This study, focusing on the Lion Dance Act of Bukcheong Saja Noleum, explores the potential of traditional arts as creative resources in contemporary performing arts. The research employed a comparative cultural case study in conjunction with creative practice research. First, a review of literature and analysis of video materials examined the performance structure, dance movements, and symbolic system of the lion dance. Second, the researcher’s own choreographic practice, transformed the traditional movements and reconfigured them into new choreographic vocabularies. The findings revealed, first, that the themes, spatial pathways, music, and costumes of the lion dance were reconstructed in the creative work Lion Play, and second, that expressive symbolism emerged, highlighting apotropaic functions, reconciliation and coexistence, and the festive spirit of community. This study demonstrates how traditional arts can generate new meanings and aesthetic values within the language of contemporary dance, while also identifying points of connection between tradition and modern performance. Furthermore, it suggests the potential of traditional heritage-based dance creation to expand artistic practices and to serve as foundational resources in production, planning, and education within the performing arts.

This study is aims to illuminate democratic tendency in Post-modern dance during the Postwar Era, especially focused on its political and social aspects. In the 20th century, especially during the sixties, the whole art of America under the counter-cultural environment was consisted mainly of radical idea and emphasis on the sprit of experiment. Intrigued by the opportunity that improvisation afforded to invoke an entirely unanticipated organization of things and events, experimental groups throughout the 1960s and the 1970s(Post-modern dance era) borrowed from jazz and its principles for composing in performance. To illuminate democratic inclination with improvisation shown in Post-modern dance, such as San Francisco Dancers Workshop, Judson Dance Theater, New York Chamber Dance Group, Workgroup, Grand Union, Contact Improvisation group. Post-modern dance era, dance groups allowed performers to share in a process of making work collectively, and many times this process extended to include the audience as well. At the same time that Post-modern groups appropriated for Asian and African identity, sex role to democratic tendency. As a result, in these group's dance, dancers applied improvisation to represent democratic thoughts and become aware of racial and sexual identity as well as the value of human body. Post-modern dance become more and more extended their ideas techniques and democratic inclination.