What makes a contemporary dance contemporary? We will look at this question not only from the point of view of time (which boils down to a rather tautological statement that contemporary dance is a present dance or a newly created dance)? Various answers will be proposed, all of which will have the status of hypotheses and will suggest divergent points of reference. From a genealogical point of view, the essential contours of most current dance can be traced back to the “Judson moment” (Judson Dance Theater. The deconstructive movements of the Judson collective, and the numerous references to them in the past and present, suggest that dance becomes contemporary whenever a work raises the question of whether or not it is a dance work. In this way, a more general genealogy emerges going back even further to Duchamp’s iconoclastic “Fountain,” which, according to Thierry de Duve, began the era of “art in general.” Parallel to this, one can, therefore, propose the notion of “dance in general” in order to better grasp the contemporaneity of contemporary dance. Yet another perspective stems from the possible relationship of dance to its wider socio-cultural environment. Again, dance is not simply contemporary, but becomes so through any reference(s) to cultural meanings or social issues. In order to clarify and develop possible approaches to the contemporaneity of dance, the workshop will use different formats: short introductory lectures, joint reading of texts, analyses of individual works and group discussions, during which participants will be able to relate the discussed topics to their own work or present artistic problems. The goal of the workshop is a collaborative encounter that encourages both mutual exchange of ideas and “difficult experiments” that go beyond the obvious.