Since the 20th century, there has been a growing body discourse in Western dance theory. By citing the evidence provided by natural science and philosophy of life, many interpreters constantly eliminate the remaining soul hypothesis, emphasizing that there is no “immaterial self,” believing that feeling, emotion, and reason are all physical processes, and trying to prove that dance is “the most outstanding art of body aesthetics.”Due to the efforts of many scholars such as Mark Johnson, Rudolf Arnheim, Mornoe C. Beardsley, Betty Block, and Judith Kissell, the body is regarded as both the subject and the object of dance activities at the same time. As the above study was taken further, Western dance research has embarked on the journey of returning to the bodysubjects, and a new dance research paradigm has gradually taken shape.However, because the lingering dualism still hinders the body turn that is taking place, many scholars show obvious incompleteness of the division of body and mind in the construction of body discourse, which leads to a great challenge for dance research on the way back to the body-subjects.