A study of the literature of the past thirty years, in particular how dance scholars and artists alike have theorized risk-taking in dance, shows that risk-taking is very often alluded to as an engagement with or the pursuit of the ‘unknown’. It also shows that such engagement or pursuit is to be found more in improvisation than in choreography, improvisation often being articulated in opposition to choreography. Choreography tends to be identified with planned and previously decided-upon forms and improvisation as a practice in which at least some decisions are made in real time, spontaneously. In short: the more unplanned, unknown and spontaneous the action, the more risk-taking will be involved. 1