 In the   original version of this entry,  an attempt was made to canvass some of the history of the philosophy of dance as it existed and had developed in western philosophical aesthetics. In that domain dance is treated as a meaning-making and often communicative, expressive or representational theater or concert art that is practiced and performed for audience appreciation. The present version of the entry engages with constructive feedback and attempts to map out a broader terrain for a larger and more inclusive philosophy of dance. But it is still incomplete. This reflects, in part, limitations of space as well as the fact that the much of dance philosophy exists in locations disparate enough that often they are not (yet) in communication with one another.  (See Pakes 2019 for an excellent overview of the field of philosophy of dance—it is my recommendation that this work be treated as a companion piece to this entry.)