This study examines the entire creative process of the dance work Dance Speaks for Me to articulate the choreographer’s stylistic approach and artistic philosophy. Using Practice-Based Research (PBR), the research analyzes the stages of conception, choreography, rehearsal, performance, and post-performance reflection. The findings reveal that dancers’ bodies function as active agents that generate narrative meaning through sensory experience. Sensory-based movement exploration facilitates the emergence of natural and organic movement qualities, extending choreography beyond formal composition toward philosophical and relational dimensions. This process identifies three core movement characteristics: immanence, narrativity, and resonance. The study further confirms that not only the final outcome but the creative process itself operates as a central choreographic principle. Consequently, the choreographer’s artistic philosophy and style are systematized around sensory awareness, while democratic communication between choreographer and dancers proved essential in fostering dancers’ growth as expressive subjects rather than passive performers.

With the prosperity of Chinese folk dance creations, especially the development of the dance performances represented by the Lotus Awards and Tao Li Cup, the technical skills of national folk dances are further promoted to a new height. Its development, however, generates two problems. First of all, the technical characteristics of styles are diminishing and tend tocome be homogeneous. Second, the pursuit of techniques with ultra-high difficulties makes the creative vocabularies hollow and devoid of content and typicality. This paper adopts the methods of investigation, observation and literature research to analyze the related technical skills in the creation of folk dances in Chinese dance circles. The purpose is to emphasize that the creation of Chinese folk dances should be traced back to their origins, and to bring forth new ideas in three aspects: stylization, emotionalization and artistry, starting from the characteristics of technical skills. In order to break through, its form should be more epitomous in culture and more typical in aesthetics. Only in this way can the technical skills of Chinese folk dances become truly prosperous.

The purpose of this research is to examine the historical development of the Korean-Chinese (ethnic Koreans in China) dance in China, and to examine the developmental aspects of the Korean-Chinese dance in Yanbian after the founding of the People’s Republic of China. This research first defines the concept of the Korean-Chinese (ethnic Koreans in China) and Korean-Chinese dance. The Yanbian Korean-Chinese dance’s developmental aspects are divided in three stages: the Discovery and Creation of Korean-Chinese dance, the Development of Korean-Chinese dance, and the prevalence of Korean-Chinese dance. The characteristics that appear in the Yanbian Korean-Chinese dance’s development process is as follows.
 First, after the founding of the People’s Republic of China, the Korean-Chinese dance was closely related to the dance development of the civilian local community.
 Second, in order to transmit and spread the Korean-Chinese dance in Yanbian, an established education and training system for Korean-Chinese dancers was required.
 Third, the dancing culture that was publically spread and transmitted, had moved on to performance stages by performers and was once again spread to earn its popularity.