This article makes the case for a less-traveled move across the choreographer-scholar divide—the theorizing choreographer over against the scholar as “performing theorist.” Performative writing exercises exemplify an embodied writing practice in which choreographic process is conjoined with critical theory to write back into one's dance as a reflective and reflexive practice. How might choreographic process infiltrate academic writing methods with its inscriptive bones, interpretive muscle, and theoretical backbone? The premise is that bodily action and choreographic knowledge enlivens the writing process and critical inquiry revitalizes the dance.