The purpose of this study is to analyze the educational demands for dance expression skills among dance major college students. The research methodology involved conducting a survey of 297 dance major college students, and frequencies and percentages were derived for each item. As a result, it was found that dance major college students hope for instructors who excel in dance expression skills and demand courses divided based on students' abilities, focusing on techniques during each session, ranging from 1 to 6 months in duration, twice a week during the first semester o f the second year, with each session lasting 30 to 60 minutes. This reflects the value of university dance expression education guidelines that respond to demand-centered requirements.

The purpose of this study is to explore the experience of applying the APIECE(Actor’s Body and Psychology, Psychological Gesture, Personal Feeling and Soul, Image Integration and Imagination, Ensemble and Improvise, Character Characterization, Creative Personality, Expression of Dance) program to improve the dance expressiveness of college students majoring in contemporary dance. In order to find out the qualitative change in dance expressiveness, 5 people with a high level of participation and interest in the program were selected, and in-depth interviews, experience diaries, and observation diaries were categorized using an in inductive analysis method.

As a result, first, college students majoring in modern dance visually expressed their imagination through the imagination of the observed object. Second, the essence of body expression was explored through continuous expression through concentration, confidence in self-movement, and visualization of space. Third, in a person whose center of gravity between me and others was shifted, the form was composed and transformed through the body. Fourth, in the stage of self-awareness through archetypal gestures and psychological gestures, it was explored that dance expressiveness reflects the body's mental attitude.

Shusterman developed somaesthetics, which emphasizes somatic consciousness and practice based on pragmatic aesthetics. Somaesthetics is closely related to the somatic approach to dance, which focuses on the dancer’s inner experience as the cognitive subject. This study purposes to analyze the relationship between performative somaesthetics and dance in order to determine how somaesthetics contributes to dance as an art form as well as provides the theoretical framework for the dancer’s movement exploration. For aesthetic communication between dancer and audience to occur through dance expression, it is necessary to develop the dancer’s expressive power. The dancer can enhance his/her expressive power through the development of abilities to form motor programs in dance, process proprioceptive information, and perceive dance space. These are closely connected with the development of the dance body, that is, the body schema in dance. The development of the body schema in dance is the outcome of conscious efforts to transform the everyday body into a dance body. From the perspective of somaesthetics, this implies the transformation of the dancer’s body into the aesthetic medium through practicing performative somaesthetics. The development of the dance body makes a dancer able to perform dance movements in a refined and natural way, in which the dance schemata functions preconsciously. As a result, aesthetic communication with the audience is enhanced. Therefore, through somaesthetics, particularly performative practices, the dancer develops a dance body to contribute to the expressive power of dance. As the audience reaches deeper understanding and experience of the movement possibilities of the dance responding to the dance environment, its appreciation may be heightened. This implies that it is important for students to have performing experience in the dance curriculum through experiential and performative practices in order to enhance the abilities of evaluation and appreciation in the dance performance.

The purpose of this study is to investigate the influence of empathy ability on dance emotion and dance expression of college students. The subjects of this study were 169 college students who majored in modern dance at each four universities in Seoul, Busan, Gyeonggi, and Jeolla provinces. The survey tool used a empathy ability, dance emotion and dance expression questionnaire, and collected data were analyzed by frequency analysis, correlation analysis, t-test, ANOVA, and multiple regression analysis using SPSS 21.0 program. As a result, first, students of modern dance majors had high physical expression ability in boys and 9~11 years in dance participation period, and high cognitive ability in 4th graders. Second, the empathy ability of college students of modern dance major had a significant influence on fun, vitality, pride and achievement. Third, empathy ability of college students of modern dance major had a significant influence on dance expression ability. Fourth, the fun and vitality of dance emotions of college students had a significant influence on the performance of dance expression. The results of this study are expected to provide basic data for teaching dance expression in the curriculum of modern dance majors.