This study reconstructs the development of Singaporean Chinese dance in the 1980s–1990s. Focusing on National Theatre Chinese Dance Company, Theatre Arts Troupe, Dance Ensemble Singapore, and Hokkien Huay Kuan Dance Troupe, I analyze institutionalization in dance using Bourdieu's concept of cultural capital. While the 1960s–1970s are characterized by the mode of creating a hybrid multi-racial dance, the 1980s–1990s are about preserving ethnic Chinese dance.