How Should Choreographers Document and Archive Their Work?
Claudia Schreier doesn’t have the best records of her earliest choreographic efforts: “I have some grainy videos, plus notebooks filled with hieroglyphic scribbles and shorthand only I understand.” But these days, as an in-demand independent choreographer as well as choreographer in residence at Atlanta Ballet, Schreier is much more meticulous about documentation. Among other practices, she films herself doing phrases; she films dancers in the studio throughout the rehearsal process; and she keeps her choreographic notes in Google Docs with time and date stamps for relevant video clips.
Though she says the vast majority of her notes and videos of herself are to help her create the work before entering the studio, she also finds that the extensive documentation, along with the help of répétiteurs, makes it easier to restage old dances, as Schreier did this spring with her 2022 work Slipstream, at Boston Ballet. But those aren’t the only reasons to build a robust professional archive. Videos, writings, and other records of the creative process can also be valuable for posterity. “Even if you don’t think of yourself as a prominent entity, you never know what’s going to happen,” points out Hallie Chametzky, director of archiving and preservation at Dance/USA. “What if, one day, someone wants to write a book about you?” Whether you’re just starting out or you’ve been making dances for decades, you can take steps to preserve and protect your creative legacy.
What’s in an Archive?
Many choreographers find that videos and photos are archival must-haves. Film yourself and your dancers in the studio and ensure there will be videography and photography at every performance. For a more complete record, shoot from different angles and document multiple casts. Behind-the-scenes footage and screenshots of social media posts can go in your archive as well.
For each new work, consider creating a binder that highlights elements such as costume design (possibly with fabric swatches), lighting plots, musical scores, text, and anything else that’s necessary for the work to be restaged as it was originally presented. Save your choreographer’s notebook, which can offer valuable insights. And don’t forget to gather promotional material. “Was a poster or program made for the show? Was a press release sent out? Were you mentioned in a newspaper or magazine?” asks Patsy Gay, an archivist at Jacob’s Pillow. These items situate you within the field.
As you document, consider your perspective and mission as an artist. “If you’re collaborative in the studio, interview your collaborators,” Gay says. “If you’re someone for whom community is important, invite in voices from your community. Make your archive feel relevant and crucial to your creative practice.”
Storage Solutions
Maintaining an archive isn’t just about keeping materials—it’s also about being able to access them. Chametzky’s key organizing principle: “Have a standardized naming system that’s easy to follow and easy to replicate.” Sumi Matsumoto, Jacob’s Pillow’s digital archivist, recommends including identifying data in file names, so you don’t have to open a document to see what it is. “Start with the date in year/month/day format,” she advises. “Then, include details like name of work, company or venue, performance versus rehearsal, etc.”
Where should these files live? Choose platforms that fit your preferences and budget, following the “3, 2, 1 Rule”: If possible, “keep three copies of every file, stored across two different types of devices, with one copy offsite,” Matsumoto says. “You want to protect against physical disaster as well as digital-file rot.” Keep a spreadsheet of what’s where, as well as how recently each drive has been backed up or replaced; external hard drives may only last five to seven years.
Physical assets such as costumes and props require additional considerations. “At a minimum, invest in quality boxes,” says Chametzky. “Reduce exposure to dust and sunlight, and aim for a climate-controlled environment. If you’re utilizing a basement, make sure the lowest shelves are raised off the ground, in case of flooding. Definitely have a smoke alarm.” If you can, label each box, perhaps taping pictures of what’s inside to the exterior, and—just as with your digital archive—keep a master spreadsheet of what’s stored where. When possible, digitize physical items: Photograph or scan print media, and convert VHS and DVD recordings to digital formats.
Storage can be costly, so appraise each item’s value relative to the effort and expense it will take to store it. “How much information does the item hold? Does it have a functional use?” Gay asks. “Aesthetics also matter. It’s worth keeping a beautifully designed poster if you might want to display it.”
Finding Your Flow
For best results, make archiving “part of your workflow,” says Anne Huang, executive director of World Arts West, a multicultural artist-services network based in San Francisco. Differentiate between materials that can be filed away and those you’ll need to access regularly. WAW keeps select video clips and images in a Google Drive, to be used for grant applications and promotions; full festival videos and unedited photo sets are stored in a separate drive. “We sort materials right away after an event,” Huang says. “As time passes, it’s harder to go back and find things.”
When working with a company or participating in a festival, take advantage of your affiliation with that organization. Norton Owen, director of preservation at Jacob’s Pillow, notes that while the Pillow shares videos, photos, and other materials with artists, not every presenter will automatically do so. “Be proactive in making sure you get what you need,” he says.
Still feeling daunted? Resources exist to offer more in-depth guidance. For example, Dance/USA’s Artist’s Legacy Toolkit breaks down how to identify, sort, and preserve important materials, with tips for emerging, mid-career, and seasoned artists. Jacob’s Pillow is currently partnering with Liz Lerman on a project called Legacy Unboxed, in which Lerman and several other established choreographers will share thoughts and wisdom on topics including archiving and trusts.
Time-consuming and costly as archiving can be, today’s choreographers do have many tools for documentation and preservation at their disposal. From an archivist’s point of view, “of course we treasure the materials we have from the 1930s,” says Owen, “but we often wish we could speak back through the ages. ‘What was the rehearsal process?’ ‘How did you get here?’ ” Your archive can answer those questions, now and in the future.
The Copyright Question
For choreography, copyright technically exists as soon as an original dance becomes “fixed”—a legal term meaning the finished product has been documented, usually by videotape or dance notation, though in some cases text, photographs, and/or drawings may suffice. That said, registering your copyright with the U.S. Copyright Office can help prove that you are the creative mind behind a piece of choreography.
“Having a registered copyright adds weight to your claim of ownership,” explains Justin Lynch, a freelance dancer and a lawyer who works with artists. “Also, if there is a dispute, certain types of damage awards can only be issued if your copyright was registered prior to the alleged infringement.”
For the purposes of your archive, keep clear records of all works that have registered copyrights—and keep detailed documentation for works that aren’t registered or choreography that does not qualify for protection. (Copyright protection does not exist for individual dance steps, social dances, or “commonplace” gestures. Choreography created for use in a class setting is also unlikely to be protected.) If you’re creating work by commission, copyright ownership should be delineated in your contract. The same applies if you want to share copyright with someone else, such as a collaborator or your dancers.
For more information on copyright regulations, visit copyright.gov.
