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.

The purpose of this thesis is to interpret contemporary ballet work Cinderella via feminist perspectives. The effort of theoretician feminists affected feminism in the eighteen-century (18th). The Feminist movements showed new research about women’s dance, in particular to the changes in the understanding of woman's body movements and the interpretation of female dance. Furthermore, contemporary dance focused more on the feminist view. The literature review of this study found that various research studies accepted the effects of feminism on common arts and dance. Using Janet Adshed’s dance analysis methods, this study examined Jean-Christophe Maillot's contemporary ballet Cinderella focusing on the dance movement patterns of the wicked stepmother and two stepsisters. This study used the performance video to analyze the movement patterns in Maillot's Cinderella. On feminist viewpoints, firstly, the wicked stepmother and two stepsisters were not shy when they were looking at men. Their movements freely expressed their passions and feelings. Also, their acting displayed such the emotions as joy, sorrow, and anger without inhibition. Secondly, the movements of the wicked stepmother and two stepsisters showed passion and feminist feeling in their Pas de deux employing liberated movements of their chests. Accordingly, the wicked stepmother and two stepsisters had a strong liberal inclination. The relationship between Cinderella's father and the stepmother has control. The findings of this study suggest that Maillot's Cinderella be interpreted and understood in the realm of feminism and feminist theories.