The nuts and bolts of Tanowitz’s choreographic process are further exposed by the scan of a page from her choreographic notebook left on every seat at the start of the show: A floor plan scribbled over with dynamic arrows, lines and circles. As her dancers orbit one another and intersect each others’ pathways, they bring these notations to life, tracing their trajectories and transforming them into a map for deciphering their motions. It’s a clever touch—one that may help engage audiences less familiar with abstract dance by offering insight into the intricate mechanics at play in the absence of a narrative.

When viewed from a distance, abstract dance can sometimes feel cold and impersonal. Yet the up close, in the round setting of “Neither Drums Nor Trumpets” exposes abstraction’s whimsical potential. Dancer Anson Zwingelberg, for example, is particularly arresting as he casts cheeky glances and smiles at his colleagues, while the appearance of two performers dressed in aprons, arranging flowers and polishing glasses on an elevated balcony—a reference to the fact the hall is now mostly used as a hospitality space—adds a touch of theatricality to proceedings. There are even subtle narratives to be found for those who look closely: As the Rambert students re-emerge at irregular intervals, removing their ballet shoes to chase the professional cast around the stage, using the aforementioned balcony like a ballet barre to religiously practice exercises while watching proceedings below—it’s easy to interpret this as a quiet commentary on the dedication, training, and competitive spirit required of the next generation of dancers to achieve success. 

In an interview, American choreographer Mark Morris said that due to the art form’s reliance on human performers with individual personalities, dance can never be purely abstract. Tanowitz’s “Neither Drums Nor Trumpets” makes a charming case in support of this statement. It highlights the warmth and human connection inherent to a wide variety of movement styles, demonstrating that with a meticulous yet imaginative choreographic eye like Tanowitz, these qualities can be present whether they aim to convey a story or not.