This article studies how different forms of disruption of creative exchanges between music and dance can be conceptualised. These explorations are the results of two editions of the choreographic research project Estancias Coreográficas (Spain, 2017 and 2018). The sources of these explorations are varied: from participants’ questionnaires to a symposium on music and dance. The article proposes a conceptualisation of the possible collaborations between contemporary forms of music and dance, and, at the same time, discusses the conceptual practice which is constituted in this collaboration in itself. Exploring the documentation of two intensive research processes in which music and dance were put in relation—something which is common in choreography but perhaps not so often systematically studied in practical environments—the article proposes that through the conceptualisation of the many forms, concepts, and possibilities that these collaborations offer, the moment of exchange in itself emerges as a conceptual practice. This, of course, makes the conceptualisation somewhat vague and complicates the exploration. In this context, the concept of disruption becomes more enticing as an understanding of artistic exchanges. There is a sense in which the interactions between choreographers, composers, researchers and practitioners can be understood as a form of “disordering”.