Hubbry Logo
ChoreographyChoreographyMain
Open search
Choreography
Community hub
Choreography
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Choreography
Choreography
Choreography
View on Wikipedia
from Wikipedia

Choreography for the Spanish dance Cachucha, described using dance notation

Choreography is the art of designing sequences of movements of physical bodies (or their depictions) in which motion or form or both are specified. Choreography may also refer to the design itself. A choreographer creates choreographies through the art of choreography, a process known as choreographing. It most commonly refers to dance choreography.[1]

In dance, choreography may also refer to the design itself, sometimes expressed by means of dance notation. Dance choreography is sometimes called dance composition. Aspects of dance choreography include the compositional use of organic unity, rhythmic or non-rhythmic articulation, theme and variation, and repetition. The choreographic process may employ improvisation to develop innovative movement ideas. Generally, choreography designs dances intended to be performed as concert dance.

The art of choreography involves specifying human movement and form in terms of space, shape, time, and energy, typically within an emotional or non-literal context. Movement language is taken from dance techniques of ballet, contemporary dance, jazz, hip hop dance, folk dance, techno, K-pop, religious dance, pedestrian movement, or combinations of these.

Etymology and history

[edit]
One of the first documents with choreographic signs is the Catalan manuscript of Cervera from 1496

The word choreography literally means "dance-writing"[2] from the Greek words "χορεία" (circular dance, see choreia) and "γραφή" (writing). It first appeared in the American English dictionary in the 1950s,[3] and "choreographer" was first used as a credit for George Balanchine in the Broadway show On Your Toes in 1936.[4] Before this, stage and movie credits used phrases such as "ensembles staged by",[5] "dances staged by",[6] or simply "dances by" to denote the choreographer.[4]

In Renaissance Italy, dance masters created movements for social dances which were taught, while staged ballets were created similarly. In 16th century France, French court dances were developed in an artistic pattern. In the 17th and 18th centuries, social dance became more separated from theatrical dance performances. During this time the word choreography was applied to the written record of dances, which later became known as dance notation, with the meaning of choreography shifting to its current use as the composition of a sequence of movements making up a dance performance.[2]

The ballet master or choreographer during this time became the "arranger of dance as a theatrical art", with a well-known master of the late 18th century being Jean-Georges Noverre, with others following and developing techniques for specific types of dance, including Gasparo Angiolini, Jean Dauberval, Charles Didelot, and Salvatore Viganò. Ballet eventually developed its own vocabulary in the 19th century, and romantic ballet choreographers included Carlo Blasis, August Bournonville, Jules Perrot and Marius Petipa.[2]

Modern dance brought a new, more naturalistic style of choreography, including by Russian choreographer Michel Fokine (1880–1942)[2] and Isadora Duncan (1878–1927),[7] and since then styles have varied between realistic representation and abstraction. Merce Cunningham, George Balanchine, and Sir Frederick Ashton were all influential choreographers of classical or abstract dance; Balanchine and Ashton, along with Martha Graham, Leonide Massine, Jerome Robbins and others also created representational works.[2] Isadora Duncan favored natural movement and improvisation. The work of Alvin Ailey (1931–1989), an African-American dancer, choreographer, and activist, spanned many dance styles, including ballet, jazz, modern dance, and theatre.[7]

Dance choreography techniques

[edit]

Dances are designed by applying one or both of these fundamental choreographic methods:

  • Improvisation, in which a choreographer provides dancers with a score (i.e., generalized directives) that serves as guidelines for improvised movement and form. For example, a score might direct one dancer to withdraw from another dancer, who in turn is directed to avoid the withdrawal, or it might specify a sequence of movements that are to be executed in an improvised manner over the course of a musical phrase, as in contra dance choreography. Improvisational scores typically offer wide latitude for personal interpretation by the dancer.
  • Planned choreography, in which a choreographer dictates motion and form in detail, leaving little or no opportunity for the dancer to exercise personal interpretation.[8]

Several underlying techniques are commonly used in choreography for two or more dancers:

  • Mirroring - facing each other and doing the same
  • Retrograde - performing a sequence of moves in reverse order
  • Canon - people performing the same move one after the other
  • Levels - people higher and lower in a dance
  • Shadowing - standing one behind the other and performing the same moves
  • Unison - two or more people doing a range of moves at the same time

Movements may be characterized by dynamics, such as fast, slow, hard, soft, long, and short.

Choreography today

[edit]

Today, choreography must impose some kind of order on the performance, within the three dimensions of space, the fourth dimension of time, and the capabilities of the human body.[2]

In the performing arts, choreography applies to human movement and form. In dance, choreography is also known as dance choreography or dance composition. Choreography is also used in other fields, including opera, cheerleading, theatre, marching band, synchronized swimming, cinematography, ice skating,[7] gymnastics,[9] fashion shows, show choir, cardistry, video game production, and animated art.

Competitions

[edit]

The International Choreographic Competition Hannover, Hanover, Germany, is the longest-running choreography competition in the world (started c. 1982), organised by the Ballett Gesellschaft Hannover e.V.[10] It took place online during the COVID-19 pandemic in 2020 and 2021, returning to the stage at the Theater am Aegi in 2022. Gregor Zöllig, head choreographer of dance at the Staatstheater Braunschweig was appointed artistic director of the competition in 2020. The main conditions of entry are that entrants must be under 40 years of age and professionally trained.[11] The competition has been run in collaboration with the Tanja Liedtke Foundation since her death in 2008, and from 2021 a new production prize has been awarded by the foundation to complement the five other production awards. The 2021 and 2022 awards were presented by Marco Goecke, then director of ballet at the Staatstheater Hannover.[12][13]

There are a number of other international choreography competitions, mostly focused on modern dance. These include:[14]

  • Beijing International Ballet and Choreography Competition, Beijing, China
  • Contemporary Dance Platform, Cyprus, Greece
  • Copenhagen International Choreography Competition, Copenhagen, Denmark (CICC), founded in 2008, annual [15]
  • Helsinki Ballet Competition, Choreography Award, Helsinki, Finland
  • International Choreographic Competition, Rome, Italy
  • Moscow Ballet Competition and Contest for Choreographers, Moscow, Russia
  • New Adventures Choreographer Award, London, UK
  • Prix de la Danse de Montreal, Montreal, Canada
  • Valentina Kozlova International Ballet Competition, Brussels, Belgium
  • Varna International Ballet Competition, Choreography Award, Varna, Bulgaria

The International Online Dance Competition (IODC) was introduced in 2020 in response to the COVID-19 pandemic, with a Grand Prix worth US$1,000.[16]

[edit]

Section 102(a)(4) of the Copyright Act protects "choreographic works" created after January 1, 1978, and fixed in a tangible medium of expression.[17] Under copyright law, choreography is "the composition and arrangement of a related series of dance movements and patterns organized into a coherent whole."[18] Choreography consisting of ordinary motor activities, social dances, commonplace movements or gestures, or athletic movements may lack sufficient authorship to qualify for copyright protection.[19]

A recent lawsuit was brought by professional dancer and choreographer Kyle Hanagami, who sued Epic Games, alleging that the video game developer copied a portion of Hanagami’s copyrighted dance moves in the popular game Fortnite.[20] Hanagami published a YouTube video in 2017 featuring a dance he choreographed to the song "How Long" by Charlie Puth, and Hanagami claimed that Fortnite's "It's Complicated" "emote" copied a portion of his "How High" choreography.[20] Hanagami asserted claims for direct and contributory copyright infringement and unfair competition.[21] Fortnite-maker Epic Games ultimately won dismissal of the copyright claims after the district court concluded that his two-second, four-beat sequence of dance steps was not protectable under copyright law.[21]

See also

[edit]
Lists and categories

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Choreography

View on Grokipedia
from Grokipedia
Choreography is the art of arranging and composing patterns of movement for dancers, involving the orchestration of bodies in space and time to create structured sequences in performances. It encompasses the design and structuring of movement on physical bodies, distinguishing the conceptual plan from its execution by performers. The term originates from the Greek words khoreia (meaning "" or "circular dance") and graphein (meaning "to write"), literally translating to "dance-writing." Historically, the concept of choreography first emerged in the late in as a system for notating steps, pioneered by Raoul Auger Feuillet in his 1700 publication Choréographie, which allowed dances to be recorded and reproduced like musical scores. By the , the term had evolved in usage to include the creative composition of dances themselves, particularly within traditions, though it gained broader application in English only in the late 18th and 19th centuries. Over time, choreography expanded beyond classical forms to encompass modern and , incorporating influences from cultural, social, and interdisciplinary practices, such as collaborations with , theater, and technology. At its core, choreography relies on fundamental elements including (pathways, levels, and formations), time (, , and duration), energy or dynamics (force, flow, and quality of movement), and the body (actions, shapes, and relationships between dancers). Choreographers employ techniques such as motif development, repetition, contrast, and to build narratives, evoke emotions, or explore abstract concepts, often drawing from , cultural traditions, or thematic inspirations. In contemporary practice, choreography extends to non-traditional contexts like site-specific performances, , and interdisciplinary works, reflecting evolving societal dialogues on , and embodiment.

Definition and Origins

Definition

Choreography is the of composing and arranging dances through the of movements, steps, and patterns performed by dancers. It involves creating structured sequences that transform individual or group motions into cohesive artistic expressions, typically synchronized with , while considering the performance space and thematic narrative. Central to choreography are key elements that shape its form and impact, including spatial patterns, which define how dancers navigate and interact within the performance area; timing and , which govern the pace and musical alignment of movements; and performer dynamics, encompassing the , force, and quality of motion such as sustained or percussive actions. These components, often framed within the broader dance elements of body, action, , time, and (BASTE), enable choreographers to craft sequences that convey emotion, story, or abstract ideas through precise . Choreography differs from , which relies on spontaneous, in-the-moment responses to music or stimuli without a predetermined sequence, whereas choreography entails deliberate planning and repetition for consistency in performance. It also contrasts with stage direction, which oversees the overall visual and narrative staging of a production—including positioning and transitions—but choreography specifically emphasizes the and refinement of the physical movements themselves rather than broader production elements. Choreography manifests across diverse dance forms, such as in through classical works like Marius Petipa's , which features intricate group patterns and narrative-driven sequences; in via Martha Graham's , emphasizing emotional depth and rhythmic innovation; and in through Pina Bausch's , blending raw dynamics with spatial experimentation. Early influencers like contributed to modern choreography by prioritizing natural, expressive movements over rigid structures.

Etymology

The term "choreography" derives from the Greek words choreia (χορεία), meaning "dance," and graphein (γράφειν), meaning "to write," literally translating to "dance writing." This neologism was first coined in French as chorégraphie in 1700 by Raoul Auger Feuillet, a French dancing master and choreographer, in his publication Chorégraphie, ou l'art de décrire la dance par caractères, figures et signes démonstratifs, which introduced a notation system for recording ballet steps developed by Pierre Beauchamps. Initially, the term strictly referred to the written documentation of dance movements, reflecting the era's emphasis on preserving court ballets through symbolic notation. The word entered English around 1789, borrowed directly from French chorégraphie, influenced by the prominence of terminology in European dance culture during the Enlightenment. By the early , the meaning evolved from mere notation to encompass the broader artistic process of composing and arranging s, particularly with the rise of pioneers who prioritized creative invention over fixed records. This shift broadened its application across languages, solidifying "choreography" as a term for dance creation in English, German (Choreografie), and other tongues influenced by French dance traditions.

Historical Development

Early Choreography

The origins of choreography trace back to ancient civilizations where dance served primarily ritualistic and communal purposes. In , following unification around 3100 B.C., dances were integral to religious ceremonies, , and funerary practices, often performed by trained priestesses or professional dancers to honor deities like and appease forces such as the goddess . In , dithyrambs emerged as early as the B.C. as choral hymns sung and danced in honor of , involving ecstatic group movements that evolved into more structured performances during festivals like the . In India, the , composed by Bharata Muni between 200 B.C. and 200 C.E., systematized dance as part of natya (theater), integrating expressive gestures () and rhythmic patterns (tala) derived from Vedic rituals to convey spiritual and narrative elements. During the medieval period and into the , European choreography developed through courtly dances designed for social interaction and ceremonial display. The , a circle or line dance originating in 15th-century , involved simple, communal steps performed in groups to foster courtly harmony and often accompanied lute or pipe music during feasts. The , a stately processional dance popular in 16th- and 17th-century and , featured measured gliding steps and bows, choreographed to showcase aristocratic elegance and rank in royal settings. These forms emphasized collective participation over individual virtuosity, with choreographers adapting steps to reflect social hierarchies and diplomatic occasions. Structured choreography began to emerge in the 15th and 16th centuries in Italian courts, marking a shift toward more codified movements. Domenico da (c. 1390–1477), recognized as the earliest known , authored De arte saltandi et choreas ducendi around 1450, outlining principles of balli (social dances) with geometric patterns and elevated steps performed at courts like . His contemporary and student, Guglielmo Ebreo da Pesaro (c. 1420–1481), a Jewish theorist, expanded on these in De pratica seu arte tripudii (1463), detailing choreographies for over 100 dances that blended Italian and French influences, including feints and jumps for festive events. These treatises laid foundational techniques for what would become court , prioritizing grace and proportion. Early choreographic forms were profoundly shaped by and religious contexts, where dances reinforced social bonds, spiritual devotion, and seasonal cycles without reliance on written notation; instead, they were transmitted orally through masters to apprentices or participants. This laid the groundwork for later developments, including the 19th-century romantic ballet's emphasis on narrative and emotion.

Modern Evolution

The Romantic ballet era, from the 1830s to the 1870s, transformed choreography by prioritizing emotional narratives, ethereal themes of love and the , and the prominence of to convey weightlessness and femininity. French-born choreographer , who arrived in in 1847 and rose to lead the Imperial Ballet by 1870, exemplified this shift through his elaborate, story-driven productions, including his co-choreography (with Lev Ivanov) of the 1895 revival of (originally premiered in 1877), which highlighted the era's focus on dramatic tension between human and otherworldly realms, with ballerinas en pointe symbolizing transcendence. This period's innovations laid the groundwork for ballet's expansion beyond courtly diversions into a theatrical art form accessible to broader audiences. In the early 20th century, modern dance emerged as a radical departure from classical ballet's rigid structures, with pioneers and championing free-form, expressive movement inspired by natural rhythms, ancient Greek ideals, and Eastern traditions. Duncan (1877–1927), often called the mother of modern dance, rejected ballet's corsets, pointe shoes, and codified steps in favor of barefoot, flowing gestures that embodied personal emotion and vitality, performing to symphonic music in loose tunics. St. Denis (1879–1968), influenced by Duncan's innovations, founded in 1915 with , blending exotic motifs from Indian and Egyptian dance with improvisational freedom to explore spirituality and individualism, thus broadening choreography's cultural scope. Their approaches democratized dance, emphasizing the dancer's inner life over technical display and inspiring a generation to view choreography as a medium for social and artistic liberation. Parallel developments in included Germany's Ausdruckstanz movement, which emphasized raw emotional expression through abstracted, angular movements, with (1886–1973) as its central figure. Trained under , Wigman developed a solo-based style in the and that rejected ballet's prettiness for stark, rhythmic group forms and masked performances, as seen in her 1926 work Totentanz (Dance of Death), influencing expressionist theater and dance therapy. Concurrently, Sergei Diaghilev's (1909–1929) revolutionized choreography by fusing with art, music, and design, commissioning works like (1913) by that incorporated primal, asymmetrical movements and modernist collaborations with composers and designers like , and later artists such as . This itinerant company's boundary-blurring innovations elevated ballet's interdisciplinary potential, impacting global stages through its emphasis on innovation over tradition. By the mid-20th century, choreography further evolved toward abstraction and experimentation, exemplified by Merce Cunningham's introduction of chance-based methods in the 1940s, which disrupted narrative linearity and composer-choreographer hierarchies. Collaborating with , Cunningham used tools like dice rolls and the to determine movement sequences, durations, and spatial arrangements, as in his 1953 Suite by Chance, allowing unpredictability to reveal the body's inherent possibilities without preconceived storytelling. Complementing this, advanced through works like Apollo (1928), stripping away Romantic excess for clean lines, musical precision, and geometric patterns that celebrated pure movement. Originally titled Apollon Musagète for Diaghilev's , the ballet's focus on Apollo's interactions with the Muses embodied Balanchine's vision of dance as an abstract dialogue with music, influencing the Ballet's enduring style. These mid-century shifts marked choreography's maturation into a diverse, conceptual practice.

Techniques and Methods

Core Principles

Choreography fundamentally relies on the interplay of space, time, and energy as core elements that shape movement and composition. Space encompasses levels (high, middle, low), directions (forward, backward, side), and pathways (straight, curved, diagonal), allowing choreographers to define how dancers navigate and interact within a performance area. These spatial principles, derived from Rudolf Laban's movement analysis, enable the creation of dynamic formations and visual depth in a work. Time involves duration (short or extended movements), tempo (speed variations), and accents (emphasized beats or pauses), which structure the rhythm and pacing of sequences to build tension or release. Energy, often described through qualities such as sustained (smooth, flowing) or percussive (sharp, forceful), conveys emotional intensity and physical dynamics, influencing the overall texture of the choreography. The choreographic process begins with ideation, where choreographers draw from inspirations like personal experiences or abstract concepts to generate initial movement ideas. This evolves into experimentation with motifs—recurring movement phrases that serve as building blocks—through and variation to develop coherence. Layering integrates these motifs with elements like , syncing movements to rhythms for enhanced synchronization, or props to add narrative layers without overpowering the . refinement follows, involving iterative adjustments for clarity, flow, and performer execution, ensuring the work achieves its intended impact. often plays a pivotal role in this , providing a structural foundation that guides phrasing and emotional arcs. Collaboration is integral to choreography, involving close partnerships with dancers to refine movements based on their physical capabilities and interpretations, composers to align scores with kinetic rhythms, and designers for costumes or sets that complement spatial and energetic elements. These interactions foster holistic integration, where feedback loops enhance the work's unity and innovation. For instance, choreographers may co-create with composers during rehearsals to tailor musical cues to specific dance accents, ensuring seamless . In diverse genres, these principles manifest uniquely; hip-hop choreography often evolves from freestyle —emphasizing spontaneous energy and rhythmic time responses—to structured routines that layer motifs into group formations, balancing individual expression with collective pathways. , by contrast, prioritizes internalized emotional principles, using sustained, introspective energy to explore subconscious states through minimal, transformative movements that engage space on a deeply personal level. Historical influences, such as George Balanchine's abstraction, briefly underscore these by stripping narrative for pure spatial and temporal exploration in .

Notation and Documentation

Notation in choreography refers to systematic methods for recording dance movements, enabling preservation, reproduction, and of works beyond live performance. These systems address the of dance by translating physical actions into visual or symbolic representations, facilitating transmission across generations and cultures. Early notations focused on courtly dances, while later developments incorporated broader expressive elements like effort and . One of the earliest comprehensive systems was the Beauchamp–Feuillet notation, developed by Guillaume-Louis Pecour and Raoul Auger Feuillet in 1700 for . This method used track-like diagrams to denote footwork tracks on the floor and abstract symbols for steps, arm positions, and timing, allowing dancers to reconstruct social dances like the from written scores. It emphasized geometric floor patterns and precise leg movements, reflecting the era's emphasis on and , and was widely disseminated through printed manuals across . In the , Rudolf Laban introduced in the as a more holistic approach to documenting human movement, not limited to . This system employs a vertical staff resembling , where symbols represent body parts (e.g., limbs, ), directions in space, levels of effort (such as flow, weight, time, and space), and durations. captures both choreographed sequences and improvisational qualities, making it suitable for diverse genres from to contemporary works; for instance, it has been used to notate Martha Graham's Lamentation (1930), preserving its angular contractions and emotional intensity. The International Council on Kinetography Laban oversees its standardization today. Developed in the 1950s by Joan and Rudolf Benesh, Benesh Movement Notation offers a visual alternative using stick-figure representations on a staff to depict the body's posture, gestures, and spatial relationships at specific moments. Unlike Labanotation's abstract symbols, Benesh uses proportional line drawings where the figure's head aligns with a central horizontal line, and limbs are marked with points for angles and paths; time progresses downward on the staff. This method excels in and theater, as seen in its application to notate Frederick Ashton's Symphonic Variations (1946), and is taught through the Benesh Institute for its clarity in group formations. Digital tools emerged in the as alternatives to manual notation, with software like Life Forms (initially developed by and engineers at ) enabling of choreography. Users manipulate virtual figures to simulate movements, sequences, and spatial patterns, outputting animations or printable scores that bridge traditional notation with computational visualization; however, it relies on user input for nuances like emotional intent, limiting full automation. While video documentation supplements these systems by capturing performances in real-time, it often fails to convey internal motivations or subtle variations, as videos are linear and interpretive rather than instructional. Challenges persist in notation, particularly for improvisational or culturally specific dances where movements embody intangible elements like rhythm, community interaction, or spiritual context. For example, in West African traditions such as Yoruba dance, notations like Labanotation struggle to fully encode polyrhythmic footwork and call-and-response dynamics without extensive supplementary descriptions, often requiring ethnochoreologists to adapt symbols or integrate oral histories for accuracy. These limitations highlight notation's role as a tool for partial preservation, prompting ongoing refinements to balance universality with cultural fidelity.

Contemporary Practices

In the late 20th and early 21st centuries, choreography has increasingly embraced , leading to fusion styles that blend diverse cultural traditions and movement vocabularies. , developed in the 1970s by as a partner-based practice emphasizing shared weight and spontaneous interaction, has evolved into a global form integrated with urban dance genres like hip-hop and voguing, fostering cross-cultural dialogues in contemporary works. For instance, voguing, originating from Black and Latino ballroom communities in 1980s New York, has globalized through online platforms, influencing hybrid choreographies that merge its precise, pose-driven aesthetics with hip-hop's rhythmic flow and non-Western forms such as the expressive gestures of from . These fusions reflect broader intercultural collaborations, where choreographers draw from transnational influences to create innovative performances that challenge cultural boundaries. A growing emphasis on diversity and inclusion has shaped contemporary choreography, with artists addressing social issues through movement that interrogates identity and equity. Pina Bausch's , prominent from the 1980s to the 2000s, pioneered this approach by exploring themes of dynamics, power imbalances, and human vulnerability in works like Viktor (1986), where dancers embodied raw emotional and social conflicts to critique societal norms. Building on such foundations from pioneers, recent choreographies increasingly incorporate , featuring non-binary performers and fluid movement vocabularies that subvert traditional binaries and promote inclusivity for marginalized communities. This trend extends to pieces that highlight intersectional identities, using choreography as a medium for and representation in global stages. The rise of site-specific and interdisciplinary choreography has expanded the boundaries of performance spaces, integrating dance with , , and audience participation. William Forsythe's interactive installations, beginning in the 1990s, exemplify this shift; works like Nowhere and Everywhere at the Same Time (2005, adapted site-specifically in later iterations) invite viewers to engage physically with suspended objects, blurring lines between observer and performer to explore choreographic principles beyond the stage. These approaches draw on environmental contexts and elements to create immersive experiences, influencing a generation of choreographers to prioritize relational dynamics and spatial in non-traditional venues. The from 2020 to 2022 profoundly disrupted live choreography, prompting innovations in virtual and socially distanced formats that have persisted in hybrid models. Choreographers adapted by creating screen-based works, such as solo or pieces filmed with spatial constraints to maintain emotional connectivity, while socially distanced performances emphasized isolated yet synchronized movements to evoke themes of isolation and resilience. These adaptations led to enduring hybrid formats, combining in-person and digital elements to broaden and redefine audience engagement in post-pandemic choreography.

Technological Integration

Motion capture technology has revolutionized choreography by enabling precise analysis and replication of human movement, allowing choreographers to capture, edit, and integrate dance sequences into digital environments. Systems like Vicon, developed in the 1990s, use optical cameras to track markers on dancers' bodies, generating 3D data that can be imported into animation software for experimentation and refinement. For instance, choreographic software such as LifeForms by Credo Interactive processes this data to simulate and compose movements, facilitating the creation of complex routines without physical rehearsal limitations. These tools build on traditional notation systems by providing dynamic, visual feedback that enhances movement documentation and innovation. Virtual reality (VR) and augmented reality (AR) have expanded choreographic possibilities by creating immersive environments where dancers and audiences interact in shared digital spaces. In the 2010s, choreographer Gideon Obarzanek's 2016 piece Stuck in the Middle With You utilized 360-degree VR filming to position viewers at the center of a performance, allowing them to experience movements from multiple angles through headsets and respond to lighting and sound cues. This approach fosters real-time audience engagement, blurring boundaries between performer and observer, and enables choreographers to design responsive, multi-perspective narratives that traditional stages cannot achieve. Artificial intelligence (AI) and have introduced generative capabilities to choreography, predicting and creating movement sequences based on historical data. Google's Arts & Culture Lab collaborated with choreographer on the 2018 Living Archive project, an AI tool that analyzes archival footage to suggest continuations and novel phrases in real time, drawing from over 25 years of McGregor's work. In the , extensions like AISOMA further this by processing user-input movements to generate personalized choreography in McGregor's style, demonstrating AI's role in democratizing creative processes while preserving stylistic integrity. Recent advancements encompass music-to-dance generation using diffusion models or transformer architectures to synthesize motions aligned with audio inputs. These systems represent human actions via parametric 3D models such as SMPL or SMPL-X, or 2D keypoints, and draw on datasets like AIST++, which includes 1,408 sequences of 3D dance motions across multiple genres. Projections and multimedia integration have long augmented live dance, layering visual elements to deepen spatial and temporal dimensions. Lucinda Childs pioneered this in her 1979 work Dance, collaborating with composer Philip Glass and artist Sol LeWitt to combine performers with black-and-white film projections on a transparent scrim, creating overlays that echo and extend the live action across the stage. Childs continues this integration in revivals and new pieces through the present day, using video to multiply dancers' presences and explore repetition, where projections interact dynamically with performers to form a unified multimedia composition.

Competitions and Recognition

Competitions and awards play a pivotal role in the professional validation of choreography, providing platforms for choreographers to showcase innovative work, gain international visibility, and secure advancement opportunities. These events often blend artistic evaluation with competitive structures, fostering a global dialogue on creation across genres such as , contemporary, and . The Prix de Lausanne, established in 1973, serves as a premier international platform primarily for young ballet dancers aged 15-18, but it has expanded to include choreographic elements through its Young Creation Award, launched in 2021 to nurture emerging choreographers from partner schools and companies. This award emphasizes original choreography, offering winners performance opportunities and mentorship to develop new works, thereby bridging dancer training with creative leadership. Complementing this, the World Dance Championship, part of broader competitive circuits like those organized by Star Dance Alliance, hosts annual events for various genres including contemporary, tap, and hip-hop, where choreographers compete in group and solo formats to highlight technical and narrative innovation. These circuits, spanning regional qualifiers to international finals, attract thousands of participants and emphasize diverse stylistic expressions. Recognition through prestigious awards further elevates choreographic contributions. The Laurence Olivier Award for Outstanding Achievement in Dance, introduced in 1977 as part of the awards founded in 1976, annually honors exceptional choreography in productions, with past recipients including for his narrative-driven adaptations and for innovative ensemble works that push physical and emotional boundaries. Similarly, the New York Dance and Performance Awards, known as the Bessies, established in 1984, celebrate groundbreaking choreography in independent dance, awarding creators like Trajal Harrell for conceptual pieces that interrogate cultural histories and Darrell Jones for improvisational depth in African American vernacular traditions. These honors not only affirm artistic merit but also influence programming decisions by theaters and festivals worldwide. Such competitions and recognitions significantly impact choreographers' careers by providing exposure, , and networking. For instance, participation in festivals like , founded in 1932 and hosting its annual dance festival since , has propelled emerging artists through residency programs and mainstage performances, enabling choreographers such as Kyle Abraham to secure commissions and grants that sustained their companies post-festival. Winners often report increased international touring opportunities and collaborations, with festival programs facilitating access to further and commissions. Despite these benefits, competitions face criticisms, particularly in genres like , where the emphasis on technical —such as precise footwork and lifts—can overshadow artistic depth and emotional storytelling. Adjudicators' subjective scoring systems often prioritize athletic execution over interpretive nuance, leading to homogenized styles that limit creative risk-taking, as noted in analyses of major circuits where couples scoring high on technique but low on rarely advance in artistic categories. This tension reflects broader debates in contemporary trends, where hybrid forms increasingly challenge traditional competitive metrics. In the United States, choreographic works have been eligible for copyright protection since the 1976 amendments to the Act, which explicitly included them as a category of protected authorship under 17 U.S.C. § 102(a)(4). To qualify, a work must meet two core criteria: , meaning it cannot consist merely of basic or commonplace movements like simple walks or arm gestures but must demonstrate creative authorship in the arrangement and sequence of steps, and fixation in a tangible medium of expression, such as written notation (e.g., ) or audiovisual recordings like video. This fixation requirement ensures the work is sufficiently permanent to permit , , or communication, and it does not need to be created by the choreographer themselves, as long as the recording captures the expressive elements of the choreography. Internationally, the for the Protection of Literary and Artistic Works, established in 1886 and revised multiple times, provides a foundational framework for safeguarding choreographic works as original artistic expressions across more than 180 member countries. The Convention's inclusion of "dramatic or dramatico-musical works" has encompassed choreography since its early iterations, with clarifications on fixation and reinforced in the 1971 Act, ensuring automatic protection without formalities upon creation. However, enforcement and specifics vary; for instance, in the , Directive 2006/116/EC (as amended by Directive 2011/77/EU) provides that for performers last 70 years from the performance or fixation for non-audiovisual performances, but only 50 years for those fixed in audiovisual works, compared to life plus 70 years for the underlying choreographic work. These terms are harmonized across member states. A key challenge in enforcing for choreography lies in proving between the original work and alleged infringements, as isolated poses or short sequences may not suffice for infringement claims without demonstrating copied expressive elements. This issue was central to the landmark case Hanagami v. , Inc. (2023), where choreographer Kyle Hanagami sued for incorporating elements of his registered work "How Long" into emotes; the Ninth Circuit Court of Appeals reversed a district court dismissal, holding that choreographic works should be analyzed holistically for infringement, akin to other expressive arts, rather than dissected into unprotected individual poses. As of 2025, the case remains ongoing in the district court following the appellate reversal. Such cases highlight ongoing difficulties in distinguishing protectable sequences from unprotectable ideas or social dances, often requiring expert testimony on the work's overall structure. Choreographers can mitigate these challenges through practical strategies, including prompt registration with the U.S. Copyright Office via the online portal (eco.copyright.gov), which provides prima facie evidence of validity and enables statutory damages in infringement suits if filed before or within three months of publication. For collaborative works, where multiple creators contribute (e.g., in group commissions), explicit contracts are essential to define ownership—such as joint authorship under 17 U.S.C. § 201(a), where all parties share undivided interests, or work-for-hire agreements transferring rights to a producer—preventing disputes over fixation or exploitation rights. These measures, combined with notations serving as fixation, strengthen legal recourse in an era of digital dissemination.

References

  1. https://link.springer.com/chapter/10.1057/9780230236844_6
  2. https://pmc.ncbi.nlm.nih.gov/articles/PMC6196263/
  3. https://www.etymonline.com/word/choreography
  4. https://www.britannica.com/biography/Raoul-Auger-Feuillet
  5. https://library.oapen.org/bitstream/id/84e603e8-0d78-498e-8b57-9b6019c591c5/PUB_856_Leon__Expanded_Choreographies.pdf
  6. https://pdfs.semanticscholar.org/8b07/058f4ca12416d97af658dae02f4a6ffaa917.pdf
  7. https://www.euppublishing.com/doi/10.3366/drs.2020.0290
  8. https://www.tandfonline.com/doi/full/10.1080/13528160802465409
  9. https://www.dictionary.com/browse/choreography
  10. https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/dance/do-you-wanna-dance/
  11. https://www.sciencedirect.com/science/article/pii/S0197455625000127
  12. https://www.nipai.org/blog/categories/choreography-and-blocking
  13. https://www.danceus.org/modern-dance/5-iconic-modern-dance-performances/
  14. https://motionartscenter.com/8-choreographers-who-influenced-contemporary-dance/
  15. https://www.merriam-webster.com/dictionary/choreography
  16. https://www.historyofinformation.com/detail.php?id=1989
  17. http://intermsofperformance.site/keywords/choreography/susan-leigh-foster
  18. https://www.nationalgeographic.com/history/article/dance-ancient-egyptians
  19. https://www.ancient-egypt-online.com/egyptian-dance.html
  20. https://www.britannica.com/art/dithyramb
  21. https://narthaki.com/info/prism/prism29.html
  22. https://disco.teak.fi/asia/bharata-and-his-natyashastra/
  23. https://www.loc.gov/collections/dance-instruction-manuals-from-1490-to-1920/articles-and-essays/western-social-dance-an-overview-of-the-collection/renaissance-dance/
  24. https://www.britannica.com/art/pavane
  25. https://courses.lumenlearning.com/suny-musicapp-medieval-modern/chapter/renaissance-dances-e/
  26. https://www.encyclopedia.com/humanities/culture-magazines/domenico-da-piacenza
  27. https://www.earlydancecircle.co.uk/resources/dance-through-history/the-early-renaissance/
  28. http://www.pbm.com/~lindahl/lod/vol3/italian_balli.html
  29. https://earlymusicmuse.com/domenico-da-piacenza/
  30. http://web-static.nypl.org/exhibitions/italiandance/intro.html
  31. https://www.ancient-origins.net/news-history/history-dance-0021285
  32. https://digital.lib.washington.edu/researchworks/bitstream/handle/1773/49092/Fullington_washington_0250E_24377.pdf?sequence=1
  33. https://www.pbt.org/wp-content/uploads/2016/11/Don-Quixote-Teacher-Resource-Guide.pdf
  34. https://artsintegration.com/wp-content/uploads/2015/05/Modern.pdf
  35. https://www.danceus.org/modern-dance/modern-dance-history-movements-styles-dancers-competitions/
  36. https://euppublishing.com/doi/10.3366/drs.2017.0202
  37. https://www.vam.ac.uk/articles/diaghilev-and-the-ballets-russes
  38. https://www.humanities.uci.edu/news/chance-and-dance
  39. https://mercecunningham.org/the-work/choreography/suite-by-chance
  40. https://www.pnb.org/repertory/apollo/
  41. https://www.nycballet.com/discover/ballet-repertory/apollo
  42. https://www.backstage.com/magazine/article/laban-movement-analysis-guide-50428/
  43. https://louis.pressbooks.pub/exploringarts/chapter/elements-of-dance/
  44. https://www.pescholar.com/insight/how-to-structure-a-dance-lesson-unit-motif/
  45. https://digscholarship.unco.edu/cgi/viewcontent.cgi?article=1349&context=theses
  46. https://dancemagazine.com/choreographers-and-nondancer-collaborators/
  47. https://www.danceinforma.com/2013/05/03/when-choreographers-and-composers-collaborate/
  48. https://www.steezy.co/posts/how-to-freestyle-dance-2
  49. https://openaccess.city.ac.uk/id/eprint/11883/1/An%2520Inquiry%2520into%2520the%2520Creative%2520Process%2520of%2520Butoh.pdf
  50. https://www.mdpi.com/2076-0752/9/4/119
  51. https://www.critical-stages.org/29/steve-paxton-1939-2024-contact-improvisation-for-generations/
  52. https://www.contactquarterly.com/contact-improvisation/about/
  53. https://www.them.us/story/vogue-culture-evolving-globalizing-online
  54. https://mymodernmet.com/usha-jey-hybrid-bharatham/
  55. https://www.cambridge.org/core/journals/dance-research-journal/article/current-trends-in-contemporary-choreography-a-political-critique/01E8386A774306C1E366CED303FB47A0
  56. https://thepolyphony.org/2020/07/14/the-gendered-spectacle-of-suffering/
  57. https://pdfs.semanticscholar.org/b00b/7c103e0f913da0ff46b703d458b57dab465e.pdf
  58. https://www.icaboston.org/exhibitions/william-forsythe-choreographic-objects/
  59. https://www.danceusa.org/ejournal/2021/08/13/dance-comeback-the-impact-of-covid-19-on-the-dance-field-and-the-future-of-dance
  60. https://www.artscouncil.org.uk/sites/default/files/download-file/UCL_Role_of_the_Arts_during_COVID_13012022_0.pdf
  61. https://www.vicon.com/resources/press/vicon-helps-the-wholodance-project-capture-the-essence-of-dance/
  62. https://www.credo-interactive.com/products/lifeforms/purchase.html
  63. https://www.theguardian.com/stage/2016/mar/07/audience-takes-centre-stage-in-pioneering-virtual-reality-dance-film
  64. https://artsandculture.google.com/story/living-archive-creating-choreography-with-artificial-intelligence-studio-wayne-mcgregor/1AUBpanMqZxTiQ?hl=en
  65. https://blog.google/outreach-initiatives/arts-culture/from-dance-archive-to-creative-catalyst-with-google-ai/
  66. https://google.github.io/aistplusplus_dataset/
  67. https://edge-dance.github.io/
  68. https://www.seeingdance.com/lucinda-childs-dance-241206/
  69. https://www.dance-enthusiast.com/features/view/Lucinda-Childs-Dance-at-The-Joyce-Theater-
  70. https://dancemagazine.com/choreography-competitions/
  71. https://www.worlddancechampionship.com/
  72. https://www.stardancealliance.com/
  73. https://bessies.org/about/
  74. https://www.jacobspillow.org/support/creation-new-work/
  75. https://dancemagazine.com/competitions-does-extreme-technique-go-too-far/
  76. https://www.researchgate.net/publication/249006394_Artistry_or_mere_technique_The_value_of_the_ballet_competition
  77. https://www.aipla.org/docs/default-source/quarterly-journal/46-3_3_mitchell_finale308e6d71a0c4aac86b342212fe31ae9.pdf?sfvrsn=1a722c82_2
  78. https://www.copyright.gov/circs/circ52.pdf
  79. https://www.law.cornell.edu/uscode/text/17/102
  80. https://home.csulb.edu/~jvancamp/copyrigh.html
  81. https://www.wipo.int/edocs/pubdocs/en/copyright/615/wipo_pub_615.pdf
  82. https://revistas.uexternado.edu.co/index.php/propin/article/view/10201/18258
  83. https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX:32006L0116
  84. https://www.arnoldporter.com/en/perspectives/advisories/2023/11/hanagami-v-epic-games-the-ninth-circuit-clarifies
  85. https://cdn.ca9.uscourts.gov/datastore/opinions/2023/11/01/22-55890.pdf
  86. https://www.courtlistener.com/docket/63195679/kyle-hanagami-v-epic-games-inc/
  87. https://www.romanolaw.com/copyrighting-and-licensing-choreography/
  88. https://www.danceusa.org/ejournal/2011/10/14/copyright-basics-for-dance-works
Add your contribution
Related Hubs
User Avatar
No comments yet.