This paper discusses the visual encodings of non-normativities in the selected K-pop music videos and seeks to establish them within the aesthetic of gendered desirability that deviates from what is considered a social norm in South Korean culture. The first part presents a short history and current boundaries of Korean pop music and the construct of gender and its (inter)relation with sex and rhetoric of desire are discussed. The next section maps out the changes in the understanding of normativity and the concept of queerness. The final part of the paper relates the theories and practices of non-normative identities to the visualities from post-2007 K-pop music videos, using examples to illustrate and contextualize them. The authors focus on the representations of masculinities and show how selected texts can be read as spaces of liminality defying normative cultural and social rules.

Dance is found in every known human culture as part of religious, social and healing ceremonies. The increased interest in the role of dance in western psychology corresponds with the creation of the American Dance Therapy Association (ADTA) founded by Marian Chace, and the beginning of the dance movement therapy (DMT). The Association introduced the dance and the dance-based movement as part of the therapeutic process, in order to explore the relationship between the expression of individual emotions and movement. Drawing both from the visual rhetorics approach (Patterson and Corning 1997) and the game studies (Fernández-Vara 2009) I will analyze the multiple narrative layers in the Bound video game (2016), pointing to the mutual relationship the player and the game have on each other (Keogh 2018) decoding the game as a metaphor for the therapeutic effects of dance.