This study explored the case of creating and performing “Suncheon Bird Flower Dance: Hooded Crane Meets Flower” by adapting the story of a hooded crane in Suncheon. The researchers obtained the following results by collecting and qualitatively analyzing choreography notes, photos, videos, memos, dialogues and performance pamphlets from August to November 2021. First, from the point of view of ecological art, we carried out choreography work for flower dance and hooded crane gestures based on sympathetic movements. Second, it revealed the convergent aspects of performance characteristics especially by using the photos of the hooded cranes in accordance with the live music performance for the scenery of Suncheon Bay and adopting a tea ceremony performance. Third, to implement the proposed creative crane dance, this case showed the transformation process of traditional Hakyeonhwadaemu in the scenes where the hooded crane meets and hangs out with a flower girl (woman) who is blooming and becoming a lotus flower.

This study investigated the confluence and transformation perspectives of Hakmu-Yeonhwadae (鶴舞-蓮花臺, Crane Dance-Lotus Flower Dance) by taking a new perspective. The researcher analyzed the contents of the literature by searching for existing papers and historical data such as Uigwe (儀軌, Official Documents of Royal Events), Jeongjaemudoholgi (呈才舞蹈笏記, Choreography of Court Dance), and the iconography of historical pictures of royal events. The main results are as follows. First, Hakmu (鶴舞, Crane Dance) combined with Yeonhwadae (蓮花臺, Lotus Flower Dance) turned out to be performed in a way that directed two younger girl dancers to appear from two Lotus boxes in the texts of Gyobang-gayo (敎坊歌謠, Gyobang Song) and Hak-Yeonhwadae-Cheoyongmu-Hapseol (鶴蓮花臺處容舞合設, Convergence of Crane, Lotus Flower and Cheoyong[a man for preventing epidemics] Dance). Second, it was confirmed that the creative transformation patterns were historically revealed along with attempting to attune slight differentiations of Hakmu-Yeonhwadae. Third, Hakmu and Yeonhwadae had been performed separately and consecutively at royal court banquets since 1877 after King Jeongjo’s reign. Fourth, it was noted that there were several changes in the Jidangpan (池塘板, plate with artificial pond) and Lotus boxes in the late Joseon Dynasty. Fifth, the converged parts between Hakmu and Yeonhwadae were reinterpreted considering the symbolic and ecological meanings of cranes and lotuses from the modern perspectives for creating a new dance version.