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Choreography is the art of making dances, the gathering and organization of movement into order and pattern. Most recent works of Western theatre dance have been created by single choreographers, who have been regarded as the authors and owners of their works in a way comparable to writers, composers, and painters. Most social and recreational dances, on the other hand, are products of long evolution, involving innovations that groups of people or anonymous individuals have brought to traditional forms. This evolutionary process is also typical of much non-Western choreography, where both the form and steps of dances are handed down from one generation to another and subject only to gradual and partial change. Even in cultures where it is common for dancers and dancing masters to create their own variations on existing dances, as among the Hopi in northeastern Arizona, it may not be traditional to honour an individual as a particular dance’s creator.
When choreographers set out to create new works, or possibly rework traditional dances, their impulses or motivations for doing so vary widely. It may be that a particular dance has a function to fulfill, such as marking a celebration, embellishing an opera, or praying for rain. It may be that the piece has no specific function and that the choreographer is simply responding to an outside stimulus—a piece of music that has suggested a structure or movement, perhaps, or a painting, or a theme from literature, or possibly a particular dancer that the choreographer is interested in working with. Or the stimulus may be the choreographer’s desire to express a particular concept or emotion or a fascination with a particular choreographic idea. Such stimuli may, of course, influence the work even if the choreographer is producing it for a specific purpose, though, as with any artist, it is rare that a choreographer’s motives and intentions can be clearly analyzed—particularly during the actual working process.
The methods by which different choreographers create their work also vary. Some work closely with the dancers from the beginning, trying out ideas and taking suggestions from the dancers themselves before pulling all of the material together. Others start with clear ideas about the shape of the piece and its content even before going into the studio. The 19th-century choreographer Marius Petipa used small models to work out the groupings of his dances. The amount that any choreographer can do without dancers is limited, because the notation of dance is relatively undeveloped. Whereas a composer can write a complete symphony without meeting the orchestra that is going to play it, dance notation is mostly used in recording rather than creating dances (see below Dance notation).
