One of the first responses to the spread of the coronavirus pandemic in the world was the general standstill of movement, both globally and locally. The movement of goods, the movement of tourism, the movement of professionals (business, art, academe), the movement of refugees – the virus stopped all of those movements for the time being. Its spread led to the retreat back into the nation state, local production, a slowdown in consumption. Meanwhile, in the framework of emergency regulations, states imposed restrictions on the movement of citizens in the public sphere. These movement restrictions and the response to them created a unique social choreography, which is the subject of this essay. The social choreography created in these months is fascinating and rich in shades and in the movement it created against the power structures – physical, political, and social – that exist in the public sphere. The role of choreography as an organizing and disciplining practice, but also one that allows practicing a different kind of order, recurred in different formulations – in political protests and daily movement. The period brought with it a broad range of demonstrations of movement in the public sphere, some daily, civilian and minor in their appearance and intention, others major in their appearance and the media reverberation they created. The kinds of protest, resistance, disruption and subversion that rose to the surface are not unique to the coronavirus times, but in light of the general standstill and the social distancing regulations they became charged with additional significances.