KJCKorea
Journal Central

The purpose of this study is to explore the subjectivation in dance by disabled artists through practice. It attempted to construct a theoretical framework based on Michel Foucault's theory of subjectivation. Applying this theoretical framework in creating a dance piece and presenting a lecture performance. This study derived its results through the interaction of practice and theory and the researcher’s reflection. The knowledge resulting from the practical experimentation conducted in this study is as follows: First, dance by disabled dancers should be interpreted from diverse aesthetic perspectives. Second, dance education can cultivate disabled dancers with extensive competence. Third, it is essential that dance instructors with effective communication skills teach dancers with disabilities. Fourth, choreography includes activities aimed at improving accessibility. This research can be a regarded as a study on ‘Practice-as-Research’ that proposes various research methods of dance art, and will contribute to the theorization of dance by disabled artists.

While popular culture leads the Korean Wave, Korean dance has also expanded internationally through collaborations reflecting contemporary cultural diversity. As cultural exchange and the pursuit of both universality and diversity grow, an intercultural perspective has become increasingly important in the field of dance. This study examines the relationship between dance and interculturality by analyzing the works “Vortex” and “Shiganè Naï,” presented as part of the National Dance Company of Korea’s International Choreographer Project. It first reviews the concept and theories of interculturality and then examines the activities of the National Dance Company of Korea in relation to this project. The analysis reveals three main stages—dialogue, equal interaction, and the creation of new cultures—which demonstrate how intercultural communication unfolds within the creative process. The findings highlight the significance of collaborative creation, suggesting that intercultural perspectives in Korean dance can generate new cultural implications and expand its potential as a universal form of expression.

This study aims to examine the patterns of rehabilitation and the political implications of Choi Seung-hee, who had been purged in North Korea. To this end, an analysis of literature and visual materials was conducted. Since Kim Il-sung’s re-mention of Choi Seung-hee in his memoirs in 1994, she has been rehabilitated through continuous and multifaceted channels, extending to the current Kim Jong-un regime. Furthermore, through this process, the North Korean regime continued to mobilize Choi Seung-hee for political purposes even after her death. Ultimately, this research is significant as it provides a broad overview of the pivotal moments in Choi’s rehabilitation while fundamentally exploring the intricate relationship between dance and politics through the specific case of North Korea.