02085nas a2200241 4500000000100000000000100001008004100002653002100043653001100064653003300075653001100108653002200119653002300141653001300164653001100177100001400188245005500202856014900257300001100406490000700417520139900424022002001823 d10aDance and museum10aEurope10aIntangible cultural heritage10aUNESCO10acultural heritage10acultural tradition10aideology10amuseum1 aT. Erlien00aMethods of disseminating dance in european museums uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-84946811244&doi=10.1556%2f022.2015.60.1.11&partnerID=40&md5=bdcd85c42c12082ee3b4bd6c65bf850b a93-1010 v603 aA dance museum is a rare reality in Europe. As a result of a wide-range research, the author has found ten museums with different levels of dance dissemination presenting interesting approaches in means of communicating the tacit factor of dance knowledge. She has discovered that visitors engage differently in such communication and a variation in technical equipment gives the transmission of knowledge new expressions. Personal descriptions and pictures from the fi eld will illustrate these means. Moreover, interviews with museum staffs have provided various insights into ideologies and methods. This paper attempts to apply the principles of "New Museology" and Article 18 of the 2003 UNESCO Convention for Safeguarding of the Intangible Cultural Heritage (ICH) to dance presentation techniques in the museums discussed. The red thread in this multi-sited fi eldwork amongst different types of museums and dance genres in Europe will be highlighted. Findings and visits prove that there still is a clear division between the traditional museums and new museums in regards to the level of visitors interaction. In relation to dance and ICH this is a fi eld in its infancy and must be further debated and developed. Interesting points of view come from Museum International articles and New Museology theories and will be the tools of evaluation of what the fi eldwork materials present. a12169803 (ISSN)