 What “counts” as philosophy is a perennial issue that has been debated both within and outside of the American Philosophical Association. Is interdisciplinary philosophy that incorporates not just insights from other fields but their methods, commitments, and forms of discourse still “philosophy”? This article assumes that it is, holding that a philosophy of something can make recourse to conversations and practices in all the domains that are relevant to what it is of (in this case dance) so long as doing so aids our thinking about the meaning of that domain. “Philosophy” is thus construed broadly here in keeping with how the term is used in the rapidly growing field of the philosophy of dance. The potential for dance philosophy is enormous, in part because dance itself is multifaceted enough to make it connect with many branches of philosophy. Indeed, dance has been practiced throughout history for artistic, educational, therapeutic, social, political, religious and other purposes. There are also types of dance on the margins of what many would consider dance proper, such as digital dance, or types of competition dance that have features that make them similar to aesthetic sports like gymnastics or figure skating, so what counts as “dance” is at issue in some cases as well.