 There are dance works of art that are relatively stable throughout dance history in terms of historical identification despite variations (the perennial Swan Lake, for example) and McFee points to these as support for his perspective on dance as a practice that creates dance works of are that are “performables” instantiated in repeatable performances. There are dance philosophers, however, who think that the art-relevant focus of dance might lie elsewhere than in the structure of the “dancework” treated as art object. Mark Franko, for example, points out that 