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Choreographer Agreement

For choreographers and clients arranging original choreography, rehearsals, and agreed performance or recording rights.

Drafted by a Harvard Law attorney.

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Key Points Covered in This Contract

  • Choreography and rehearsals: The project scope identifies routines, rehearsal commitments, and reference deliverables.
  • Delivery and revision rounds: An optional deadline and revision count distinguish corrections from a changed creative brief.
  • Project-use license: An express project-use license defines performances, recording, distribution, and duration while copyright stays with the choreographer.
  • Music, performer, and production clearances: Responsibility for music, performer, location, and incorporated third-party clearances is stated separately.
  • Credits, cancellation, and refunds: Optional credit wording, cancellation accounting, and unused-prepayment refunds address the project's conclusion.

Developing Movement for Performance

A choreographer develops movement that communicates rhythm, character, mood, or story through performers. The process can begin with music, a creative brief, or exploration in rehearsal, then develop into sequences adapted to the performers and production setting. Teaching, observing, and refining movement are central to the work. Camera framing, stage dimensions, costumes, and physical ability affect how a routine is performed. Collaboration with directors, dancers, and other creative personnel turns the movement into a repeatable performance.

Choreography grows through testing how movement feels on the performer and reads to an audience or camera. Sequences may explore rhythm, spatial patterns, partnering, or a character's physical behavior. Rehearsal turns an idea into something repeatable while allowing performers to contribute their abilities. Changes to music, staging, or camera coverage can require adjustments to timing and formation rather than simply repeating the same routine elsewhere.

The choreographer communicates movement clearly through demonstration, explanation, and feedback. Directors and musical personnel provide context about the wider production, while performers offer practical information about what works physically. Costumes, surfaces, and available rehearsal space also affect the process. A productive relationship gives performers confidence in the material and keeps the movement connected to the production's intended expression.

Frequently Asked Questions

Who owns the choreography?
The choreographer retains copyright where protectable and grants the project-use license described in the agreement. The fee does not automatically transfer ownership.
Can the choreography be recorded?
Recording and distribution rights need to match the intended project. Permission to perform choreography live does not necessarily authorize a filmed release, online class, or reuse in another production. Music, performer, and venue permissions may also be needed independently of the choreographer's permission.
Are music and performer permissions included?
Not automatically. Choreography, music, recordings, and performer contributions can involve separate rights. A choreographer may identify relevant material without being responsible for clearing every use. The production should know who obtains permissions and whether they cover filming, distribution, and later promotion.
What if no revisions are included?
A choreography booking can exclude discretionary revision rounds while still requiring the work to meet the agreed brief. Fixing a departure from that brief is different from asking for a new concept, different music, or extra rehearsal work.
Does a choreography fee include teaching replacement performers?
A booking may cover specified rehearsals and an original cast without including later teaching sessions. Replacement performers, new formations, or substantial cast changes can require additional work. A video reference may help but does not necessarily replace instruction or grant permission for unrelated performances.