Through professional practice, independent contemporary dancers develop signature ways of moving – moving identities – over the course of what are generally nomadic and diverse career trajectories. The need to adapt to the particular requirements of each choreographic process creates highly fluid dancing subjects capable of materializing choreographic ideas through embodying and/or co-creating new movement material often within short-term project timelines. Although dancers may not control how and when a work takes place, nor the creative direction of the choreography, through the variety of different choreographic systems encountered in independent dance and the constant forming, breaking and reforming of moving identities across a career-span, the potential for locating and following inner desires and impulses emerges to shape each independent dancer’s moving identity (Roche 2015). As creative roles in dance making have evolved to become increasingly collaborative between choreographers and dancers, within this relational process, dancers are called upon to adopt various creative strategies to contribute to the work. Processes of making in dance generally unfold through non-linear and often non-linguistic modes of communication; therefore, this aspect of dancing knowledge seldom enters the academic arena of choreographic practice.