O/OO by Michael Clark Dance Company Michael Clark is rapidly turning into the oldest punk in town. But the legendary Aberdeen-born choreographer's work still has more energy and attitude than that of many pretty young dance things half his age. The double-bill O/OO was by far the biggest draw of this year's New Territories festival back in March and tickets were scarce. The lucky few were treated to the customised classicism of O (part one of Clark's ongoing Stravinsky project) and the slick, sly humour of OO (O's punk/thrash alter-ego). Until recently, O was Michael Clark's unfinished masterpiece, derailed in 1994 by his addiction to drink and drugs. Now both the dance and its creator are back for good.

Monkey by Dundee Rep Ensemble and Scottish Dance Theatre People might think actors should stick with acting and dancers with pirouettes and pointy feet. Not so Dundee Rep Ensemble and Scottish Dance Theatre (SDT), which share a building. The two companies combined in May to create a major family co-production based on 1970s cult TV show, Monkey. With actors dancing and dancers acting, it could have been like a bad episode of The X Factor. But it turned out to be one of the finest dance/theatre events of the year, not least of all because of the brilliant physical comedy and sheer charisma of SDT's Anthony Missen as Monkey, the irrepressible primate who embarks on a journey of self-discovery. The multi-talented Missen left SDT last season and will be sorely missed.

Scottish Ballet At one time, Scottish Ballet would have struggled to make it into any review of the year. Now it threatens to dominate. It's been quite a year for artistic director Ashley Page, with a sell-out London season, plans for a new headquarters at Glasgow's Tramway under way and a funding shake-up that sees the company directly funded by the Scottish Executive (as opposed to the Scottish Arts Council). He also bagged an OBE. But for paying punters, it is the sheer brilliance of the dancing and the growing identity of the revamped classical/modern company that continues to surprise. From the glossy modernism of the spring triple bill (George Balanchine, William Forsythe, Stephen Petronio) to the sophistication of their Edinburgh International Festival programme (Balanchine, Jerome Robbins, Hans van Manen and newcomer Krzysztof Pastor), it's been another terrific year for the company.

The Wild Party by Rosie Kay Dance Company Rosie Kay is a maverick performer who doesn't always get it right. But with The Wild Party she created a rare gem of theatrical magic in August's Fringe mire. Based on Joseph Moncure-March's jazz-age poem of the same name, The Wild Party was crammed into a small, awkward space that lacked wings. But there was something about the freeform staging and proximity of the four performers and onstage jazz band (all of whom slipped in and out of character with alarming regularity) that made this show special. Mixing good old-fashioned stagecraft with dynamic modern dance-theatre Kay's created a heady brew of sexual jealousy, revenge and general debauchery. A bit like the Fringe itself, really.

Tapeire by James Devine The vast chorus lines of Riverdance, Spirit Of The Dance and Lord Of The Dance have all thundered through Scotland in recent years. But one humble tapper in a backstreet Fringe venue danced them all off the stage. James Devine is an Irishman living in Edinburgh who just happens to the fastest tap-dancer in the world (he's the current Guinness World Record holder, faster than Michael Flatley). The format of his show could not be simpler. He dances. Musicians play along. No fancy lights, sequins or special effects. Just talent. Lots of it. A brilliant show, and, deservedly, a massive hit.