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Avant-garde choreographers, seeking new forms of continuity for their new vocabulary of movements, have turned to similar approaches.

Some let dances take their form from the experience of creation.

According to Katherine Litz, `` the becoming, the process of realization, is the dance ''.

The process stipulates that the choreographer sense the quality of the initial movement he has discovered and that he feel the rightness of the quality that is to follow it.

The sequence may involve a sharp contrast: for example, a quiet meditative sway of the body succeeded by a violent leap ; ;

or it may involve more subtle distinctions: the sway may be gradually minimized or enlarged, its rhythmic emphasis may be slightly modified, or it may be transferred to become a movement of only the arms or the head.

Even the least alteration will change the quality.

An exploration of these possible relationships constitutes the process of creation and thereby gives form to the dance.