The idea of my presentation refers to the “Archival turn” in scientific discourse and its possible transfers to choreographical practice. In Poland, many choreographers attempted the reconstruction of choreographic works by renowned artists from the 1920s and 1930s. They bring the works of Pola Nireńska, Yanka Rudzka, and Marie Rambert onto the stage, trying to give them a new sense for the present day. It is like rewriting history. In this context of reconstruction of historical choreography, I want to talk about the memory of the body and the body as an archive. I want to think how contemporary choreographers work with the memory and bodily memories. How they tried to find the traces to get in touch with the historical works. In the center of my research is the concept of the body as an archive and previous generations’ experience based on choreographical practice. This applies in particular to trauma, unconsciously determines our behavior and undergoing embodied enactment. The second idea of the presentation is to discuss and find the answer to the question: What does the process of situating choreography within an archival context say about them as such and about our time and the encounter with the past, but also what do they contribute to knowledge about the composite and unambiguous idea of an archive. The presentation focuses the attention on several important contemporary choreography functions fulfilled by the authors: autobiographical, intimistic, documentary, anthropological as performance of embodied memory and an element of a holistical narattion. As examples, I will present three choreographies: Agata Sinarska’s Second Nature and Iwona Wojnicka’s “Po Krzyku” / After Scream elaboration on the Krzyku / Scream by Pola Nireńska; “Beginnig” about Yanka Rudzka dance idea. This presentation is also about the role of (women) artistic practices in creation by defining identity in Poland. The last unanswered question for me is the problem of transfer of modern dance into contemporaneity and its discovery.