This paper explores the meanings of disability dance in Fin Walker’s The Journey (2005) and Athina Vhala’s In Praise of Folly (2005) of Candoco Dance Company. There are limited understandings of disability dance in South Korea -- regarding disability dance as dance education and therapy for the disabled people, or from the perspectives of sympathy, discomfort or human victory. Therefore, drawing on Candoco-related literatures, websites, DVDs, pamphlets, and reviews, I discuss disability studies, three models of disability (medical, social, and cultural model), and Japanese Able Art & British Disability Arts Movements; and I investigate the concept of disability arts and their challenging ways of representations of disabled people. Then, I explore the mission statement, performances, auditions, and activities of Candoco, and analyze the meanings of disability dance in the two works. I argue that Candoco’s disability dance challenges stereotypes of disabled people and recovers their subjectivity, reconstructing dance aesthetic issues.