The evening begins with “Ekah,” a study on loss performed by the choreographer and a pianist. Often when a work is described as a duet between a dancer and an artist of another medium it is easy to dismiss as an overstatement of collaboration. However, “Ekah” has Jang and pianist Daniel Kang position themselves firmly within each other’s domains. Jang steps atop the keys of the piano as Kang plays, Kang stamps across the floor alongside Jang. There is a feeling though that there is another presence here in the shape of an empty chair or confetti-like detritus left on the piano’s top. It is quite spectral in nature, especially when Jang wails like a ghost, drawing an invisible sword or spear into her body.

The piece is a canny introduction to Jang’s choreographic aesthetic. The language is tense and filled with uncertainties and contradictions. She is sharp and soft, embracing and shut off, her arms reach upwards before her heavy hands collapse onto her head with resignation. Kang’s compositions are laden with regret and turmoil, they spur Jang on in her chase across the stage. She is looking for something, we are not sure what, but she is looking. It’s a magnetic work that aptly shows off Jang’s wares as a movement maker as well as choreographer, all textures and waves.