This Index is displayed in Alphabetic order
These terms are hyper-linked throughout the website and have been defined by our multidisciplinary team as a resource relevant to choreography in the museum.
Enabling access and inclusion for all, including those who live with a disability, by reducing barriers and encouraging awareness and additional support.
Someone with expertise in access policy and procedure who ensures that activities, projects and facilities enable access.
An addendum to an agreement or contract that details a person’s access needs. It also encourages a framework of engagement that supports awareness, inclusion and reduces restrictive environments. Access riders emerged from a disability advocacy framework.
The museum’s formal process for acquiring legal title to an artwork to enter the museum’s collection through purchase, donation or bequest. Acquiring an artwork brings with it responsibilities for the institution to care for, preserve and document the artwork.
A museum term used to describe the process of preparing the performance for display and presenting it in an active and live manner.
Someone who might work directly with an artist, performer or creative as their liaison to assist with negotiations and contracts.
A collection of material that may include images (analogue / digital), correspondence (analogue / digital), scrapbooks, press clippings, exhibition documentation, sketchbooks, notebooks, diaries, journals, artworks, audio and audiovisual material, costumes and props, books, magazines, and other research or source material.
Someone who assesses, collects, preserves and maintains records and archives related to commissioned and/or acquired artworks.
A group of people who may comprise performers, designers, other artists, musicians, producers and others. It may have one or more lead artists, or it may operate as a collective.
The accumulation of records across the life span of a choreographic artwork. This is achieved by gathering information from its network (artist teams, museum workers, audience, etc.) to build a repertoire of experience. This can include iteration data, audience testimonies, correspondence, ephemera and documentation.
To ‘auspice’ means to provide support, or guidance. When using an auspice arrangement, an artist will be carrying out the project ‘under the auspices of’ the incorporated organisation or the auspicor. The auspicor will monitor the use of the funding to ensure compliance with the purpose for which it was provided and is adhering to fair work standards. They may also help with insurances, payroll, risk management and conflicts resolutions.
An artist working in the medium of choreography that includes dance as a material. Choreographers may be commissioned by the museum or they may initiate work independently. Choreographers may also refer to creative collaborators working with a lead artist.
An artwork resulting from choreographic practices, which appears in many contexts, including theatres, museums, everyday life and ceremony, etc.
The organisation of people and things in time and space. In relation to dance, choreography is an acquired skill or tool that is applied to generate the artwork. As well as a practice, it is also used as a noun to describe the material of such work.
The range of artworks, both physical and intangible, that a museum has assembled through the acquisition process, as influenced by its history and mission. Collections and collecting, along with the aim of acquiring, preserving and promoting (or presenting) them, differentiate art museums from other art organisations.
A professional practice which aims to preserve tangible and intangible cultural heritage, enhance interpretation, and manage or minimise change over time. Preventive, adaptive, reconstructive or restorative approaches might be appropriate to enable artworks to communicate or be experienced, as intended by the artist or community of origin, for current and future audiences. This definition of conservation can be challenged in the context of choreographic works, where change is integral; they are made of people, sustained by relational networks, and often have few or no ‘material’ aspects for conservators to preserve. Thus, the definition and aims of conservation encompass a broader set of practical responsibilities and ethical questions.
A professional who works to preserve and enhance the interpretation of tangible and intangible cultural heritage and manage or minimise change. Conservators work in specialised fields by material type (e.g., time-based media) or function (e.g., preventative conservation), or they might work with many kinds of media and conservation methods. Conservators often work in museums, galleries and archives to care for collections and support program activities such as exhibitions, acquisitions and loans. For choreographic works the remit of a conservator’s responsibilities means that their role and practice must adapt to accommodate the needs of such works, that is, supporting transmission or enabling the conditions for works to thrive.
One of several categories of intellectual property law that protects the original expression of ideas such as text, images, music, film, choreography and other material forms. To understand the rights determined by copyright law please refer to the legislation in your region or country.
Someone who is part of an artist’s team and who is responsible for designing, producing and sourcing all costume components of a choreographic work.
Country is a term used to refer to an Indigenous place and encompasses land, waterways, seas and skies, as well as the energy and space in between. Country is used by First or Indigenous Peoples to refer to the lands, waters and skies to which they are connected through ancestral and family ties.
A person who conceives exhibitions and programs in consultation with artists and colleagues. They plan exhibitions, including the conceptual framework, the selection of works, and mediating between the artist and the museum. They may also contribute to the scholarship surrounding artists and artworks. Curators work with collections, supporting research, display and access. Curators may have specialisations such as contemporary art, art of a particular era, art of a particular geographic region or art of a particular medium.
A person or institution responsible for taking care of something. For example, the museum is sometimes referred to as a custodian of the materials within its collection. This term is also used in the context of Indigenous communities to describe the relationship between them and their cultural heritage. For this resource, ‘custodian’ refers to an individual who has inherited the cultural right and responsibility to maintain and pass on significant elements of their community's culture (e.g., language, knowledge, stories, songs, dances, ceremony, customary practices and lore).
Choreography and many other activities that are related to physical movement. In this resource, ‘choreography’ is the preferred term for the artform discussed.
Colleagues working in this area in a museum may be responsible for investigating grant funding opportunities, philanthropic support, or brokering commercial or industry partnerships on behalf of institutional programs (touring, international) or specific projects, or on behalf of artists associated with the museum.
Roles may include conceiving, developing and delivering education and learning programs in association with exhibitions or collections. The education team often works closely with schools and universities to provide art education access to students.
In choreographic practices knowledge is often passed on without spoken or written language. This applies to the transmission of ideas in the making, performing and for the future preservation of the work. This is relevant to movement and dance practices of all types. It involves the personal development of a skill or ability or/and could be the accumulation of collective corporeal knowledges that may span generations.
Coverage to replace or repair any equipment that an individual or business needs to earn income. Depending on the policy this can also include hired equipment. This coverage is separate to the insurance of other artworks in the performance space.
A person who designs the space in which an exhibition takes place. They contribute to layout, conceiving aesthetic approach, design of space alterations (walls, plinths, furniture, wall colour), ensuring egress and legal safety obligations are met, creating architectural plans, briefing and liaising with builders and contractors, designing signage.
A person who is responsible for managing the various teams who produce exhibitions. The exhibition manager brings the various strands together; creates contracts, timelines and budget; and ensures that the project meets budget and delivery deadlines.
A commercial gallery director or manager representing the artist may act as an agent. They may be involved in contract negotiations, budget negotiations, production, project management, sales, marketing and acquisitions. Representing galleries may or may not take a commission fee.
Within the museum, graphic designers often contribute to various activities, including designing signage, wall text and exhibition labels, exhibition catalogues and books, websites, guides and pamphlets, event invitations and products.
A space in which performers can change clothes, warm up and otherwise prepare prior to a performance. This space should be private, comfortable, secure and have adequate room to move in to stretch and warm up for focused mental and physical preparation. If possible, the space should be close to kitchen and bathroom facilities, and accessible to the presentation space to support easy access for meals and comfort breaks during rehearsals and performance. If several performance works are programmed concurrently, it may or may not be appropriate to share a green room.
Choreography is a sliding scale between repeatable, set material and improvisation. The difference between the two extremes is the relation to mutability and repetition. Improvising can be open ended and/or specific, but the focus is on decision-making within a framework that allows for degrees of variability in performance.
A category of property rights that describes intangible creations from human intellect. Intellectual property rights provide the rights holder with the legal means to exclude others from using, copying or reproducing that material without the permission of the rights holder. Possible forms of intellectual property protected by legislation include copyright, trademarks, patents and designs. To understand intellectual property rights please refer to the legislation in your region or country.
The act of an intellectual property rights holder permitting another person or entity to do any of the rights that the intellectual property rights holder is entitled to do. Copyright holders can licence others to publish, reproduce, communicate or perform an artwork. Licencing is the key method by which intellectual property rights are commercialised. Once intellectual property protection has expired, anyone can use the intellectual property and they do not need to seek permission or pay any licence fees. Licencing can be limited in terms of time/duration, cost, geography, exclusivity, sub-licencing and future acknowledgements. Licencing is recommended to written so that all parties are clear on what is permitted.
A period from conception of the work, beginning with the artist/s and then encompassing its development through collaboration, to realisation and then preservation.
Someone who designs, installs and controls lighting according to artistic, architectural and safety considerations.
Someone who designs, installs and controls lighting according to artistic, architectural and safety considerations.
The rights of authors or creators to be named as such and to ensure that presentations of their work preserve the integrity of the work. Moral rights are personal and cannot be assigned. They can be waived by agreement. Not all countries observe moral rights so to understand them please refer to the legislation in your region or country.
The directorial staff of the museum may include the museum director, executive director or artistic director. They are responsible for all aspects of the museum and may report to a board, council, government minister, founder, owner or governing body. Some directors make artistic decisions on the program, while others are more executive in their remit.
Colleagues working in operations at a museum are responsible for ensuring the safe, smooth running of the facilities, buildings and processes. Their work often involves applying occupational health and safety policies to prevent injury to visitors, colleagues, artists and contractors, and to ensure the artwork, colleagues and the public are protected, and facilities maintained.
People who enact the choreographic work. A performer may include the lead artist as well as dancers, musicians, interpreters or others.
Personal accident insurance or income protection insurance covers individuals for loss of income due to accident or illness. This coverage is especially important for independent performers who use their bodies for their work and are at greater risk of injury due to thew physical requirements of their work. As an example, in Australia, Workcover is the legislated compulsory insurance to cover employees but can only be taken out by organisations or incorporated companies (i.e., institutions and auspice services).
A person who documents the choreographic work in still images. Some artists have preferred photographers with whom they have worked previously. Museums may have an in-house photographer who may be engaged for the work.
In this resource, presentation is used to describe the act of performing and staging choreography, in both the initial and any subsequent realisations.
A person who assists the artist with the realisation of the work and project management. This may include fundraising, applying for grants, developing an initial budget, developing an initial project description for grants and pitch documents, managing the artistic team and developing contracts for collaborators. The producer may be involved in contract negotiations with presenting partners. Producers are usually paid a flat fee from the budget or work on a retainer with the artist.
Different from an artist team’s producer, an institutional producer is an employee of an organisation who may work directly with artists or collaborators, or interface with artists‚ such as agents, other producers or gallerists. They are responsible for managing the various teams who produce programs; bringing the various strands together; and creating contracts, timelines and budgets.
A business that produces performances in a variety of media. This company may have producers, production designers and stage managers on staff who may work on choreographic works in the museum.
The person responsible for coordinating and designing the sets, graphics, props, lighting, camera angles (if applicable) and costumes related to a performance work.
Professional indemnity insurance covers an individual or business from claims for alleged negligence or breach of duty arising from an act, error or omission in the performance of professional services.
An insurance policy designed to cover an individual or business for any claims brought against them by members of the public or the museum for any loss, injury or damage they may suffer as they interface with an artist’s work. While the museum is required to have their own public liability insurance, that cover may not extend to the artist who has been contracted to perform in the museum.
Roles may include conceiving, developing and delivering the public programs in association with exhibitions. Colleagues in these roles have planning responsibilities or hands-on delivery roles such as greeting speakers or artists involved in the programs, liaising with visitor services colleagues, security colleagues and audio-visual technicians.
Colleagues working in a publication team take on various roles in the process of producing exhibition catalogues and books. This may include an editor, copyeditor or proof reader, as well as a typesetter, designer and printer.
People who are responsible for the implementation of policies that ensure care of, and access to, artworks. Their work includes overseeing storage and movement of artworks in and outside of the museum, managing risk to artworks, arranging packing and shipping of works, ensuring artworks are insured and secure in transit, and facilitating loans of artworks. They also ensure the museum collection database accurately reflects the location, details and description of the choreographic artwork.
The process of examining the risks to people and objects involved in a planned activity to identify what hazards exist, how they may cause harm and the steps required to mitigate risk. This may include creating a risk assessment report.
A set of instructions for choreography that can be used to generate or record a choreographic work. The scope for interpretation and performance may be determined by the score itself or limitations may be imposed by the artist. It may be a concept, intention, or written or diagrammatic work. It might exist only through performance or could circulate as a discrete artifact.
A team of people who ensure the safety of the visitors, the artworks and museum colleagues. Sometimes, especially in smaller organisations, this role may be undertaken by visitor services teams.
The person who is responsible for designing sets, staging elements and prop components of a choreographic work in the museum.
The person who is responsible for designing all sound and audio components of a choreographic work.
Someone who is responsible for performance timing, lighting and other technical arrangements. In the case of choreographic works in the museum, exhibition managers and program producers may also take on some of the responsibilities of a stage manager.
People who design, install and control audio-visual (A-V) equipment and programs to facilitate artworks and programs. Technicians manage equipment during performances and programs.
The transmission of choreographic information occurs in all stages of a choreographic work, from coming into being and into the future. It is the passing of information from one person to another. The initial passing of information is from a choreographer to the artist team, but subsequent transmissions may include to museum colleagues (curator, conservator or archivist, etc.) for the purpose of presentation and preservation.
A person charged with knowledge transference, and generally someone who has embodied knowledge related to the choreographic material.
A person who documents a choreographic work as a moving image. Some artists have preferred videographers who may have skill and experience working with choreography. Museums may have an in-house videographer who may be engaged. Videographers or cinematographers may also be engaged to make a discreet film from a performance that is not the same as documentation of a live performance, resulting in a separate artwork.
Visitor services includes invigilators, hosts and front desk colleagues. People in this role are public-facing colleagues and often assist visitors face to face, on the phone, or via email with their inquiries about visiting the museum, attending programs and gaining information. They also facilitate access for visitors and might be the first point of contact that a museum visitor has with the institution.