In Discrete body reunion, Youngjoo Cho brings together social disasters experienced in Korea’s modern and contemporary history, layering her work with depictions by the media of the reunions of separated North and South Korean family members, the Sampoong Department Store collapse, and efforts to locate the family members of adoptees. The live performance adopts a dual feed format, which draws inspiration from the live broadcast of reunions of separated family members in the early 1980s. As the performance intensifies, viewers consider the meanings that images of women’s bodies take on in tragic situations where the body can enter a kind of trance state. In news programs and documentaries, we have often seen these images: the vacant stare, the slumping as a person’s legs give way, the sobbing embrace of the person in front of her, and the clutching of the chest and burying of the face. Youngjoo Cho refers to the psychological use of continuous stimuli to the five sessions as a way of inducing a physical trance, with choreography that applies methods for inducing an involuntary trance without response to external stimuli. The artist posits that certain characteristics of the women’s bodies seen in the news clips could be induced in her performers through the use of specific physical stimuli. As this process actually unfolds, the performers’ personal emotional states transform into physical states, which are mediated in turn by a camera that permits the evocation of various emotions in the viewer. Discrete body reunion includes two live performances taking place in two different locations, where the performance and audience response in one is shared as a live video image in the other. Some of the performers also move between the two locations during the performance. Cho makes use of live video systems, chroma key, and motion capture technology to allow the images of the performers’ bodies in one location to overlap with and separate from those in the other through the videos visible in each setting.