Korean traditional mission dance originates in worship ceremonies in Christian churches and missionary settings, but inherits movement, floor patterns, and motifs from Korean folk dances that are performed as ceremonial rituals. This thesis suggests that as women connect to the healing power present in Korean traditional dance and its hybrid forms, they may be aided in healing from negative experiences with sexist oppression. The author discusses intersectional oppression she experienced in Korea through an autoethnographic research process, her experiences with Korean traditional mission dance pioneered by Soon Ja Park and considers identity transformation and healing in the context of her work as director of the L.A. Argon Mission Dance group. In this way, she expands a choreography model to further these healing processes.