Though protagonists of contemporary dance such as Meg Stuart have been establishing an acclaimed body of work, and within it a particular repertoire of dance movement over the last decades, some reviews covering performances in certain venues, and thus assessing these works, often do not acknowledge their artistic value. Some critics even question whether it is actually dance that they have seen on stage. Taking this situation as a starting point, the essay poses open questions about the “definability” of dance or not-dance in the realm of the contemporary, and hence asks in what respect form plays a role as a category – and as an aesthetic concept that needs dynamization should it be viable for today’s dances and choreographies, and those yet to come
