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The three members of line upon line – Matt Teodori, Adam Bedell, and Cullen Faulk – performed around and among the dancers, making use of drums and bells as well as sand, which poured from paper cones into buckets, and bamboo wind chimes and weather vanes set in motion by electric fans. Dancers Alyson Dolan, Lisa del Rosario, and Nathan Brumbaugh didn't meet with them until the performance week, and the show had a spontaneous, fresh vibe on opening night. Although the work wasn't improvised, it was invigorated and invigorating, having an aura of equal parts midcentury jazz club and digital-age maker studio.

What do gestures become when stripped of their in-the-moment communicative purposes? South American choreographer Luis Garay borrows the word “maneries” from Italian philosopher Giorgio Agamben, who, in his book The Coming Community, analyses the word’s etymology and comes to a conclusion that is mirrored by Garay’s program notes on the dance: “Maneries’ r­efers to neither a universal nor a particular; it embraces both, like an example.

South of Ben White Boulevard, behind a little house, is a converted barn that artist Magdalena Jarkowiec shares with her husband, a contractor. His half is stocked with tools and lumber, while hers is fitted with cloth-covered tables, two sewing machines, two person-sized plastic bags filled with polyester stuffing, and fabrics in various stages of construction into humanlike figures, body parts, and a television. Resting in the middle of one table, next to the iron, is a cantaloupe-colored penis.