The purpose of this study is to explore the application of an appreciation education program for Kim Baek-bong's Hwagwanmu (Flower Crown Dance), utilizing the LCI aesthetic experience education method. The objective of this research is to conduct appreciation education of Hwagwanmu using the LCI aesthetic experience education method and to verify its effectiveness. To achieve this goal, an educational program for Kim Baek-bong's Hwagwanmu was structured using the LCI aesthetic experience education method. To verify the program's effectiveness, the researcher directly conducted ten sessions with a total of five non-major participants. The specific research results are as follows: First, the investigation into perceptions before learning Hwagwanmu revealed subjective views such as considering it a work with fundamental techniques, a challenging piece, and a splendid and dignified work. Second, changes observed during the LCI aesthetic experience education process were categorized into understanding the basics of Korean dance, technical comprehension of movement principles, in-depth understanding of Korean rhythms, enhanced immersive expressiveness connected to the work's theme, integrated appreciation of theory and practice, and sensory and profound experiential appreciation. Specifically, after the experiential activities, it was found that appreciation became more nuanced in various aspects. Not only the dance movements but all elements constituting the dance, such as gaze, costumes, breathing, and music, were holistically connected, leading to immersive appreciation. Third, an examination of the performance appreciation after learning Kim Baek-bong's Hwagwanmu revealed the following. Specifically, the participants achieved a delicate appreciation of the expressive techniques of Korean dance movements through the eyes of observers who can see beyond the visible. They understood the stylistic characteristics of dance art as a comprehensive art by alternating between first-person and third-person perspectives. They also came to understand the differences between dance art for educational purposes and dance art as performing arts. Additionally, they experienced immersive appreciation through personal experiences and witnessed personal growth in their lives through 1) achievement. Fourth, an examination of experiences after creative activities through learning Kim Baek-bong's Hwagwanmu showed that they could once again feel the diversity and creativity of choreographic abilities by seeing how the learned movements were used to newly transform existing Hansam-swinging movements. From the above results, it can be concluded that the education of Kim Baek-bong's Hwagwanmu utilizing LCI education led to a much deeper appreciation of the work compared to the process of visual appreciation alone. In fact, when appreciating Hwagwanmu without educational experience, the emotions surveyed were subjective experiences resulting from the act of "seeing" rather than true appreciation. However, through the results of this study, it is noteworthy that understanding was achieved in terms of the work's philosophy, techniques, principles, and historical aspects. In other words, Korean dance education utilizing LCI is expected to help understand the work as a Korean cultural heritage and lead to substantial appreciation. This is considered to be a guideline for the future direction of Korean dance education for non-majors today, integrating not only the superficial value but also the deep value that Korean dance possesses.