse perceives dance and the body in relation to processes of thought and mind, revealing how dance and/or the body play an active role in shaping discursive thought, socially contingent knowledge, and human wisdom. In doing so, the paper reveals the diverse forms of knowledge that dance and the body bring out, in the process highlighting the enduring effort (intentional or unintentional) to construct renewed discourses and disciplines that challenge the long-standing western dichotomy between body and mind.

This paper focuses on North Korean restaurants as a medium of culture and tourism. Prior to the analytical discussion, the researcher first summarizes the concept of 'Munyae', which North Korea uses instead of culture, in order to understand the basic historical background of North Korean art policy. The researcher understands dance and art in North Korea as a tool to express the representative ideology of the revolution, as well as the performances, which operate inside the North Korean restaurants, serve as an important means to secure government funds for North Korean authorities. Based on the understanding of the North Korean art background, this paper examines the dual suppression mechanisms presented by the North Korean authorities, and discusses the effects of body politics on restaurant performers. According to the results of this study, the North Korea interprets their restaurant in Thailand as a transformative device to hide the function of the restaurant, which is used as a medium of political support for the communist country while placing it in the tourism industry category. In addition, the North Korea suppresses the activities of female employees, who are the actual operators and performers, in the overseas North Korean restaurants, while allowing performances coming from other countries. This dual power mechanism manipulates the female performers' bodies that can flexibly cope with other cultures that have been excluded from them, and at the same time expects their bodies tamed with socialist ideology.

The purpose of the current study was to investigate the relationship among body composition, bone mineral density(BMD), career and eating attitude in Korean traditional dancers. Seventy three dance major female college students were recruited in the current study. The body composition variables such as body mass index, percent body fat, total body water, fat free mass and basal metabolism rate were assessed. Data were collected from Anorexia Bulimia Inventory(ABI) questionnaire and BMD was measured using Quantitative ultrasound. T-score was used as an index of BMD. Analysis of confirmatory factor, multiple correlation, multiple regression, and Dubin Watson test were applied for the statistical analysis using SPSS 23.0 windows. There was statistically significant correlation between dietary control and BMD of eating attitude negatively and depressed mood about Career positively(p<0.05). In the result of regression analysis, dietary control and depressed mood were the coefficient determination in BMD and Career. In conclusion, the current study suggested that the perception of healthy body weight was required for dance major female college students.

This study aims to understand Somatic Experiencing® which is a trauma healing technique through the senses of the body, and how humans are neurophysiologically connected to the autonomic nervous system in the process of recognizing the senses and react to survival. I examine whether it has an emotional release and how the trauma can be healed through the senses of the body. To this end, I investigate the survival and defensive behavior of wild animals, which is the core concept of Peter Levin's trauma healing, and discuss in terms of neurophysiology. As a result, I identify the physical implications of somatic experience based on neurophysiology. First, trauma is something that can be experienced willingly and is a natural and normal part of life. Second, for trauma healing, the intervention of the brain's neocortex is important. Through neocortical intervention, it is possible to focus on the body sensations and integrate the three-layered brain structure. Third, activation of the vagus nerve, which is closely related to our emotional response and social relationship, plays an important role in bringing about stabilization.

This study aims to explore the critical approach toward media in contemporary dance, which avoids conventional understanding of dance and artistic media. After reviewing important contexts and debates concerning contemporary dance, this study discuss the matter of its ambiguous boundaries and expansion through the concept of intermediality.

The idea of performance and dance with its ephemeral nature and media being used to preserve it, has constituted a conventional understanding of its temporality. However in contemporary dance, the archive expresses the request for extended temporality that enables the simultaneous existence of what is remaining, what is captured, and what is progressing in the performance. In addition, these archives expand into living spaces so that performances can lead to theoretical, educational, or political discourses, and function as a mediating space where heterogeneous entities such as art, virtual reality, and real life meet.

Moreover through this study, I wish to illuminate the expanded understanding of media in contemporary choreography as a criticism on previous media conventions, by introducing certain examples of autobiographical performance pieces in which the performer tells his or her own story. These works show the blurred boundaries among verbal languages, documents, and corporeal performance. They also bring participants in communication with performers, who can be understood as a physical archive of memories and experiences, roaming the ambiguous space inbetween reality and arts. Accordingly, an autobiographical performance creates an intermediality that allows the body-archive to experience and construct the virtual identity of the body in a fragmented manner.