Choreography, from a social perspective, being that its main subject matter through the presence of dancers, is people, is an ongoing investigation and analysis of how power is being organized in the context of human groups and relations.
From an artistic perspective though, choreography is the main field, alongside music, in which the practice of looking into the alchemy of how to organize separate lines of information (through time and space) into one coherent whole (as in, counterpoint), is the main focus. Defining its specificities as a field of knowledge, a space of study and a meaning producing practice.
Looking at choreography nowadays, reveals the surprising, yet obvious, truth, that choreography is actually a small niche within the larger ‘dance world’, which main focus is on movement techniques/styles/languages, theoretical and philosophical concepts, political manifestos and social agendas, therapeutic processes, story telling, formalistic esthetics, autobiographical diaries, performance art, entertainment etc.
Choreography, the practice, research and craft, is completely absent from almost every dance work made and presented today, regardless of the fact someone is usually credited for ‘choreography’ - a term generally misused and a practice often misunderstood.
Understanding where choreography is actually situated within the context of dance making in general - a small, fringe, (avent guard?) niche - is of great value to those who’s artistic focus is indeed, choreography.
