Mark Morris: Musician-Choreographer by Stephanie Jordan is unusual in many ways, and there are hardly any volumes to which it can be compared. That alone sets this study apart from other recent titles on choreographers and their works. Jordan's book was published by Dance Books; yet, it is about music more than anything else—a choreographer's relationship to music, his formation and evolution as a dancer and dancemaker through music, the exploration of music through dance, and eventually Mark Morris's arrival in music as a conductor.

This essay discusses three recent British contemporary dance works that radically rework the spatial relation between audience and performer. These are Nicola Conibere's Assembly (2013), Katye Coe's (To) Constantly Vent (2014), and Alexandrina Hemsley and Jamila Johnson-Small's Voodoo (2017). The essay draws on Henri Lefebvre theorization of the social and political production of space to analyze the kinds of reworkings of space-time that these works enact. It argues that the works evade capture by the apparatuses that maintain normative ideologies, not only those governing the reception of art but also the apparatuses of racial classification.