The purpose of this study is to investigate the aesthetic characteristics of traditional dances by Im Ijo, especially analyzing his use of coquetry. Im not only trained in traditional dances such as seungmu (monk’s dance) and salpuri (shamanic mourning dance), but is also a significant choreographer who developed gyobang salpuri, hwaseonmu, and hallyangmu. His dances may be regarded as neo-traditional Korean dances because they share the same aesthetic characteristics and show the beauty of coquetry and moderation. The basis of the beauty of coquetry in the Im’s dances can be seen as a reproduction of gyobang. His dance expresses the image of gyobang as performance art, aiming to create an open space for communication with the audience. Im’s dances reveal coquetry via costumes or various objects; in gyobang salpuri for example, he focused on gyobang rather than salpuri to create a coquettish image by contrasting complementary colors in the skirt and jeogori. His curvy skirt emphasizes the beauty of curves to shift the dancing style and directions naturally in life with the costume. The traditional skirt, jeogori, and small shapely Korean socks in hwaseonmu express a figure of a prim and proper woman. His beauty of coquetry was transformed from the experience of inner structure taught by Yi Maebang, and the acquisition of the ideational images of Eun Bangcho. Im’s dances are gentle without excessiveness and bright and gorgeous without overflow; this property was achieved through harmonizing the splendid expression of Eun Bangcho and the calmness of Yi Maebang with the breathing, discipline, and intelligence of Kim Sukja.