This article analyzes my dance work, Walk. It is crucial that dancers, as the main agent of dance art, embody their dancing as real experience and recognize their dancing bodies. This research questions if dancers, when becoming the principal agents of their bodies, experience bodily subjectivity differently from what they feel when they passively dance. The methodology used for this study includes practice based research and dance analysis. In terms of literature research, we examined the historical recognition and discourse of body in order to understand dancers’ bodily subjectivity. Practice based research refers to a particular type of inquiry that interrogates the whole process of artistic creation from the conception to the performance. For this, we analyzed somatic data that were generated in the process of creating my dance work Walk in order to illuminate the changing recognition of bodily subjectivity. When it comes to dance analysis methodology, we adopted Janet Adshead-Lansdale’s dance analysis model. The research’s findings are as follows. dance works Walk adopted bodily exploration early in the stage of practice, dancers could move their bodies with more integrity. Dancers in Walk showed individual differences in terms of their depth of recognizing bodily subjectivity as well as of the speed of experiencing their bodies. However, as they gradually experienced their own bodies, they became more confident and showed progress in performing creative movements. These analyses indicate that dancers as well as artists can recognize their bodies as active and subjective when an inquiry on bodily subjectivity builds on. The dance field in Korea has shown little interest in the significance and possibilities of bodily subjectivity. we hope this research would stimulate further inquiry on bodily subjectivity.