Entrenched new provisions in the international dance studies over past few decades suggest a critical review of the investigations of choreographic folklore in Lithuania by integrating the comparison of the foreign achievements in dance anthropology, dance ethnology, and dance folkloristics (or ethnochoreology). The Lithuanian choreographic folklore research has been largely consistent with the European school of dance folkloristics (especially between the periods of 1960–1980) because its main focus lies on classification, structural analysis, and the determination of the regional features. Moreover, dance is mostly studied as a separate object. Several anthropological aspects have been observed in a few recent studies. There has been more emphasis put on to the context, the amplification of approaches, concepts, and terminology (the emic aspect). The methods of semantic structural analysis have been put into practice, and more investigation completed on the themes of dance function, sense, style and improvisation, and dance movement therapy.The research of Lithuanian choreographic folklore has been greatly complicated by the fact that the continuation of living tradition has declined. Besides that, the archival material of ethnochoreography has been collected in poor quality, and it does not comply with the requirements of dance folkloristics and dance anthropology. The current Lithuanian classification of choreographical folklore is under the doubts as well because it has been created disregarding local traditions and the terminology used by people. Only the etic aspect has been used in the process of classification, which merely involves the approaches and assumptions of researchers.Key words: choreographic folklore, methodology, dance anthropology, ethnochoreology, folkloristics of dance, field work, function, context, participant observation, direct observation, emic and etic aspects, evolutionism, classification, structural analysis, semiotics, structuralism. DOI: http://dx.doi.org/10.15181/td.v10i0.1032