This study aims to define ethnic identity of China shown in representative twelve dance dramas by China National Opera which has actively created dance dramas since foundation of New China. Original dances in modern times are diversely developing based on ethnic characteristics of each country and in this process, their own ethnic identity is newly formed by adopting their cultural backgrounds as a material for a piece and mixing traditional ethnicity and modern point of view. Ethnic identity of China shown in twelve pieces of China National Opera can be presented as follows.

First, in the aspect of mixing multiculture and multiethnicity, there have been changes in twelve pieces over time. In other words, the phenomenon of mixing multiculture and multiethnicity on pieces before 1980s was shown as combination of various ethnic groups’ ethnic dance and of East and West while that since 2000s has been combination of classic and modernity.
Second, their culture with red has been mostly adopted by dance dramas that express themes like Chinese socialist revolutions and wars.
Third, in terms of Confucianism, twelve works are inclined to express a traditional concept of benevolence, which signifies their identity used to show historical figures or incidents of the country.
Fourth, the identity of Yin-Yang and five elements of the universe in Chinese dance dramas has been exhibited mainly by use of their original culture.

As described above, ethnic identity of China shown in twelve works by China National Opera is identified as having four areas. However, the four are not included in every single piece. It is found that four chronological and thematical elements may and may not be used. Four types of identity have been properly displayed particular in Chinese dance drama depending on its theme. For example, the inclination to combine multiculture and multiethnicity is mainly adopted when a drama covers traditional figures, incidents or history of China while the culture of red is utilized to express themes related to Chinese socialist system. Based on these findings, I’d like to suggest the following for creation of Chinese dance dramas with future advance by applying ethnic identity more actively.

First, China possesses very rich and diverse cultural assets. With fifty-six ethnic groups living in a country, China has achieved its development over its long history along with traditional ways of living as a multiethnic society. In this aspect, Chinese dance drama has potential to be created in various directions. In other words, multicultural aspects should be deeply investigated to secure diversity of Chinese dance drama creation.
Second, it is found that works created since 2000s have selected expression modes to show identity of new Chinese culture mainly by mixing the ancient and modern cultures. From this perspective, choreographers’ imagination, the key directivity in work production, should be freely fostered based on development of dance drama creation.
Third, it is necessary to systematize choreography training in order to create new dance dramas with ethnic identity of China. It is because study on classics and choreography training to promote choreographers’ imagination are a prerequisite for applying the two elements above. Choreography training is extremely insufficient in China’s current dance education. As dance education is mostly of technical education, dancers with superb dance techniques are easily produced but educational systems to nurture world-class choreographers are not satisfactorily established. Thus, systematization is necessary for training choreographers.
Dance drama is a form of dance art generally with narrative structure that is constructed with dramatic elements to be delivered to audience by a choreographer. Such dance dramas have been diversely developed and various styles have also been produced based on current choreographers’ cultural and ethnic backgrounds. In addition, they have newly formed unique cultures that can only be expressed by themselves through containing their ethnic identity in works. This study on ethnic identity exhibited in dance dramas serves as an opportunity to make a new approach to directivity of dance drama, the distinctive creation of Chinese people. The need for future studies on development of choreographic methodology for globalization of Chinese culture is newly recognized through this research.