本研究旨為探討舞者在接受身心教育課程之後，對其身體覺察能力的影響，由身心學（Somatics）的理論基礎切入，藉由舞者在參與課程前後，其身體肌肉張力狀態、身體使用方式、身體舊習慣、呼吸與動作間的關係之敏感度、身體疲勞或舞蹈傷害的改善經驗、技巧的學習、以及對身體的態度等等的覺察經驗是否改變或有無不同，進而提供舞蹈教師一個重新思考其教學與訓練方針之參考。
本研究以行動研究方法（Action research）為取向，研究對象為七位國立臺北藝術大學第十四屆畢業生，資料的蒐集以半結構式的問卷及深度訪談法為主，輔以研究參與者的學習日誌（Portfolio）、回饋表（Feedback）、及錄音錄影的方式。研究發現如下：
舞者在接受為期十次，共20小時的課程後，於研究初期，即能清楚的覺察到肌肉張力及鬆緊的感覺，隨著研究時程的增加，進而體會到身體上的疲勞趨勢，並且明顯發現身體在舞蹈術科時的使用方式，特別是呼吸和動作之間的關係，種種舊習慣的察覺，皆是透過課程中，呼吸、意象與放鬆方法的學習，讓舞者有這樣一個共同的改變：即是「覺察」並瞭解到自己以往的身體現象後，清楚的發現，原來可以有另一種「選擇」來「改變」它們，這也影響了舞者對身體的看法及對待身體的態度﹔然而，在因人而異及時間有限的情形之下，舞者對其舞蹈傷害的改善情形，較不顯著。具體建議如下：
一、在此提供給舞蹈教育機構，增加有關身心學的教育課程於專業舞蹈教 育養成體系中，讓舞者在習舞的同時，更加關注身體與心靈的內省智 慧。
二、舞蹈教師應不間斷的吸取新資訊，多與身體溝通對話，多參與相關於 身心學的研習會，對於自己的教學專業，多著重於身體的覺察輔助， 並以行動研究的方式，著手進行擬定、記錄與檢視，以提昇舞蹈教學 的專業效能，對自己身體的重新學習，才能給予我們下一代更正確的 習舞方式。
三、重新建立舞者對自我身體的看法，學習如何安全的接受舞蹈訓練，破 除社會大眾對舞蹈既有的迷思。
身體教育的再學習，應落實在舞者、編舞者及舞蹈教育工作者身上，重新思考其學習方式、教學策略及訓練方針。

The purpose of the research was to understand the influence of dancer’s body awareness after participating in the somatic education course. By realizing dancers’ experiences of muscle tone, body use, past habits, the sensibility between breathing and movements, the improvement of body exhaustion and injury, and body attitude, we try to attempt to see whether or not their change and differences after taking this course. This study aimed to provide another reference for dance teachers to reflect on their teaching and training.
In this research, we adopted the principle of action research. Seven participants were dance students in the department of the Taipei National University of the Arts. The major data collections were half-structured questionnaire and depth interview, and the portfolio, feedback, and videotaping were also executed in an assistant ways. The findings of this research were as follows:
After accepting twenty hours’ course, in the initial stage of the research, dancers could immediately awake the muscle tone clearly. Then, with the increasing of the research time, they understood a tendency in their body exhaustion, and discovered the types of their body use in dance technique class obviously, especially the relationship between breathing and movement. The learning of breathing, imagery, and relaxing methods exposed their various past habits. After this course, these dancers had similar change: that was, after dancers opened their body awareness, they finally found that they had more choices, which changed their body attitude as well. However, owing to the limitation of individual differences at the research time, the improvement of their injury wasn’t evident. The suggestions were provided in the following:
1.It is important to offer somatic course in the dance
education system, which can help dancers pay more attention
to the intrapersonal intelligence between body and mind.
2.Dance teachers should emphasize on absorbing new knowledge,
such as different ways to train and treat body, communication
with the body, and more experience from within. Besides,
dance teachers could use the method of action research to
promote their professional teaching.
3.To establish well body attitude, dancers need to learn how to
dance healthily and safely.
Learning how to learn in somatic education should be put into effect for dancers, choreographers and every dance educator, and they also had to ponder their learning process, teaching strategy, and training principle.

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