Something we feel naturally in our life is in fact not natural. It is socialised, acquired, learned through our lifelong training. However it does not mean that there is no individual intervention in the process of the acquisition. It is said that one of the most important elements of dance performance is communication through dancer’s body expression. Dancer continuously trains with the specific criterion of the genre and there is always the dancer’s inner emotion. What sort of the composition of the knowledge does the dancer, who trains everyday to fit appropriate criterion of the genre she/ he is dancing, possess? We try to find an answer but various ways of knowing are always collide. Those collisions expose the symbolic reflections of our life, which are prevalent in every society, and make new rule to expand our knowledge and the way of knowing. Knowledge we acquire may be practically useful when it becomes a knowing. Moreover, it can be argued that it is meaningless if it excludes the context of the situation and the environment of when the knowledge acquires. Dance especially is an event which is deeply embedded in the specific culture. Body is the nature of embodiment of human being, and the understanding and denaturalizing our society which is embedded in practice of socially accepted common idea through training and learning. Therefore, this study aims to offer an appropriate academic position of ontological value of dancer’s embodiment and performances, and discusses dancer’s construction of the knowing through her/his embodiment within its cultural milieu.