This chapter is core to the book in that it demonstrates directly the formal connection between dance choreography and poetry/poetics. It does so, first, by re-visiting previous work on dance notation and its application to free verse. It then goes on to look at the process of composition in dance and poetry through a focus on rehearsal; and subsequently to the graphical notation of two dance works. The section of the chapter on writing down dance choreographies is particularly pertinent to the argument of the book, as the inscription of space, movement within it and rhythmic considerations are at the heart of the ‘problem’ that is being addressed. Despite the fact that choreography takes various forms—from descriptions of the process and products of dance through to a fully-fledged compositional and analytic system—there is a virtue in looking for commonality with poetry. The aim of the chapter is to work toward a common vocabulary and a new prosodic model for poetry, and furthermore to consider implications for the wider category of poetics in the other (performance) arts. One of the key terms to emerge in this new model is that of ‘composition’—the ‘putting together’ of elements that make up a dance or poem.