Confronted with vaguely Kelmscottian complaints that factory methods are somehow less “honest” than the work artists produce by hand, Cambridge student critic Eliot D’Silva recently launched a counter-argument that the smooth and shining planed surfaces of industrial manufacture generate readymade pleasures of their own. While the dance appears somewhat improvisational in its apparent digressions, its overall shape rehearses the old interplay between craft and concept, symbol and surface, tradition and innovation. After a brutal winter, spring is clearly in the air.

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