1.Dance and/as poiesis, poetry, poetics
Poiesis as ‘non-making’: Weak Dance Strong Questions (2001)
A po(i)etic(s) (of) dance
From poetics to aesthetics and/as politics
Poetics as engaged writing
Between canons and individuation: Positioning Jonathan Burrows’ choreography
Articulation of chapters: Cross-overs and in-betweens
2.Resisting from within: Dance canons and their deterritorialisation
Ballet, English folk, Rosemary Butcher and Judson Church: A historical account
The paradox of the familiar in Hymns (1986–1988)
Absurdity and de-/re-territorialisation in Stoics (1991)
Intensive (a)signification in Both Sitting Duet (2002)
Inadequacy and urgency in Body Not Fit For Purpose (2014)
3.Reduction, repetition, returns: The trouble of minimalism
Burrows’ minimalist label: A critical divide
Reconfigurations of minimalism in The Stop Quartet (1996)
Dance and the real: Or, the po(i)etic potential of ‘small things’
Choreography’s ‘retroactive ontology’: Remaking the same piece
4.Rhythm as friendship: Movement, music and Matteo
Spacing and repetition: On poetry and partnership
Disproportion and dissymmetry in Speaking Dance (2006)
Not-knowing and non-reciprocity in Cheap Lecture (2009) and The Cow Piece (2009)
Rhythm and chaos in Body Not Fit For Purpose (2014)
5.Duets and (self-)portraits: Choreographing the im/personal
Singularity and plurality: A Choreographer’s Handbook (2010)
Deconstruction of the personal subject in Hands (1995)
Duets beyond interlocution: Both Sitting Duet (2002) and The Quiet Dance (2005)
Impersonal singularities in 52 Portraits (2016)
6.Choreographies of plurality: Rethinking collaboration and collectivity
Giving and stealing: 52 Portraits and a discovered community
Affective solidarity in Any Table Any Room (2017)
Debunking mastery in Music For Lectures (2018)
7.Towards a politics of poetry, gesture and laughter
