FROM dramaturgy to marketing, cataloguing to personal branding, myriad factors influence the label a choreographer chooses to attach to their work. It’s a precarious task that needs to carefully shape the audience’s experience but not smother it. A title should be just enough of a frame to hold its contents, while remaining permeable so the viewer can ascribe their own meaning. I asked three of Australia’s most exciting choreographers about the pride and pitfalls of naming their work. Former resident choreographer at the Australian Ballet Tim Harbour likens the process to naming a child, taking a leap of faith in hoping his offspring grow into their names. Cultural custodianship is key for Yawuru/Bardi woman and Artistic Co-Director of Marrugeku, Dalisa Pigram, who often prefers to label works with a First Nations word or phrase that’s connected to a specific place. And for independent dance artist and 2021 Sidney Myer Creative Fellow Jo Lloyd, titles are tricky things – dangerous to the creative process but also identities with whom she falls in love.