The body is not a single material not implying any meaning in it but achangeful product of which meaning is produced within the society that isconstantly changing. This study develops its discussion under the premise thatwomen’s body images in dance works were expressed in the extended form ofsexual discourse during the latter period of Joseon and Victorian Age havingsimilarity of time as the 19C and also strict recognition on women’s body. First of all, this study analyzed women’s body images expressed in danceworks comparatively by understanding the sexuality formed in the 19C, late Joseonand also Victorian Age, when they had historically strict, sexual recognition. Andfor the discussion, this study analyzed women’s body images in the two ages basedon Foucault’s viewpoint that sexuality gets to be formed with the influence ofsociety and culture. Examining the works of the two ages based on Foucault’s pointof view, the paper has found that even though socially suppressed women’s bodywas expressed in common in the two ages, women’s body images did not appearin the same way. The works in late Joseon could not be freed from the images ofwomen suppressed under the patriarchal ruling ideology but expressed sexualimages moderately. On the other hand, the works in Victorian Age expressedsexual images deviated boldly from the body recognition that was strictlycontrolled in the society. Therefore, women’s images expressed in the artistic worksof the two ages were either produced in the way to restrain sexuality formed insociety or deviated boldly from it, and they implied the socio-cultural perspectivein them. AbstractTherefore, this study is significant in that it discovers the fact that women’sbody images in the dance works contain socio-culturally constructed sexuality. Thisallows us to recognize again the importance of social roles of dance which takes thebody as its medium more than any other type of art.