Cunningham began to study dance at 12 years of age and after high school studied for two years at the Cornish School of Fine and Applied Arts in Seattle, Wash., with Lester Horton at Mills College (1938), and at Bennington College (1939), where he was invited by Martha Graham (Graham, Martha) to join her group. As a soloist for her company, he created many important roles.

Encouraged by Graham, Cunningham began to choreograph in 1943. Among his early works were Root of an Unfocus (1944) and Mysterious Adventure (1945). Leaving Graham's company in 1945, he began a long association with the composer John Cage (Cage, John), which included annual recitals in New York City and collaboration on such works as The Seasons (1947) and Inlets (1978). In 1952 he formed his own company.

Because of his interest in pure movement as devoid as possible of emotional implications, Cunningham developed “choreography by chance,” a technique in which selected isolated movements are assigned sequence by such random methods as tossing a coin. The sequential arrangement of the component dances in Sixteen Dances for Soloist and Company of Three (1951) was thus determined, and in Suite by Chance (1952) the movement patterns themselves were so constructed. Suite by Chance was also the first modern dance performed to an electronic score, which was commissioned from Christian Wolff. Symphonie pour un homme seul (1952; later called Collage) was performed to Pierre Schaeffer's and Pierre Henry's composition of the same name and was the first performance in the United States of musique concrète, or music constructed from tape-recorded environmental sounds.

Cunningham's abstract dances vary greatly in mood but are frequently characterized by abrupt changes and contrasts in movement. Many of his works have been associated with Dadaist, Surrealist, and Existentialist motifs. In 1974 Cunningham abandoned his company's repertory that had been built over a 20-year period for what he called “Events,” excerpts from old or new dances, sometimes two or more simultaneously. Choreography created expressly for videotape was still another innovation, which included Blue Studio: Five Segments (1976). He also began working with film and created Locale (1979). Later dances included Duets (1980), Fielding Sixes (1980), Channels/Inserts (1981), and Quartets (1983).