舞蹈作為一種表達之方式，長久以來在各個人類社會與族群中自然發展。然而當面對到欲以著作權保護舞蹈之問題時，可以發現不論在我國或其他國家的研究上，專門針對舞蹈著作的文獻與其他著作類型相比較為稀少。因此，本文預計專注討論以下幾個問題：首先，我國的舞蹈著作之定義解釋為何？第二，美國的舞蹈著作定義解釋，及其可給予我國就舞蹈著作發展或解釋之建議或啟示為何？第三，在承認舞蹈著作受著作權法保護的前提下，如何以著作權及著作權中的其他重要原則提供舞蹈著作人保護？
本文將從舞蹈著作在我國的發展與實務判決出發，透過與美國著作權法下的舞蹈著作案例進行比較與分析，並著重討論著作人格權對舞蹈著作人之意義以及現行舞蹈著作人常使用的契約或協議之補充效果。期盼透過本文討論，使舞蹈著作在現有保護基礎上，在定義解釋及司法實務判斷上能更明確清楚，也更能回應舞蹈創作者之期待。

Dance, as a form of expression, has naturally developed across various human societies and cultures throughout history. However, when it comes to the issue of protecting dance through copyright, it becomes apparent that scholarly works specifically addressing dance as a subject of copyright are relatively scarce—both in Taiwan and in other countries—compared to other types of creative works. Therefore, this article aims to focus on the following questions: First, what are the definitions and interpretations of choreographic works under Taiwan’s copyright law? Second, what are the definitions and interpretations of choreographic works under United States copyright law, and what suggestions or inspirations can they offer for the development of choreographic works in Taiwan? Third, assuming that choreographic works are protected under copyright law, how can copyright and its core principles provide protection for choreographers?
This research begins with an examination of the development and practical adjudication of choreographic works in Taiwan, and proceeds to compare and analyze relevant case law under U.S. copyright law. It also explores the significance of moral rights for choreographers, as well as the supplementary role of contracts and agreements commonly used in the dance industry. It is hoped that this article will provide greater clarity in the definition and judicial practice of choreographic works within the existing legal framework, and will better respond to the expectations of choreographers.