Does music “embody” the dancing movement? Or does (and if yes, how does) popular dance embody musical patterns and costume designs? On the one hand, dance and music curricula in universities and schools of dance in Greece consider music and dance mostly as coexisting and—in a superficial way—collaborating arts. They rarely refer to the “corporalization” of music, nor do they examine the relation between dance and other involving arts of a performance, such as painting and costume design. It should also be noticed that interdisciplinary creative collaboration between music and dance (and also other arts) was achieved in 1950s. This paper will try to explain how popular dance can reflect costume design and the patterns of music, and lead to a creative collaboration among these arts. For the performances of the Greek Chorodrama (Manou's Dancetheater Company), the composer, the painter, the writer, and the choreographer worked at the same time, interactively; Rallou Manou “translated” the traditional and modern elements of each art into movement, while Manos Hadjidakis (Oscar awarded composer) and Yiannis Moralis (well-known Greek painter) gave to the music, sets, and costumes a “corporal dimension,” correspondingly. As a result, the final “product” was a united, inseparable cultural event, which exceeded the dance performance and became a cultural product, with further aesthetic, artistic, pedagogical, and social value.