[1][2] His numerous publications in professional journals, in the Stuttgarter Zeitung, Die Zeit and on radio also include his research on Albert Burger's collaboration with Oskar Schlemmer at the Triadic Ballet.
[10] Against contemporary theories of the time, Günther and Helmut Schäfer argued that movements in African dances are "precise" and follow specific laws, and that they focus on "absolute control over muscles".
[12] While G. T. Nurse appreciated his "competent treatment of the details of bodily motions", they reviewed his works negatively with regards to aesthetics, stating that Günther's theories "lack a sense of reality of the dance, any hint that it can be enjoyable to watch or perform".
[14] Günther suggested that a rock art discovered by Henri Lhote in Tassili n'Ajjer depicting eight dancers from 6000–4000 BC featured similarities to a contemporary Zulu dance, called indlamu.
[15] In his 1975 book, Günther was disapproving of how rhythmic gymnastics had become a part of mainstream educational curriculum in Germany; he suggested that it was turning into a dance form which was "only for women, children and the sick".
Performance philosopher Laura Cull Ó Maoilearca was critical of Günther's characterization, and presented a counterargument that "women of [rhythmic] gymnastics established a new form of practical reasoning", in that "each individual's own 'inner' rhythm must be developed on the basis of his or her particular needs".