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After a measured series of pirouettes, Yalda Younes stands on the second of three rectangular stages. Her heels commence a rhythmic percussion that builds in intensity and volume as she inches up the runwaylike surface. The show appeared to have started before the audience entered.Upon the first stage, Younes stood, lingering over postures reminiscent of her past work terse solo flamenco that, bereft of folkloric costuming and musical accompaniment, is sharp as broken glass.Steeped in maqam and taqasim (Arabic classical music and improvisation conventions), the music of the Iraqi-born composer and instrumentalist applies razor wire to those traditions, reconstituting them from silence as succinct melodic flourishes.As Younes navigates from one surface to the next, she never quite gives what the audience expects.Precise, percussive movement is complemented by long moments of stillness (often holding poses that wouldn't look out of place in yoga) and stretches of silent motion.Silence is as integral to the score as stillness is to the choreography.Younes says that with "Universe" she hopes to form a different relationship with the audience.
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