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.