There is something ritualistic in all of the pieces in this program, though perhaps none so much as Hofesh Shechter’s US premiere of “Any way the wind blows,” performed by 11 dancers from Gauthier Dance//Dance Company Theaterhaus Stuttgart.

The work is unmistakably Shechter. (It is set to the choreographer’s own composition; he also designed the costumes with Kerry Rees and Christine Lange). We hear the sound of wind and the stage is dense with fog when the dancers, in two groups, move slowly: on stage right, they rotate in a slow circle with their hands joined, and on the left they stand in a cluster, pulsing their wrists in front of them, almost in simulation of horseback riding. As can be expected, the chaos begins shortly after.

Shechter is the master of controlled disorder. The dancers—all dressed in flowing pieces of street attire—move in layers, maintaining a sense of difference that’s deceptively organized. They shift with swagger, make the signs of the cross, and lean back while shuffling their legs in place. The score transitions to something rather baroque, and their movement takes on a kind of religiosity as the dancers wave their hands in unison. At one point, they all stop and stare up at the light, their mouths agape. The rave continues.

It doesn’t feel all that different from “Red Carpet,” the ballet Shechter created for the Paris Opera Ballet, which performed at City Center earlier this year—but that doesn’t make it any less enjoyable, especially when the dancers of Gautier Dance seem particularly well-suited to the choreographer’s particular dialect. It’s a bit of an exorcism. It’s a bit of a dance party. All around, it’s a treat.