Choreography classes rooted only in modern/post-modern/contemporary dance (hereafter referred to as contemporary dance ), fail to provide racial equity to today's college students. Dancers with backgrounds in forms other than contemporary dance such as hip-hop, salsa, kathak, etc., must learn a new set of movement principles and aesthetic values to enter into contemporary-dance-focused classes on dance-making. This creates a barrier that disproportionately affects students of color. Moreover, it perpetuates a vision of dance in which Western concert dance is valued above all other forms, a vision increasingly out of step with the professional dance world in the United States. Over the past two years, Kristin Horrigan has experimented with reshaping her choreography class to be a lab for making dances in all the dance forms that live in my students' bodies. This article shares her thought process, discoveries, and questions from these two years, not as a prescription for how to remake choreography classes, but rather as an exhortation to my colleagues across the country teaching within a contemporary dance paradigm to rethink their own choreography teaching. She concedes that her experiments are imperfect and still in-progress, but they speak to an important shift that she believes dance educators need to make--a shift away from centering historically White dance forms in higher education. In this article, she fleshes out her argument for why she believes de-centering contemporary dance in choreography classes is a matter of racial equity and share the curricular changes she has been making in her choreography class.