1.Dance and/as poiesis, poetry, poeticsPoiesis as 'non-making':
Weak Dance Strong Questions (2001)A po(i)etic(s) (of) danceFrom
poetics to aesthetics and/as politicsPoetics as engaged writing
Between canons and individuation: Positioning Jonathan Burrows'
choreographyArticulation of chapters: Cross-overs and
2.Resisting from within: Dance canons and their deterritorialisationBallet, English folk, Rosemary Butcher and Judson Church: A historical accountThe 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 minimalismBurrows' 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 MatteoSpacing and repetition: On poetry and partnershipDisproportion 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/personalSingularity 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 collectivityGiving and stealing: 52 Portraits and a discovered communityAffective solidarity in Any Table Any Room (2017)Debunking mastery in Music For Lectures (2018)
7.Towards a politics of poetry, gesture and laughter
Daniela Perazzo Domm is Senior Lecturer in Dance Studies at
Kingston University London, UK, where her specialist areas include
dance theory and performance philosophy.
"While this is a significant contribution to the field of dance and performance studies, it is also an invaluable resource for practitioners, researchers and students interested in dance and performance practice. ... This book is a long-awaited careful assessment of one the most influential, prominent and progressive choreographers of contemporary dance today, and a rich and valuable contribution to dance and performance studies scholarship." (Antje Hildebrandt, Theatre Research International, Vol. 46 (1), 2021)"Perazzo Domm's research skillfully familiarizes the reader with the range of ways in which Burrows's oeuvre plays at the edges of normative structures. ... I find myself drawn to consider the potential of this manuscript to act as exemplar. ... this latest contribution to the field of dance studies, is a method of articulation that demonstrates empathy and deep listening with respect to both the artist and the work-a quality often absent in theoretical publications." (Gemma Collard-Stokes, Dance Chronicle, Vol. 43 (3), 2020)