Choreography is the art of composing movement into meaningful, structured sequences. Choreographers work with elements including motif (a movement idea, repeated and developed throughout a piece), space (level, direction, pathway and use of the performance area), and dynamics (qualities like sharp versus sustained movement, or sudden versus gradual changes in energy). A motif is typically established early, then developed through devices like retrograde (performing it in reverse), augmentation (stretching it out in time or size) or fragmentation (using only part of it) — allowing a choreographer to build a cohesive piece from a single core idea rather than a disconnected sequence of unrelated movements.
Example
A choreographer might establish a simple reaching motif early in a piece, then later have dancers perform it in retrograde (as if rewinding), in augmentation (stretched into a slow, expansive reach across the whole stage), and in fragmentation (just the final hand gesture, isolated) — creating a sense of unity and development across the piece from that single original idea.
Key terms
Motif:
A movement idea that is repeated and developed throughout a choreographic work.
Dynamics:
Qualities of movement, such as sharp versus sustained, or sudden versus gradual.
Retrograde:
A choreographic device where a movement or sequence is performed in reverse.
Questions
1. Choreography is the art of:
Composing movement into meaningful, structured sequences
A concept unrelated to arranging or structuring movement
Only memorising existing dances with no original composition
Something entirely unrelated to performance
2. A motif in choreography is:
A movement idea that is repeated and developed throughout a piece
A term unrelated to how a dance piece is structured
Something used only once, with no development or repetition
A concept relevant only to music, not dance
3. Dynamics in dance refers to:
Qualities of movement, like sharp versus sustained
Only the specific steps used in a piece
A concept unrelated to how a movement feels or is performed
Something only relevant to music, not dance
4. Retrograde as a choreographic device means:
Performing a movement or sequence in reverse
Repeating a movement in exactly the same way, unchanged
A concept unrelated to developing a motif
Removing all movement from a section of the piece
5. Augmentation as a choreographic device involves:
Stretching a movement idea out in time or size
Making a movement idea smaller or faster only
A concept unrelated to developing a motif
Removing a movement idea from the piece entirely
6. Fragmentation as a choreographic device involves:
Using only part of an established movement idea
Always using the complete, entire original movement idea
A concept unrelated to how a motif can be developed
Combining two entirely unrelated dance pieces together
7. Choreographers consider space in terms of elements like:
Level, direction and pathway
Only the colour of the costumes used
A concept unrelated to how the performance area is used
Only the music selected for the piece
8. Why might developing a single motif through devices like retrograde or fragmentation create a more cohesive piece than simply stringing together unrelated movements?
Returning to and transforming a recognisable idea helps the audience sense unity and development across the piece, rather than a disconnected sequence of moments
Using entirely unrelated movements throughout a piece always creates a stronger sense of cohesion than developing a single motif
The choice to develop or not develop a motif has no genuine bearing on how cohesive a piece feels to an audience
A motif can only ever be used once in a piece, with no possibility of further development
9. Why might a choreographer deliberately vary the dynamics within a piece, rather than maintaining the same quality of movement throughout?
Contrasting dynamics, like sudden bursts of energy against sustained, flowing movement, can create interest, emphasis and emotional shifts across a piece
Maintaining an identical movement quality throughout a piece always creates a more engaging experience for the audience
Dynamics have no genuine bearing on how a choreographic piece is experienced by an audience
Varying the dynamics within a piece never actually affects its emotional impact in any way
10. Why might a choreographer's use of space (level, direction and pathway) affect how an audience interprets a piece's meaning?
Spatial choices, like dancers moving close together versus spread apart, or low to the ground versus reaching upward, can suggest relationships, power dynamics or emotional states
The use of space in a choreographic piece has no genuine bearing on how an audience interprets its meaning
Spatial choices are always purely decorative, with no connection to a piece's meaning or emotional content
Every choreographic use of space communicates exactly the same meaning to every audience regardless of context
11. Why might a dancer's ability to embody contrasting dynamics (like moving from sharp to sustained) require specific physical training, not just natural ability?
Controlling different qualities of movement precisely and intentionally involves developed body awareness and technique, beyond what untrained natural movement alone provides
Dancers require no specific physical training to embody contrasting dynamics precisely and intentionally
Natural ability alone is always completely sufficient to control and vary movement dynamics with precision
The ability to embody contrasting dynamics has no genuine connection to a dancer's physical training
12. Why might a choreographer use repetition of a motif deliberately, even though repeating the same movement might seem to risk becoming predictable?
Deliberate repetition can build familiarity and anticipation in the audience, which the choreographer can then use meaningfully by fulfilling or subverting that expectation
Repeating a movement idea always makes a choreographic piece weaker, with no possible creative benefit
Audience familiarity and anticipation have no genuine bearing on how a choreographic piece is experienced
A choreographer should always avoid any repetition of a movement idea throughout an entire piece
13. Why might the number of dancers performing a motif simultaneously (a solo versus a full ensemble) change how that same movement idea is experienced by an audience?
A movement performed by a full ensemble can create a sense of scale, unity or power that a solo performance of the identical movement would not convey in the same way
The number of dancers performing a given movement idea has no genuine bearing on how that movement is experienced by an audience
A solo performance of a motif always creates exactly the same impact and impression as an ensemble performing it
Ensemble and solo performances of an identical movement idea are always experienced identically by an audience
14. Why might choreographers sometimes deliberately break an established movement pattern, rather than maintaining complete consistency throughout a piece?
A deliberate break from an expected pattern can create a moment of surprise, tension or emphasis that draws the audience's attention to a particular idea
Breaking an established movement pattern always weakens a choreographic piece with no possible creative benefit
Choreographic consistency should always be maintained perfectly throughout a piece with no deliberate variation
An audience never actually notices or responds to a break from an established movement pattern
15. Why might analysing how a motif is developed across a professional dance work help a student choreographer improve their own compositional choices?
Seeing how an experienced choreographer builds unity and variation from a single idea can offer concrete models and techniques to apply and adapt in original work
Analysing professional choreographic work never actually offers any useful insight for a student's own compositional choices
A student choreographer's own instincts are always exactly as effective as studying how experienced professionals develop a motif
There is no genuine connection between studying professional choreography and developing skill in composing original movement
16. Why might the same core motif be developed very differently by two choreographers working with contrasting artistic intentions?
Choices about dynamics, space and choreographic devices are shaped by what the choreographer is trying to communicate, meaning identical raw material can lead to very different finished pieces
Two choreographers working from the same core motif will always inevitably produce identical choreographic results
A choreographer's underlying artistic intention has no genuine bearing on how a shared motif is actually developed
The choice of choreographic devices applied to a motif is always independent of the choreographer's creative intention
17. Why might choreography for a group of dancers introduce compositional considerations (like unison versus canon) that solo choreography doesn't require?
With multiple dancers, a choreographer can also decide whether movement happens simultaneously (unison) or in a staggered sequence (canon), adding a layer of structural choice unavailable in solo work
Choreographing for a group of dancers never introduces any compositional considerations beyond those relevant to solo work
Unison and canon are choreographic devices exclusively relevant to solo choreography, not group work
The number of dancers involved in a piece has no genuine bearing on the compositional choices available to a choreographer
18. Why might a choreographer need to consider the relationship between movement and any accompanying music or sound, rather than developing the choreography in complete isolation?
Alignment (or deliberate contrast) between movement and sound can significantly shape how a piece is experienced, meaning the two elements are often developed with genuine awareness of each other
Movement and accompanying sound are always completely unrelated considerations with no genuine bearing on one another
A choreographic piece is always experienced identically by an audience regardless of its relationship to any accompanying sound
Choreographers should always develop movement in complete isolation from any consideration of sound or music
19. Why might a choreographer deliberately choose to work against, rather than in step with, the rhythm of the accompanying music?
Deliberately contrasting movement with the underlying rhythm can create tension, surprise or a distinct artistic effect, rather than the more expected synchrony of matching movement to beat
Working against the rhythm of accompanying music always weakens a choreographic piece with no possible artistic benefit
Movement can only ever be considered successful choreography if it precisely matches the rhythm of accompanying music
The relationship between movement and musical rhythm has no genuine bearing on the artistic effect of a choreographic piece
20. Why might site-specific choreography (created for a particular non-theatre space, like a stairwell or courtyard) require different compositional thinking than choreography made for a traditional stage?
The specific spatial features, sightlines and audience proximity of a non-traditional space can shape or constrain choreographic choices in ways a traditional, predictable stage does not
A traditional stage and a specific non-theatre space always present exactly identical compositional considerations for a choreographer
The physical characteristics of a performance space have no genuine bearing on how choreography for that space should be composed
Site-specific choreography requires no genuinely different compositional thinking compared to choreography made for a traditional stage
21. Understanding choreography and dance composition mainly helps you to:
Analyse how choreographic devices, dynamics and space are used to build meaningful, structured movement
Assume choreography is simply a random sequence of unrelated movements with no compositional structure
Ignore how varying movement dynamics can shape an audience's emotional response to a piece
Treat every choreographic use of space as purely decorative with no connection to meaning
Answer key (parent copy)
1. Composing movement into meaningful, structured sequences
2. A movement idea that is repeated and developed throughout a piece
3. Qualities of movement, like sharp versus sustained
4. Performing a movement or sequence in reverse
5. Stretching a movement idea out in time or size
6. Using only part of an established movement idea
7. Level, direction and pathway
8. Returning to and transforming a recognisable idea helps the audience sense unity and development across the piece, rather than a disconnected sequence of moments
9. Contrasting dynamics, like sudden bursts of energy against sustained, flowing movement, can create interest, emphasis and emotional shifts across a piece
10. Spatial choices, like dancers moving close together versus spread apart, or low to the ground versus reaching upward, can suggest relationships, power dynamics or emotional states
11. Controlling different qualities of movement precisely and intentionally involves developed body awareness and technique, beyond what untrained natural movement alone provides
12. Deliberate repetition can build familiarity and anticipation in the audience, which the choreographer can then use meaningfully by fulfilling or subverting that expectation
13. A movement performed by a full ensemble can create a sense of scale, unity or power that a solo performance of the identical movement would not convey in the same way
14. A deliberate break from an expected pattern can create a moment of surprise, tension or emphasis that draws the audience's attention to a particular idea
15. Seeing how an experienced choreographer builds unity and variation from a single idea can offer concrete models and techniques to apply and adapt in original work
16. Choices about dynamics, space and choreographic devices are shaped by what the choreographer is trying to communicate, meaning identical raw material can lead to very different finished pieces
17. With multiple dancers, a choreographer can also decide whether movement happens simultaneously (unison) or in a staggered sequence (canon), adding a layer of structural choice unavailable in solo work
18. Alignment (or deliberate contrast) between movement and sound can significantly shape how a piece is experienced, meaning the two elements are often developed with genuine awareness of each other
19. Deliberately contrasting movement with the underlying rhythm can create tension, surprise or a distinct artistic effect, rather than the more expected synchrony of matching movement to beat
20. The specific spatial features, sightlines and audience proximity of a non-traditional space can shape or constrain choreographic choices in ways a traditional, predictable stage does not
21. Analyse how choreographic devices, dynamics and space are used to build meaningful, structured movement