 This view is opposed by McFee (2011b, 2013c and 2018), who believes that dance works of art are created by choreographers and are performed by dancers to fulfill the choreographer’s intentions. Chris Challis (1999)’s work supports this account. On McFee’s choreographer-as-dancework-author view the dancer’s role is both instrumental and subsidiary to the choreographer’s vision and their expertise is in dancing, not in dance-art creation. It follows from this that dancers contribute the raw material for dance performances but are more like skilled technicians or artisans than author-artists. This view has been criticized for neglecting the performers’ role in making and performing dances in art-relevant ways by Lauren Alpert in an American Society for Aesthetics conference (2016), by Aili Bresnahan (2013 and at a dance philosophy conference at Texas State and in a work on interpretation in dance performing), and by Pakes (2019). (For more on creative decision-making and choreography in dance see Cvejić 2015a and 2017; Foster 2011; and Melrose 2017. For an article on video choreography see Salzer and Baer 2015. Cf. S. Davies 1991 for a discussion of whether creative additions to a “thin” work of art can “thicken” it.)