The purpose of this study is to search how the new dance genre produce and adopt in social context. In the dichotomy of high art and popular art, the modern dance which emerged in early 20th century, it is similar to kind of like a popular dance characteristics. In the American society at that time, it was a social trend that the popularization of dance and the theatre art only centering to the entertaining. Like a vaudeville, Ballet performed with circus and play, and there were only female body display on the stage. How did art market produced and adopted a new dance genre in this situation? This study shows three results of followed with this issue. First, the modern dance is produced not by the low class woman like prostitute but the middle class. The dance produces by the educated is no more a feast for the eyes, but it is regarded as an art form that contained a significant ideas. Also, the fact woman choreographs makes the further meaning on that art form not like an existing ballet or other popular entertainments. Modern dancer's status as a choreographer and a dancer opens the possibility of different kind of interpretation on that new dance. Second, we should focus on the woman patrons. These gatekeepers, elite class makers of the social discourse, prepared a new dance to a suitable and valuable new theatre art form. The economical support of them make the female body free from the extortion of an apprentice system, and assure their artistic independence. Third, the female audience who already has the kinesthetic experience in body culture can grasp the essential meaning. The dance escaping from the male gaze and the objectification of sensual body makes the dance audiences focus on the movement itself. As aforementioned, these three elements of the art market, female choreographer-dancer, patron and spectator offer the modern dance a new artistic status in early 20th century. The classification of high and low(popular) is controlled by how the elite group and main social stratum adopt and interpretate, and it is laid very on the symbolic boundaries.