This study examines Susan Leigh Foster's methodology of historiography and explores its significance, which was introduced to Korea in the early 2000s. Even though her theory is rooted in post-structuralist thinking, no research has been conducted on its philosophical implications. Foster emphasizes the methodology of historiography, but there are few examples of its actual application in dance history. This researcher tries to understand the logic underlying her theory of historiography by analyzing the philosophical concepts contained in Foster's Choreographing History. We examined how Foster incorporated the main concepts and characteristics of post-structuralist thinking into her historiography, and in what philosophical context her concept of the body emerged. The analysis of Choreographing History illustrates how the theories of humanities can be integrated into dance research to develop a new discourse. Moreover, various practical studies can be conducted based on her theory, which mainly focuses on methodologies. Foster's new body concept is also a very interesting topic in dance studies. Practicing bodies with agency can greatly expand their horizons and possibilities and can be a rich source of dance research. This study is intended to lay the foundation for future research in this area.

The purpose of this study is to gain a deeper understandingt of Bae Gu-ja by reconstructing her early work The Death of Swan. First, the contents behind the records of the era were identified through the examination of photo materials and newspaper articles in which Bae Gu-ja appeared. Then, various data related to Bae Gu-ja were collected in order to gain a more comprehensive understanding of the world of her dance. Lastly, Bae Gu-ja’s The Death of Swan was reconstructed to induce an inner experience, felt in the body. This is a process of empathizing with what Bae Gu-ja must have felt while performing The Death of Swan.

The Death of Swan is an artwork in which Bae Gu-ja attempted to project herself and to express her inner self through a dying swan. While reconstructing and rewriting the performance, it was possible to reinterpret it and empathize with Bae Gu-ja’s experience. Furthermore, it also allows for the possibility of various interpretations of history, enabling a more open discussion. The objective of this study is to contribute to the Korean dance history description method by conducting a new type of historical research, and to highlight the need to conduct more diverse research.