多年的舞蹈訓練，長期處於單一方向性的目標達成，自己在觀察事物的角度上狹隘化與思考方式單一化，導致編創狀態進入在僅有的思考象限裡重覆盤旋。進入跨領域的學習，在各面向的觀看所帶出多向式的思考，一個問題不只有一個答案，這期間一次又一次的衝擊所帶出的化學變化，使我對於舞蹈創作有了新的定義。《三零六個步伐》用舞蹈元素與跨領域思考模式，呈現此新定義。 本創作試圖以自我的審視反映出台灣舞蹈訓練之利與弊，分析規範所框架出的制度，藉此搭建起遊走框架邊緣的創作理念，經由肢體與環境實驗性的玩弄手法帶出整體光影與造型變化的獨舞創作。 Dance students ’single directive during their training years is to achieve high technical skills. This simple directive makes students over all observe things narrowly in general and develop one dimensional thinking. Therefore we are choreographing with limited thoughts. On the other hand, learning in interdisciplinary arts can lead students to observe and to think abundantly and make them see the ugly truths of life appearing in a complex way. Personally for me, learning in interdisciplinary arts has changed me mentally and this change affects me physically. There is a new definition of choreography. In 306 PACES, is based on contemporary dance elements and interdisciplinary arts thinking processes. It was trying to describe this new definition. I have used this dance piece to do serious self-review, and to reflect the pros and cons in dance education in Taiwan. The work attempts to analyze how dance rules in Taiwan build up a system with many limits. This system also inspired me to play around the limits as a framework of my work. Through experimental choreography with body and environments, it brought out many surprisingly lights and shapes.