The creative processes that lead to the construction of the choreographic work and the possibility of establishing a dialogue with teaching-learning models of choreographic composition guide the reflection proposed in this essay. The present time, as defined by Louppe (2012), comprises a set of values such as individualization and production, which express the identity of an irreplaceable project, and which promote the redefinition and repositioning of the body and gesture. The body and the movement take on multiple configurations and a revealing centrality of exploration and experimentation premises that are formulated from idiosyncratic values whose consideration becomes urgent. The reconfiguration of the constitutive elements of dance, the redefinition of the place of the choreographer and contemporary dancer/performer, the notions of the body and the premises for building a language are, in the context of current choreographic practices, anchored in principles of openness and singularity. From the reflection on the teaching-learning processes of choreographic composition, there is also the importance to think of dynamic models that are based on discovery principles. Lavender and Sullivan (2008), for example, through Transformative Systems, propose a set of propositions that systematize a pedagogical practice where dialogue with the choreographers’ discourse on their creation processes is enhanced and promoted. From the possibility to make a dialogue between the processes of choreographic creation and the teaching-learning models, this essay will result on the presentation of the Atlas Criativo – criação coreográfica contemporânea, a pedagogical tool whose operationalization aims at developing creative potential, experimenting with different possibilities and procedures implicit in creation contemporary choreography and the development of reflective capacities, through the systematic registration of creation processes.