Two recent choreographic works—Jeanine Durning's inging and Monique Jenkinson's Instrument—employ words not as content but as kinesthetic forces. In each, as audiences sit with their own embodied thoughts, words recede and silent questions arise to connect us in the space and time of performance.

Issue Section:
Critical Acts
©2014 New York University and the Massachusetts Institute of Technology
2014
You do not currently have access to this content.