The major changes of the nineteenth and twentieth centuries, the European cultural dialogue and globalization in the post-Soviet transition period (the turn of the twentieth and twentyfirst centuries) require a critical revision and modernization of the theoretical and methodological apparatus of ethnochoreology. The study argues the need to update the concepts of peasant dance → folk dance → traditional dance, in order to adjust the research method to the new sociocultural realities. The traditional choreography crystallized over time has developed and enriched through the contribution of several generations of passionate dancers, each contributing to the completion of the taste of the people, expressed through artistic forms located at the top of values. In the context of multiple acculturations, which claim various roles in our culture, it is very useful and opportune to approach the field of traditional dance, to make it more relevant, presenting it to the full of its values. The figurative use and deformation of the folk dance movements, by some choreographers or dancers from the Republic of Moldova, creates additional confusions and difficulties in the scientific approach of ethnochoreology, and the exaggerated attention paid to academic dance, damages the authentic dance enormously.