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He defines choreography as the rules that guide body movements from their minute physicality to their broad social and cultural contours. He conducts a review of the literature and accentuates five general topics—learning through creativity; choreography as writing and pedagogy; comparisons of dance and choreography to play and sport; children’s play and environments as choreographies; and choreography as critical play interventions in public spaces. He argues that viewing play through a choreographic lens helps us understand how players physically communicate and create meaning through action in various play situations. Key words: choreography and play; participatory sense making  \nIntroduction  \nIn this article, I suggest a broad conception of choreography based on the dynamics ofthe spontaneous embodied communication that occurs when we move physically together in play situations. The “graph” in choreography refers not just to choreography as a written notation of a sequence of dance steps. Broadening the perspective, I invite the reader to imagine the spontaneous steps of a group of people moving together without a script as the writing of an instant choreography. The term choreography is commonly used to denote highly strategic, thoroughly planned, positioned, and controlled actions. Thoroughness and attention to detail define choreography in a variety of contexts, from dancers’performance of well-rehearsed steps on a theater stage to meetings of world leaders amid a complex web of security operations and journalistic photo shoots set against backdrops of spectacular architecture or natural wonders (Mason 2022) .  \n60  \nAmerican Journal of Play, volume 15, number 1 © 2023 The Strong Contact Lars Dahl Pedersen at [ldp@edu.au.dk](ldp@edu.au.dk)  \nBy contrast, the term play signals freedom and spontaneity. However, when choreographer and scholar Susan Leigh Foster states that choreography sometimes can be described as a “set of principles that guide spontaneous invention”(Foster 2011, 3), the contrast between play and choreography diminishes. Furthermore, Foster’s statement opens up a seemingly undeveloped potential for exploring play through a choreographic lens.  \nA set of movement principles can be regarded as a set of movement rules. Several play scholars (Winther-Lindqvist 2018; Hughes 1999; Piaget 1976; Tulloch 2014; Sutton-Smith 1997; Huizinga 1950) argue that play and games follow particular rules and that there are different kinds of rules present in play situations. Similarly, through a choreographic exploration of play, I address the relationship between the different rules when playing and play’s embodied nature. This includes the kind of spontaneous choreography that occurs between the bodies of people who play together.  \nThroughout this article, I use a broad concept of choreography: the ability to organize ways in which one can move and participate with one’s own body in a given situation and in relation to others. We can see, choreography in the overall organization of society as a controlling “system of command”(Allsopp and Lepecki 2008, 2) embedded in the social, political, and cultural environment. But we can also see choreography in the spontaneous movement decisions between playmates, constituting “a kind of record of action”(Foster 2011, 4) . For my purposes, I wish to understand choreography as the rules governing our movements in a broad sense “sometimes designating minute aspects of movement, or alternatively, the broad contours of action”(Foster 2011, 2) .  \nI seek to employ a choreographer’s perspective to explore the relationship between play and choreography. I entered academia following a career asa contemporary dancer and choreographer. In my current research, I explore a choreographic approach to a playful teaching ","cbCaiiXVQZ2FMpfK","https://ap.wps.com/l/cbCaiiXVQZ2FMpfK","pdf",156510,22,"English","# Introduction\n## Choreography as rules and embodied communication\n## Play vs. choreography: principles for spontaneous invention\n## Rules in play and embodied movement\n## Choreography in society and in action records\n## Research focus and article structure","[{\"question\":\"How does the article define choreography in relation to play?\",\"answer\":\"It defines choreography as rules guiding bodily movement, not only as a written sequence of dance steps, and links this to the spontaneous embodied communication that happens when people move together in play.\"},{\"question\":\"What five topics does the author emphasize in the literature review?\",\"answer\":\"The author highlights: learning through creativity; choreography as writing and pedagogy; comparisons of dance and choreography to play and sport; children’s play and environments as choreographies; and choreography as critical play interventions in public spaces.\"},{\"question\":\"Why does the author suggest viewing play through a choreographic lens?\",\"answer\":\"Because it helps explain how players physically communicate and create meaning through action across different play situations.\"}]","Playful Choreographies and Choreographies of Play - New Research in Dance and Play Studies | PDF",1792073525,55]