In 1990’s, Rencontres chorégraphiques internationales de Bagnolet Seine- Saint-Denis. renowned as one of the highly valued festivals in Europe, was the major stages where the Korean contemporary dances began to uncover its’ veil before it attracted international viewers at the 2000 Dance Biennale in Lyon. Choreographies staged at Rencontres chorégraphiques internationales de Bagnolet Seine-Saint-Denis in 1990’s are ‘Ssit-Kim’(1992), ‘The Empty Space’(1994), ‘The 11th Shadow’(1998) by Ahb Ae-soon Dance Group which has been called as forerunner in the Korean contemporary dance scene., ‘Love, far away’ by Kim Won’s Dance troupe and ‘Warning Moon’ 1996) by Lee Yun-kyung Dance Group. ‘Moon Looking Dog’ and ‘Deja vu’ of Dance Theatre On were invited to the stages of Lyon Dance Biennale. For the European Viewers, those dances have been considered as creative ones with new style but as of the having ritual, spiritual, folklore or religious theme well matched with traditional or classic musics. In brief, they were reflecting the modernity of the Orient. Accordingly, encounter between European audiences and contemporary dances from ‘the country of morning calm’ was not simply contradictory so called modernity of the West vs. tradition of the Oriental culture. Then, how do the Europeans view Korean contemporary dances exposed at Rencontres chorégraphiques internationales de Bagnolet Seine-Saint-Denis and Lyon Dance Biennale? On what elements are they focusing? At the Bagnolet stages, contemporary dances groups explored modernity implemented in the Korean sentiment combining with tradition of its own but in Lyon, they unveiled their own individual thoughts rather than unique feeling of the Koreans.