Cut to the second half, and much like Kidd Pivot’s “Betroffenheit,” we move to a more abstract, body first environment. Antagonisms are removed; instead, the performers all click and connect together in a calmy capable display of throwing, catching, falling & the eating up of horizontal and vertical space. Compared to the representative first half, depicting isolation and our relationship to the social world, this second half is a sensorial depiction of collectivity. 

The choreography itself is designed to make the most of a big stage and is very direct. As crows, the performers morph through arced, Graham-like movements that signify winged backs that sweep and soar. Heads twitch to get better viewing angles. Each pose the performers move into is always clearly articulated and fully pulled to its maximum point, including luxurious full body back bends that display no outward strain. While acrobatic partnering & grips are here, this is the performance of the soft, smart body, the performance of efficient joint articulations from worlds of perhaps of contemporary floorwork, capoeira, and breaking. Gender is also often smartly irrelevant in terms of who lifts who.