This study adopts a method of ‘Practice Based Research’ in order to examine the researcher’s experience of the meaning of Kim Paik-bong’s dance works. The process of re-creation of her dances involves expression techniques that intervene the original form with emotional and affective differences. Observing the variations, this research questions whether those variations should be considered as transmutation or development. Discussing the issue of what the definitions of the original form of a dance are and which variations could be considered acceptable, this research suggests that a dance work does not need to be a taxidermied form but a living form that allows numerous transformations and transfigurations. Rather than identifying the noticeable characteristics of Kim Paik-bong’s dances, this research focuses on the ways of studying and approaching her dance world, which could contribute the discourse on art research method and art education method.