For a dance historian, analyst, or musicologist writing about dance, what are the implications of knowing about artists’ working processes? In this presentation, Jordan will begin by revisiting interviews she conducted for her 2015 book Mark Morris: Musician-Choreographer. Morris has taken a variety of approaches to music, such that his “choreomusical” styles and strategies have helped dancers and audiences to hear musical scores in new ways. Recent studies of the practices of other contemporary choreographers reveal an intensification in the sharing of “process information.” To illustrate this intensification and its results, Jordan draws from recent choreomusical analyses, as well as interviews with other choreographers. Her research raises a number of questions about how to negotiate a way through the conflicting values and terminologies of interviewers and interviewees, and the mix of rational choices and instinctive decision-making in the creative artistic process. For Jordan, the “genetic” information in the process can be invaluable to a general understanding of dance, while potentially enriching the analysis of individual dances. Asking what sort of relationship might, or might not, exist between the genesis of a work and its final form, she also brings into play musicologist Nicolas Marston’s theory of “dangerous liaisons.”