ABSTRACT
A first production of choreo-graphies appears in early modern Europe, starting from the fifteenth century. As a matter of fact, the act of dancing is a complex experience, engaging simultaneous multimodal perceptions that are visual, auditory, tactile, kinaesthetic and proprioceptive. Choreo-graphy implies the choice of representing only a few elements of this complex perceptive experience. In a choreo-graphing process, activated for a prescriptive, descriptive or preservative purpose, each choreo-grapher chooses to emphasise one or another relevant aspect of a dance event. If choreo-graphy 'is neither more nor less stable than the dance to which it stands in relation' and, as such, is not a reliable source for dance history, a critical inquiry into it may challenge the epistemological grounding of the notion of dance itself. Choreo-graphy here is a matter of tracing and retracing measured time and articulating movement with sound as an organic flow.
