A Tale of Two Emmys
On the surface, an Emmy for Outstanding Choreography seems straightforward. But since 2019, it hasn’t been just one award. The Television Academy split the category into two: one for Scripted Programming (think dramas, comedies, and limited series) and another
for Variety and Reality Programming (think competition shows and specials). This split was a long-overdue acknowledgment that creating a story-driven dance number in a drama is fundamentally different from a high-energy routine on a reality show. But it also casts a bright light on a deeper industry hierarchy. The very existence of two separate awards forces a question: Why does the industry feel the need to judge these two types of work separately, and what does that say about the value it places on each?
The "Variety" vs. "Scripted" Divide
The divide is more than just a matter of genre; it reflects different production models and, often, different levels of respect. Choreography for variety and reality shows, while often spectacular, has historically been the main stage for the craft at the Emmys. Shows like "So You Think You Can Dance" and "Dancing With the Stars" made choreography a central, visible element. Conversely, choreography in scripted television is frequently a more subtle art, woven into the narrative to advance plot or reveal character. It might be a period-accurate ball in a show like "Bridgerton" or a surreal dream sequence. Because it is integrated, it can become invisible. The separate category for scripted work is a step towards recognizing this specific skill, but it also highlights how often this labor is overlooked compared to the more overt performances in unscripted TV.
Choreographers as Gig Workers
Beyond awards, the life of a television choreographer is often one of precarious gig work. Unlike writers, directors, or actors, who are represented by powerful unions (WGA, DGA, SAG-AFTRA), choreographers largely lack a dedicated union in the world of film and television. This means they are often hired on a short-term, contract basis with little power to negotiate for standard protections, benefits, or fair compensation. They are brought in to create, often under immense time pressure with little rehearsal, and then they are gone. This freelance status perpetuates the idea that choreography is not a core part of the production team but an auxiliary service. The fight for better working conditions is a constant, quiet battle fought one contract at a time.
More Than Just Steps
A common misconception is that a choreographer just “makes up some steps.” In reality, they are storytellers who use movement instead of words. They must be experts in historical dance styles, understand camera angles, and be able to coach non-dancer actors to look convincing and emotionally resonant. They create a non-verbal language that deepens the audience's understanding of the story. Yet, because their work is physical and ephemeral, it’s often undervalued. Their copyright over their own moves can be murky, with networks often owning the work outright under restrictive "work-for-hire" contracts, giving the creator little to no ongoing ownership of their art.
The Fight for Recognition
The split in Emmy categories is a symptom of a larger struggle for recognition. Choreographers are fighting to be seen not as temporary hires, but as key creative department heads. Recent years have seen a surge in labor organizing across the entertainment industry, with even previously un-unionized workers like production assistants and VFX artists making gains. While choreographers haven't yet achieved a single, powerful guild for film and TV, the conversation is growing louder. The goal for many is simple: to have their contribution to storytelling valued with the same respect—and the same protections—afforded to the script, the score, and the cinematography. Awards are nice, but a stable career with fair protections is the real prize.
