Abstract
By renaming the Choreographic National Center in Rennes and Bretagne as the Musée de la danse in 2009, the French choreographer Boris Charmatz has indirectly raised new questions on both museum and dance ontologies, opening up the possibility of an enriched interdisciplinary discourse on the relationship between movement-based arts and museums/art institutions. This essay explores the changing museum and dance landscape over the past few decades, considers how museums have been theorized, and their relationship to, and engagement with, audiences; and asks what role choreography and dance can play in this new institutional context.
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