Choreography in the context of Design

Dance is an art form, consisting of sequences of body movements with aesthetic and often symbolic value, either improvised or purposefully selected. Dance can be categorized and described by its choreography, by its repertoire of movements or by its historical period or place of origin. Dance is typically performed with musical accompaniment, and sometimes with the dancer simultaneously using a musical instrument themselves.

Two common types of group dance are theatrical and participatory dance. Both types of dance may have special functions, whether social, ceremonial, competitive, erotic, martial, sacred or liturgical. Dance is not solely restricted to performance, as dance is used as a form of exercise and occasionally training for other sports and activities. Dance performances and dancing competitions are found across the world exhibiting various different styles and standards.

Concert dance (also known as performance dance or theatre dance in the United Kingdom) is dance performed for an audience. It is frequently performed in a theatre setting, though this is not a requirement, and it is usually choreographed and performed to set music.

By contrast, social dance and participation dance may be performed without an audience and, typically, these dance forms are neither choreographed nor danced to set music, though there are exceptions. For example, some ceremonial dances and baroque dances blend concert dance with participation dance by having participants assume the role of performer or audience at different moments.

Sacred dance is the use of dance in religious ceremonies and rituals, present in most religions throughout history and prehistory. Its connection with the human body and fertility has caused it to be forbidden by some religions; for example, some branches of Christianity and Islam have prohibited dancing. Dance has formed a major element of worship in Hindu temples, with strictly formalized styles such as Bharatanatyam, which require skilled dancers and temple musicians. In the 20th century, sacred dance has been revived by choreographers such as Bernhard Wosien as a means of developing community spirit.

Free dance is a 20th-century dance form that preceded modern dance. Rebelling against the rigid constraints of classical ballet, Loie Fuller, Isadora Duncan and Ruth St. Denis (with her work in theater) developed their own styles of free dance and laid the foundations of American modern dance with their choreography and teaching. In Europe, Rudolf Laban, Emile Jaques-Dalcroze and François Delsarte developed their own theories of human movement and methods of instruction that led to the development of European modern and Expressionist dance.

Free dance was prolific in Central and Eastern Europe, where national schools were created, such as the School of Musical Movement (Heptachor), in Russia, and the Orkesztika School, in Hungary.

Mock combat involves the execution of combative actions without serious intent of harm. Participants can engage in such sparring for ritual, training, recreational or performance reasons. The nature of mock combat can vary from realistic to symbolic. Mock combat can be classified into choreographed and unchoreographed forms.

Trinity Laban Conservatoire of Music and Dance is a music, dance, and musical theatre conservatoire based in South East London. It was formed in 2005 as a merger of two older institutions – Trinity College of Music and Laban Dance Centre. Trinity Laban provides training in all aspects of classical music, jazz, popular music, composition, musical theatre, contemporary dance, dance science, choreography, and music education. The conservatoire has 1,250 undergraduate and postgraduate students based at three campuses in Greenwich, Deptford and New Cross.

Trinity Laban also runs a Centre for Advanced Training programme for young dancers aged 12 to 17 and a junior music department (Junior Trinity), designed for young musicians aged 3 to 19.

Stage combat, fight craft or fight choreography is a specialised technique in theatre designed to create the illusion of physical combat without causing harm to the performers. It is employed in live stage plays as well as operatic and ballet productions. With the advent of cinema and television the term has widened to also include the choreography of filmed fighting sequences, as opposed to the earlier live performances on stage. It is closely related to the practice of stunts and is a common field of study for actors. Actors famous for their stage fighting skills frequently have backgrounds in dance, gymnastics or martial arts training.

Jack Cole (born John Ewing Richter; April 27, 1911 – February 17, 1974) was an American dancer, choreographer, and theatre director known as "the Father of Theatrical Jazz Dance" for his role in codifying African-American jazz dance styles, as influenced by the dance traditions of other cultures, for Broadway and Hollywood. Asked to describe his style he described it as "urban folk dance".

His work as a dancer and choreographer began in the 1930s and lasted until the mid-1960s. Beginning in modern dance, he worked in nightclubs, on the Broadway stage, and in Hollywood films, ending his career as a teacher. He was an innovative choreographer for the camera and a hugely influential choreographer and teacher, training Gwen Verdon, Carol Haney, and Buzz Miller, among many others, and influencing later choreographers, such as Bob Fosse, Jerome Robbins, and Alvin Ailey, all of whom drew heavily from his innovations.

Raymond Martin Barallobre Ramirez (January 3, 1930 – March 26, 2025), known professionally as Ray Barra, was an American ballet dancer, ballet master, choreographer and ballet director who worked mostly in Europe. He was a soloist with the American Ballet Theatre and from 1959 a principal dancer of the Stuttgart Ballet, where he danced parts in creations by John Cranko including Romeo in Romeo and Juliet with Marcia Haydée as Julia, and the title role in Onegin. He created major roles in ballets by Kenneth MacMillan, Las Hermanas and Song of the Earth. After retiring from the stage due to an injury, he worked as a ballet master first with the Berlin State Ballet, then with John Neumeier at the ballet of the Oper Frankfurt and the Hamburg Ballet. He was associate director of the Spanish National Dance Company, and created several choreographies internationally.

The Seasons (Russian: Времена года, Vremena goda; also French: Les Saisons) is an allegorical ballet in one act, four scenes, by the choreographer Marius Petipa, with music by Alexander Glazunov, his Op. 67. The work was composed in 1899, and first performed by the Imperial Ballet on 26 February [O.S. 13 February] 1900 in St. Petersburg, Russia.

Synchronized swimming (in British English, synchronised swimming), also known as artistic swimming, is a sport where swimmers perform a synchronized choreographed routine, accompanied by music. The sport is governed internationally by World Aquatics (formerly known as FINA). It has traditionally been a women's sport, although FINA introduced a new mixed-gender duet competition that included one male swimmer in each duet at the 2015 World Aquatics Championships and European Aquatics introduced men's individual events at the 2022 European Aquatics Championships. From 2024, men are able to compete in the team event at the Olympics.

Synchronized swimming has been part of the Summer Olympics program since 1984, featuring both women's duet and team events. In 2017, under the instruction of the International Olympic Committee (IOC), FINA renamed the sport from "synchronized swimming" to "artistic swimming" – a decision that has faced controversy. The new official name has yet to gain general acceptance beyond the core of the sport.

Sergei Pavlovich Diaghilev (/diˈæɡɪlɛf/ dee-AG-il-ef; Russian: Серге́й Па́влович Дя́гилев, IPA: [sʲɪrˈɡʲej ˈpavləvʲɪdʑ ˈdʲæɡʲɪlʲɪf]; 31 March [O.S. 19 March] 1872 – 19 August 1929), also known as Serge Diaghilev, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes, from which many famous dancers and choreographers would arise.

Diaghilev's career can be divided into two periods: in Saint Petersburg (1898–1906) and while as an emigrant (1906–1929).

Vaslav or Vatslav Nijinsky (12 March 1889/1890 – 8 April 1950) was a Russian ballet dancer and choreographer of Polish ancestry. He is regarded as the greatest male dancer of the early 20th century. He is often associated with the Ballets Russes and its impresario Sergei Diaghilev, for which he choreographed such influential ballets as L'après-midi d'un faune (1912), Le Sacre du Printemps (1913), Jeux (1913), and Till Eulenspiegel (1916). He was celebrated for his virtuosity and for the depth and intensity of his characterizations. He could dance en pointe, a rare skill among male dancers at the time, and was admired for his seemingly gravity-defying leaps.