The ephemeral nature of dance means not only that wonderful dances often pass into oblivion but also that some of dance’s significant contributors — choreographers — are forgotten after they die. This particular fear arises especially if a choreographer has not spent a substantial amount of time with one particular company or institution that could preserve his or her legacy.

And this might have been the fate of the choreographer John Butler, a prolific artist who worked with companies such as the American Ballet Theatre and the Paris Opera Ballet and who died in 1993 at the age of 75, had it not been for the efforts of the dancers with whom he worked.

Now the fruit of their labor will be on display with “John Butler: An American Master” which will be presented at the Joyce Theater beginning April 10. Included in the tribute are the Richmond Ballet, which will dance the masterpiece “Carmina Burana”; members of the Alvin Ailey American Dance Theater, who will perform “Portrait of Billie” (dedicated to Billie Holiday); Desmond Richardson, who will dance “After Eden,” and the Fugate/Bahari Ballet/NY, which will perform “Othello.” The Joyce SoHo will also host “Dance Talk — A Fresh Look at John Butler,” a discussion with dancers who performed his works, including Carmen de Lavallade and the head of Juilliard’s dance division, Lawrence Rhodes. William Soleau, a former dancer who worked closely with Butler and who, in 1997, established the John Butler Foundation, eventually becoming its executive director, will moderate the panel.

“I believe so much in John’s work,” Mr. Soleau said recently. “Long before anyone else, he was successfully combining ballet and modern dance for the stage and television. He had such a strong sense of craft and theater. His works speak to the emotions. They shouldn’t be lost.”

Born in Memphis, Tenn., in 1918, Butler left home for New York City to take classes with Martha Graham, who suggested he also study at the School of American Ballet, laying the groundwork for his ability to combine disparate dance techniques. Butler later returned to dance with Graham’s company in her masterpieces “Appalachian Spring” and “Deaths and Entrances,” and expanded his career with Broadway shows such as “Oklahoma” and the MGM film “Word and Music.” He also choreographed for early television specials on Omnibus.

“I thought it was very important that the new generation see these pieces, to better understand a critical period in the development of modern dance,” Mr. Soleau said. “But I also want them to know what kind of man John was. He would do anything for his dancers. He cared about people passionately.”

One of those on the receiving end of Butler’s commitment was Judith Jamison, now artistic director of Alvin Ailey American Dance Theater, who worked with Butler on “Facets” while she was still active as a dancer in the company. “John’s approach to the work was quietly and religiously and reverently done,” Ms. Jamison recalled during a televised panel discussion. “You walked into the space and you knew it was sacred. You were there to work with a choreographic genius and you walked in knowing there would be an intimacy shared only by you and John Butler.”

Always the gentleman, Butler spoke with a warm Southern accent, and peppered his conversation and choreographic sessions with learned references to art, literature, and theater. He was tall and lanky, with big bushy eyebrows, and became known for accessorizing his look with elegant Italian boots and a cigarette, which perpetually dangled from his mouth.

He was a friend to artists such as Alexander Calder, Andy Warhol, Alban Berg, and Ezra Pound. He also choreographed ballets for composer Gian Carlo Menotti’s operas and owned an impressive art collection, which included sculptures by Giacometti.

But concert dance was Butler’s first love, and he created ballets for Alvin Ailey American Dance Theater, ABT, New York City Ballet, La Scala, Dance Theater of Harlem, the Paris Opera Ballet, and numerous other major companies. “After Eden,” “Carmina Burana,” “Othello,” and “Portrait of Billie” are still often performed by American and foreign troupes.

One gets a sense of Butler’s approach to dance from his introduction of his ballet “After Eden” to a television audience. “We all have our own Garden of Edens,” he said, “and at some point we fall from that state of grace. I wanted to bring those qualities to this dance — Eve’s guilt and loneliness and her tremendous need for Adam and Adam’s anger — and yet at the same time, his great need and love for Eve. It was difficult to find an ending. I did not want a negative ending. I felt these people came through great desperation and urgency and need and finally resolve themselves. I hope that happens to you with the ballet.”

Indeed, emotional poignancy was of prime importance to Butler. “John’s work is very theatrical,” Mr. Rhodes, who worked with Butler when the choreographer made the role of Adam on him, said. “And quite stylized. You can see images in it from art, especially sculpture. He also uses very direct and powerful gestures. He told us, ‘never do a movement onstage that has no meaning.’ He relished dealing with big issues of life and death.”

Butler’s own death came at a still-productive time of his life. Shortly before his passing, he staged “Carmina Burana” for the Richmond Ballet. President of the John Butler Foundation and Director of the Richmond Ballet Stoner Winslett recalled the excitement and sense of historical importance surrounding Butler’s work with the company. “People forget what an impact it had when it was first performed by the City Opera in 1959,” she said. “The response was overwhelming, including both bravos and boos. It was a huge breakthrough.” Ms. Winslett added, “I just hope John is looking down now and smiling because he has not been forgotten.”

Begins April 10 (175 Eighth Ave. at 19th Street, 212-691-9740).