ABSTRACT
Liz Aggiss and Billy Cowie’s work has over the years used a broad diversity of musical and rhythmic styles which would lead one to suspect that their varying choreographies might not have much in common in the context of rhythm. What I would like to argue in this essay, however, is that despite this diversity there exists a certain commonality in their use of rhythm and time, both on the small-scale level (i.e. from moment to moment) and on the large-scale level (sectional, structural) in this body of work.
